Design and Emotion

This research aims to establish a biomimetic approach to animal behavior in design, particularly in interaction design. We are developing a taxonomy of behaviors and rituals of seduction found in nature, with the goal of building a conceptual framework that relate these behaviors with the design of new interactions. It's believed that these interactions could inspire the interface between people and technological artifacts and also the technological mediated communication between humans. It is intended to demonstrate the relevance of including biological behaviors in design methodologies inspired by nature, in addition to the formal and technical direction that currently prevail in Biomimetic. We believe that we are entering in what we call the post-digital Era, a place where the digital medium, visible or invisible, is taken for guaranteed and it's omnipresent in the fabric of our lives. In this scenario, we consider the opportunity to value biological behaviors as a way to...

According to the 2020 Lloyd's Bank Digital Index,  16% of the UK population are unable to use the internet and devices by themselves, and many more struggle to access and make the most of digital health products services.

It’s not necessarily who we might expect either: 44% of those offline
are under the age of 60, and the reasons for this are not yet fully explored.

This preliminary study was devised using service design and user centric approaches, and utilises rapid ethnography to capture and examine the experiences of people using digital health tools and
services.

The goal of this study is to explore these questions:

● Are cognitive impairments a significant barrier or hindrance to those using digital healthcare?
● Are cognitive accessibility factors well understood and addressed yet?
● If not, why, and what can we do about this?

Key themes and insights are outlined and placed in social, cultural and legal context.

Critical findings include:

● 12.5% of people said that they were confident in using digital health
● 66% had cognitive issues that affected their ability to use digital health
● 41% of people said that tiredness was a factor.
● 97% of participants reported  using some form of digital health, and yet there was a very wide range of confidence and capacity levels.

A representative group of existing cognitive accessibility guidelines are placed under initial review, a draft evaluation framework established, and next steps identified

Draft of preliminary study v1.0

The logical road to human-level AI is a dead end. Human-level AI requires compassionate intelligence to guide interaction and build applications and operating systems of the future. The cognition of such an agent includes Metacognition: thinking about thinking, thinking about feeling, and thinking about others' thoughts and feelings. We summarize the core meta-architectures and meta-processes of EM-2, a meta-cognitive agent that uses affective inference and an irrational TMS, the I-TMS, to resolve the turf war between thoughts and feelings based on agent personality and social and cultural knowledge as well as logic. The work is inspired as much by a human mind training process from India as it is by the 17th century commonsense philosopher David Hume. Although separated by more than 2000 years they both present a philosophy of mind where emotion is the antecedent to logical thought.

In the last years Customer Experience (CX) has become a novel approach to obtain a competitive advantage for numerous companies. The complexity of interactions among the customer, the physical environment, the company's employees, the product and/or related services requires transdisciplinary methods and tools from marketing, engineering, human resources and culture, technology, organization, management and phycology. The present papers aims to provide an overview of what Customer Experience is, how it can be used to design the meaningful touchpoints between the customer and the company and propose a CX-oriented strategy to design them in stores. Some interesting insights are discussed thanks to experiments performed in a real test case.

What form should happiness take? And how do we shape Disgust? This research
investigates a fundamentally novel design approach to affective robotics design in which abstraction
and the minimal requirements to perceive emotion expressions play a fundamental role. The core
idea is that if we abstract away from the human body, and leave only the essential components
relevant to convey emotions, this is sufficient to meet the cognitive requirements of human beings for
affective interaction. As such, the novelty of our approach lies in the fact that it does not revolve
around designing the anatomical body features used in emotion expression, e.g. facial expressions,
body postures and arm gestures, but instead focuses on designing expressions based on the essential
components of visual emotion recognition. Such a turnaround in design strategies requires a new
design theoretical framework. To facilitate further exploration, this research unifies affective robotics,
affective science and abstract art from a psychological perspective to develop design guidelines for
what we call: abstract affective robotics.

The current vogue for design in management discourses results in abstractions of the design process that repress the role of aesthetic judgments. This paper offers an explanation as to why design-as-styling is being neglected or concealed, and then explains what is at stake. It theorizes that a key aspect of the agency of designing, as the creation of artifacts to facilitate activities, lies in this taste literacy of designers. The framework for the argument of this paper is Pierre Bourdieu’s notion of ‘habitus’ and the notion of ‘style’ as proposed by Fernando Flores and his coauthors. The paper argues that designers are hermeneutists of proximal taste regimes, for the possibilities of new styles of action.► Design thinking promotions and cognitive research of designing de-emphasize style. ► Bourdieu’s work can link judgments of style and the designing of useful artifacts. ► Designers, as expert innovators, operate within discernments of style. ► Usability of designed artifacts depends upon coherence with taste regimes of users. ► Research on style judgments in designing can explain how tools like personas work.

Typography and typographic experiments in socially engaged posters as an example of the works of graphic artists, and students associated with the Laboratory of Social Propaganda , led by prof. Jacek Staniszewski. Laboratory of Social Propaganda is a studio dedicated to designing posters and communication which is engaged in hot topics of modern times. In the laboratory as well as around, designers create works on the socially important topics, often touching and sensitive. Freedom of expression, the accuracy of the visual message, even shocking – theses words characterize works designed in the studio. All those works have a lot of emotional power in order to increase the sensitivity of the viewer on the street. They try to catch his attention in the environment of overabundant stimulation. Typography used for posters is often their ultimate signature, kind of the finis coronat opus. Typography raises the emotions of the whole picture, it is often the dominant, but what is most important, it is a coherent whole.

Graphic designers apply the traditional elements of art and principles of design to create visual communications, yet it is not known how people interpret the meaning of visual messages. Forty-two participants answered a questionnaire to discover "Are certain emotions predominantly associated with the formative design features of typefaces--differences in classification (serif or sans serif), terminal construction (angular or rounded), character width (condensed or extended), and weight (light or bold)?" Even though people have individual aesthetic preferences, statistical analysis found that many participants reported comparable emotional responses to typestyle examples. Those feelings, in turn, varied according to the formative design features of the typeface. The design examples consisted of six similar typefaces with visible differences in form. Because people reported the same emotion response to the same design features, this study suggests that design's underlying features represent a common visual language.

Aluna: Marília Ceccon Orientadora: Vera Damazio Introdução Esta pesquisa tem como foco a interação entre as pessoas e o meio projetado sob a perspectiva do Design & Emoção. A idéia fundadora desta nova abordagem mostra que muito mais do que desempenhar funções mecânicas, os produtos participam de nossas ações cotidianas, mediam relações sociais, promovem experiências, evocam sentimentos e afetam nosso comportamento e condutas. Neste sentido, é necessário que o designer entenda o ato de projetar não apenas com como um meio de criar e desenvolver produtos, mas como meio de mediar relações sociais, promover experiências, evocar sentimentos e moldar comportamentos e condutas sintonizadas com o bem coletivo. Em estudo anterior, identificamos e esboçamos definição de categorias, ou vertentes, de Design Emocional. Foram elas: 1. Union Design: referente a produtos que promovem interações sociais. 2. Design Atitudinal: referente a produtos que colaboram para a mudança de atitudes e engajamento da sociedade em causas humanitárias. 3. Fun/Wit Design: referente a produtos funcionais e, também, engraçados. 4. e referente a produtos com formas destacadamente atraentes. 5. Design Amigável: referente a produtos que funcionam bem, e são fáceis de entender e usar. 6. Design e Sentidos: referente ao design que contempla também sons, cheiros, texturas entre outros aspectos não visuais dos produtos. No presente estudo, estas categorias foram aprimoradas e aprofundadas a partir da análise do levantamento de referências teóricas e de exemplos de projetos e produtos relativos às categorias anteriormente identificadas. A principal meta deste trabalho é propor metodologias voltadas para o desenvolvimento de projetos em cada uma das vertentes identificadas e contribuir para a consolidação do campo do Design e Emoção no Brasil. O bjetivos Levantar referências teóricas e exemplos de projetos e produtos atinentes às categorias anteriormente identificadas. Aprimorar e formular o conceito das categorias identificadas de Design Emocional; Esboçar metodologias de projeto voltadas para as vertentes do Design Emocional, formuladas ao longo deste estudo.

Traditionally, human-computer interaction is conceived and assessed through the restrictive scope of usability. Although this approach has led to an overall improvement of the interfaces ease-of-use, it should now be overstepped. The question of the positive affect of users has become crucial for the interface project stakeholders. Our research is mostly turned towards applied perspectives. Our general hypothesis is that design strategies may affect positively the user, and influence a better attractiveness of the interface. In this paper, our objective is to present and discuss a method to measure user’s emotion during an interface interaction experience. The experimental setup gathers screen records, face recognition, galvanic skin response, and questionnaires. These complementary sources bring forward the behavioral, physiological, and subjective emotional responses of the user. We discuss how these resources can be used in order to measure the emotional effect of a specific user interface.

Resumen El presente texto tiene el objetivo de ofrecer una mirada y reflexión de las aportaciones del diseño a la responsabilidad social desde el Diseño Emocional, es decir, desde la consideración de la relación emocional afectiva que las personas establecen naturalmente con el mundo material. Dicha consideración permite abordar problemáticas humanas que aunque ya han sido abordadas desde el diseño, es posible llevar a cabo una nueva mirada y hacer nuevas consideraciones, lo cual contribuye a proponer aportaciones distintas a las realizadas hasta hoy. Al mismo tiempo, dicho enfoque emocional humano permite conocer requerimientos, y características humanas significativas, trascendentes, que aún no han sido del todo consideradas, y frente a las cuales el diseño presenta un gran potencial. Abstract The present text has the aim to offer a look and reflection of the contributions of the design to the social responsibility from the Emotional Design, that is to say, from the consideration of the emotional affective relation that the persons establish naturally with the material world. The above mentioned consideration allows to carry out a new look and to do new considerations to human problems already addressed problems. At the same time, the above mentioned emotional human approach allows to know requirements, and human significant characteristics that still have not been completely 1 Dra. en Proyectos de Innovación Tecnológica por la Universidad Politécnica de Cataluña (UPC), actualmente profesora investigadora adscrita a la Universidad Autónoma Metropolitana unidad Cuajimalpa, Coordinadora del grupo de investigación " Evaluación del Diseño Centrada en el Usuario " (EDCU).

This is an ethnographic study of emotion management performed by members of a team attempting to lead an organizational culture change process at a multi-campus Canadian college. The study examines the interplay between generic social processes, perceptions of identity, types of emotion management and the willingness of change leaders to initiate and sustain emotion management. Emotions can run high and morale can plummet during times of change. Prior research has argued individuals tasked with facilitating an organizational culture change process need to be willing and able to manage their own emotions and the emotions of others. Classical research on emotional labor suggests emotion management undertaken in such a context is performed primarily for instrumental reasons. Instrumental motivations were evident in this study but there was far greater evidence of social motivations and motivations corresponding with professional identity. This research also found significant support for the role of generic social processes as central in achieving identity, emotional expression, and the willingness to continue emotion management. Generic social processes specific to identity and to emotion were most predominant.

https://www.routledge.com/Emotion-Affective-Practices-and-the-Past-in-the-Present/Smith-Wetherell-Campbell/p/book/9781138579293

Emotion, Affective Practices, and the Past in the Present is a response to debates in the humanities and social sciences about the use of emotion. This timely and unique book explores the ways emotion is embroiled and used in contemporary engagements with the past, particularly in contexts such as heritage sites, museums, commemorations, political rhetoric and ideology, debates over issues of social memory, and touristic uses of heritage sites.

Including contributions from academics and practitioners in a range of countries, the book reviews significant and conflicting academic debates on the nature and expression of affect and emotion. As a whole, the book makes an argument for a pragmatic understanding of affect and, in doing so, outlines Wetherell’s concept of affective practice, a concept utilised in most of the chapters in this book. Since debates about affect and emotion can often be confusing and abstract, the book aims to clarify these debates and, through the use of case studies, draw out their implications for theory and practice within heritage and museum studies.

Emotion, Affective Practices, and the Past in the Present should be essential reading for students, academics, and professionals in the fields of heritage and museum studies. The book will also be of interest to those in other disciplines, such as social psychology, education, archaeology, tourism studies, cultural studies, media studies, anthropology, sociology, and history.

This dissertation reconsiders radio in order to rethink questions of communication, affect, and historical artistic practices in wireless media. I displace avant-garde preoccupations with radiation, speed, time and space overcome, disembodiment, ghosts, and schizophonia; tempering them with ideas of resonance, slowness, hearing distance and experiencing time, technology as embodied aggregate circuits of humans and things, transception, and minor media. By expanding Bertolt Brecht's notion of transception through a critical theory of technology as a central concept for re-theorizing transmission, communication and media culture, I consider which alternate radio territories might emerge if the utopian desires to exceed our current capacities through wireless technologies are set aside in favour of embodied, transceptive relationships with others, human and non-human. Through the creation of three new radio art installation and performance works You are far from us, Respire, and The Joy Channel (created with Emmanuel Madan), I consider how bodies remain present and affective in wirelessness through choices of circuit, performance strategies, and compositional elements; theoretically and practically reconsidering radio in terms of transmission ecology and minor media. I propose and begin to test the notion of a resonant rather than radiant paradigm for transmission by emphasizing micro-radio narrowcasting and interference in radio art creation, drawing upon contemporary notions of Hertzian space in which humans and things serve as radiogenic actants.
This dissertation considers creative practice as research, in which radio art/works function as experiments that aim to generate and contribute to theoretical knowledge. These , which were variably narrowcast and broadcast multi-channel radio transmissions, 'performed installations', and live radio theatre, repurposed very common technology (terrestrial FM radio broadcasting) and reframed the relationships in which transmission takes place. This simple appropriation of technology undermines the broadcast model of radio that has been naturalized for the past century, while providing opportunities in which to imagine future circumstances which could deepen circuits of relationship. If radio to date has largely acted as an accomplice in the industrialization of communications, art radio and radio art continue to destabilize this process with renewed explorations of radio and electromagnetic phenomena, and the softly subversive potential of reverie.

O foco desta investigação foi problematizar, através do Design, o estigma em produtos destinados à população sénior. O tema se distancia da concepção de que estes equipamentos são apenas um "mero produto de apoio", pois os compreendemos como uma extensão do corpo do sênior, relacionado com seu cotidiano e que pode proporcionar experiências boas ou ruins, descrenças e esperanças no processo de envelhecer. Assim, a conexão entre o Design e a produção do estigma, a partir de produtos assistivos no envelhecimento, parece exigir uma abordagem necessariamente interdisciplinar para compreender a emancipação simbólica-emocional pela materialidade. Nesse sentido, o principal contributo desta investigação foi detectar o processo de estigma dos equipamentos de auxílio a marcha no envelhecimento e melhorar a qualidade estética por meio de um acessório de encaixe simples para bengalas e muletas que minimize o estigma social, provendo sua personalização e conexão emocional entre o equipamento e o sujeito sênior.

In a toy store, Peter laughs and runs from one side to another continuously. Every now and then, he goes back with his mother to show her a different toy and with a broken voice and full of excitement, he explains her how it works and to which of his favourite TV show it belongs.  Then, he runs again and disappears in the aisles.
When mom says it is time to leave the store, Peter takes a step back and with eyes wide open, he starts whining that he does not want to leave yet and in a matter of seconds, he starts throwing a tantrum. At this point Peter has his face on the floor, and his mother tries to convince him to leave the store.  After a while, Peter stands up with his slumped shoulder and eyes still full of tears looking at the floor. Slowly, he accepts her mother's hand to walk to the exit door.

This paper explores the transition of an historical artefact from personal possession to museum exhibit. The starting point is a Victorian ewer, bowl and chamber-pot set, encountered displayed in a small Yorkshire Museum. The story of this set is the framework for an exploration of literature on how we invest personal, domestic possessions with meaning. In particular, the paper focuses on the relationship between the physical and material properties of the artefact, and its meaning.

Before starting its life in the museum, the jug, bowl and chamber pot set belonged to Mary, the secretary of the museum board. It was gifted to her by a friend four or five years ago, and she kept it in her bathroom filled with potpourri, dried flowers and soaps. When she had her bathroom replaced, there was no longer enough space to display the set. She moved it into storage in the shed, where she kept it on view to remind her that it needed a new home. Then she thought of putting it on display in the new museum toilet, on an old wooden cabinet she had in her conservatory. Her decision to move it out of her home and into the museum toilet was a creative and caring one, which triggered the washstand set’s transformation from a personal possession, into a public historical artefact.

Please click on URL to download full paper.

Speed-lines, movement-lines and emotion-enhancing flourishes ("pictorial runes") may contribute, marginally or substantially, to the potential meanings to be inferred from a comic's panel. It seems plausible that pictorial runes convey their meanings in patterned ways, but hitherto little systematic research appears to have been done to investigate them.

Rodrigues, Y. W. (2021).  Design para o envelhecimento: a dimensão simbólica na superação do estigma em equipamentos de auxílio. Tese (Doutorado em Design), Departamento de Comunicação e Arte, Universidade de Aveiro, Aveiro, Portugal. Disponível em: http://hdl.handle.net/10773/31545

Nas últimas décadas houve um crescimento significativo da população sênior no mundo, sobretudo no continente europeu. Esse acréscimo populacional cria um conjunto de novos problemas para a mobilidade que antes eram circunscritos apenas a uma pequena parte da população. Os produtos assistivos à marcha, como bengalas e muletas, fazem parte do universo material do sênior e trazem não só o amparo na locomoção, mas também ativam processos de subjetivação complexos, evocam aspirações ligados à cultura, à massificação e aos valores simbólicos. Além disso, constata-se uma significativa carência de investigações no campo do Design que problematize a relação entre o sênior e os estigmas associados ao equipamento de auxílio. Neste cenário contemporâneo, os equipamentos de ajuda nem sempre oferecem um ideal de conforto e segurança, para além de carregarem uma estética médico-hospitalar estigmatizante. Esta investigação teve como objetivo compreender a experiência de seniores com equipamentos de auxílio, em três ambientes: doméstico, urbano e institucional em Portugal. O método adotado foi uma pesquisa em campo, em um processo exploratório e progressivo, dividido em cinco grandes fases (exploração, avaliação, ideação, criação e validação). Dessa maneira, foi possível avaliar de forma ampla os produtos assistivos, de acordo com cada contexto, relacionando, assim, a causa e efeito dos problemas observados. Os resultados da investigação foram divididos em três partes: a primeira, trata-se da construção de modelos conceituais (como o conceito de dispositivo) para analisar o processo do estigma em tecnologias assistivas; a segunda, foram recomendações para os ambientes da casa do sênior e, também, para as bengalas e muletas; a terceira parte, foi o desenvolvimento e validação do projeto Walk-ID (capas anti-estigma) através da tecnologia de impressão em 3D. O principal contributo desta investigação foi detectar o processo de estigma dos equipamentos de auxílio à marcha no envelhecimento e melhorar a qualidade da mobilidade por meio de um projeto que supere o estigma social, provendo sua personalização e conexão emocional entre o equipamento e o sujeito sênior. Por fim, foram trilhados novos caminhos para contribuir no aprofundamento científico da área do Design Inclusivo, compreendendo uma visão multifacetada do sujeito idoso com seu produto assistivo, através de uma abordagem interdisciplinar, entrelaçando o campo do Design com a sociologia, psicologia e a área da saúde.

In the last decades, the senior population has grown substantially in the world, especially the European continent. This population growth implies a set of new problems for mobility that were once confined to only a small part of the population. Walking aids products, such as canes and crutches, are part of the senior's material universe and bring not only support for locomotion but also activate complex subjectivation processes, evoke aspirations linked to culture, massification, and symbolic values. Moreover, there is a significant lack of investigations in the field of Design that problematize the relationship between the elder and the stigmas associated with walking aids. In this current scenario, the walking aids do not always offer an ideal of comfort and safety, as well as carry a stigmatizing medical-hospital aesthetic. This research aims to understand the experience of seniors with assistive equipment, in three contexts: domestic, urban, and institutional. The adopted method was field research, in an exploratory and progressive process divided into five phases (exploration, evaluation, ideation, creation, and validation). In this way, it was possible to evaluate assistive products more broadly, according to each context, thus relating the cause-effect of the observed problems. The results of the investigation were split into three sessions: the first, were conceptual models (as the concept of apparatus) to analyze the process of stigma in assistive technologies; the second, were recommendations for the senior's home environments, and for sticks and crutches; and the third part, was development and validation of the Walk-ID Project (Anti-Stigma Covers) using 3D printing technology. The main contribution of this investigation was to detect and overcome the stigma of walking aids for the elderly population and improve the quality of mobility, providing personalization and emotional connection between the equipment and the senior subject. Finally, new paths were taken to contribute to the scientific deepening of the Inclusive Design area, comprising a multifaceted vision of the senior and his assistive product, through an interdisciplinary approach, intertwining the field of Design with sociology, psychology, and the health area.

En las últimas décadas, ha habido un crecimiento significativo de la población adultos mayores en el mundo, especialmente en el continente europeo. Este aumento de población crea un conjunto de nuevos problemas de movilidad que antes se limitaban a una pequeña parte de la población. Los productos de ayuda para la marcha, como bastones y muletas, forman parte del universo material del adulto mayor y aportan no solo apoyo a la locomoción, sino que también activan complejos procesos de subjetivación, evocan aspiraciones vinculadas a la cultura, la masificación y los valores simbólicos. Además, hay una carencia significativa de investigaciones en el campo del Diseño que problematicen la relación entre el adulto mayor y los estigmas asociados al equipamiento de ayuda. En este escenario contemporáneo, estos productos no siempre ofrecen un ideal de comodidad y seguridad, para más de portar una estética médico-hospitalaria estigmatizante. Esta investigación tuvo como objetivo comprender la experiencia de las personas mayores con ayudas técnicas, en tres contextos: doméstico, urbano e institucional en Portugal. El método adoptado fue la investigación de campo, en un proceso exploratorio y progresivo, dividido en cinco grandes fases (exploración, evaluación, ideación, creación y validación). De esta forma, fue posible evaluar los productos auxiliares de manera amplia, según cada contexto, relacionando así la causa y el efecto de los problemas observados. Los resultados de la investigación se dividieron en tres partes: la primera, fueron modelos conceptuales (como concepto de aparato) para analizar el proceso de estigma en las tecnologías de asistencia; el segundo, fueron recomendaciones para los ambientes de la casa de las personas mayores y, también, para bastones y muletas; y la tercera parte fue el desarrollo y validación del proyecto Walk-ID (fundas anti-estigma) utilizando tecnología de impresión 3D. El principal aporte de esta investigación fue detectar el proceso de estigma de las ayudas técnicas y mejorar la calidad de la movilidad a través de un proyecto que supere el estigma social, proporcionando su personalización y conexión emocional entre el equipamiento y el adulto mayor. Finalmente, se tomaron nuevos caminos para contribuir a la profundización científica del área del Diseño Inclusivo, comprendiendo una visión multifacética del sujeto anciano con su producto de ayuda, a través de un enfoque interdisciplinario, entrelazando el campo del Diseño con la sociología, psicología y el área de salud.

The combination of psychophysiological and psychometric methods provides reliable measurements of affective user experience (UX). Understanding the nature of affective UX in interactive entertainment, especially with a focus on sonic stimuli, is an ongoing research challenge. In the empirical study reported here, participants played a fast-paced, immersive first-person shooter (FPS) game modification, in which sound (on/off) and music (on/off) were manipulated, while psychophysiological recordings of electrodermal activity (EDA) and facial muscle activity (EMG) were recorded in addition to a Game Experience Questionnaire (GEQ). Results indicate no main or interaction effects of sound or music on EMG and EDA. However, a significant main effect of sound on all GEQ dimensions (immersion, tension, competence, flow, negative affect, positive affect, and challenge) was found. In addition, an interaction effect of sound and music on GEQ dimension tension and flow indicates an important relationship of sound and music for gameplay experience. Additionally, we report the results of a correlation between GEQ dimensions and EMG/EDA activity. We conclude subjective measures could advance our understanding of sonic UX in digital games, while affective tonic (i.e., long-term psychophysiological) measures of sonic UX in digital games did not yield statistically significant results. One approach for future affective psychophysiological measures of sonic UX could be experiments investigating phasic (i.e., event-related) psychophysiological measures of sonic gameplay elements in digital games. This could improve our general understanding of sonic UX beyond affective gaming evaluation.

Mankind's knowledge about 'faculty of reason' deserves much more serious probe. My humble attempt was in this direction for 2 decades. It is the faculty that helps us to decide the truth and falsehood of our conclusions, beliefs and myths, hence central to knowledge acquiring process !
World Philosophy Forum based in Athens was kind to select an abstract of the theme for publication at their official web site ( mentioned above)
Full theme is available in my book titled ' Is reason a sense organ ?' ( can be Goggle searched )

The evolving world of consumer society has pointed a trend for an increasing demand of products that satisfy not only functionality and price expectation, but also aspects related to emotional satisfaction. As a result, product design process had been adopting competitive strategies that take into account user needs from sensitive and emotional perspectives. Accordingly, Kansei had become a relevant approach to understand the complex mechanisms of emotions and behaviors in user-product interactions.
This paper reviews the experience of a conceptual design project developed using User Centered Design (UCD) methods. The stages of the design process are presented, emphasizing the description of user need-finding methods based on Ethnographic research. Kansei engineering and UCD methodology structures are compared, and some general aspects of user emotion assessment are analyzed. The present study hypothesizes that Kansei and UCD research methods could be integrated to enable a holistic vision of user-product interaction. An integrated methodological structure of both approaches could boost innovation in the development of products by focusing in emotional aspects of users.

"In Rapid Visualization, Murali Paranandi of Miami University in Ohio,
points out how students frequently are unable to capitalize on the advantages offered by the digital tools and use them mostly for presentation purposes, rather than for exploring design solutions. He looks into ways of addressing these shortcomings and presents paradigms of some of his better students and some projects done in his studios."

Los sujetos que se encuentran en situación de reclusión en la cárcel, viven el encierro de forma común, la cual se caracteriza por que deteriora su salud física-mental, y porque genera un clima emocional negativo. El clima emocional negativo, se caracteriza por el dominio del miedo en las relaciones sociales dentro de la cárcel; genera contención emocional, suicidios y violencia, la cual a su vez provoca agresiones entre los sujetos recluidos, autoagresiones, riñas, violaciones, tortura, homicidios, suicidios forzados e imposición de roles (sexuales y tráfico de drogas). A su vez, la estancia dentro de la cárcel provoca deterioro en la salud física-mental, a través de las relaciones sociales de los sujetos recluidos, de la vivencia del encierro y de la dinámica institucional. El clima emocional negativo y el deterioro en la salud física-mental dificulta (junto con otros factores, como el hacinamiento), la reinserción social, y esta a su vez, puede provocar reincidencia delictiva. Por otro lado, existe un tipo de vivencia no común del encierro, es decir, una que permite a los sujetos recluidos evitar el clima emocional negativo, y vivir en un micro clima emocional positivo; este tipo de vivencia que propicia un micro clima emocional positivo es posible mediante las actividades que imparten por un lado, proyectos externos a la Institución carcelaria, dentro de la cárcel y por otro, actividades que la Institución carcelaria otorga. Una problemática surge cuando no se cuenta con campañas de comunicación dentro de la Institución carcelaria, para persuadir a los sujetos recluidos de integrarse a las actividades que le permitirán vivir el encierro de forma no común y así, evitar una serie de factores relacionados a la violencia, que influirán para que no alcancen la reinserción social y muy probablemente, cuando cumplan con su condena y salgan de la cárcel, reincidan y regresen al encierro carcelario. Por lo tanto, es necesaria una campaña de comunicación gráfica que logre que los sujetos recluidos se integren a las actividades que la Institución carcelaria otorga o autoriza. Para ello, se requiere un enfoque que permita concebir la campaña de comunicación gráfica, como  persuasiva y por otro lado, que considere las emociones de los internos, ya que el clima emocional negativo es la causa de muchos factores que generan la falta de reinserción social y la reincidencia delictiva. Desde esta perspectiva, se trabajará con la retórica, aplicada al diseño de la campaña de comunicación gráfica para la cárcel.

Research on the relationship between emotion and (natural) language generally considers them from two complementary perspectives: 1) the emotional (or expressive) use of language (either in the narrow – linguistic - sense of a system of verbal signs or in a more holistic – semiotic sense – of verbal and non-verbal signs) to manifest, to stage (in the sense of sociologist E. Goffman, 1974) an emotional state, a passion, an affect. 2) the semantic universe of signs of a language (either in the linguistic sense of la langue or in the semiotic sense of le langage) that conceptualize and clarify the cultural vision, the meaning shared by a community of speakers about emotions, passions and affects. Thus, in linguistics, we meet the distinction between expressive and descriptive words (Kövecses 1995): expressive words are, for example: “shit!” (expressing anger) or “wow!” (expressing a surprise); descriptive words are, on the other hand, lexemes of the "anger" genre which manifest, express a certain (cultural) vision of the emotional experience of anger (Greimas 1983). In this article we will look at some of the themes dealt with in this dual perspective. After providing a quick overview of linguistic research on emotion (chapter 1), we propose to quickly explore these two perspectives by focusing more on: 1) the specific semantic space that characterizes our everyday understanding, the linguistically, historically and culturally situated common sense conceptions of the emotional experience (chapter 2 and 3); 2) the expression or staging of an emotional experience in the form of signifying textual environments called emotional display or emotionscape using signs and sign systems of the natural language and any other (non-verbal) languages (chapter 4).

This paper considers how craft and research can join in the enterprise of craft research, reflected in the new journal of Craft Research. The rationale is that craft research -i.e. research into, for and through craft practice -is still relatively new, and that craft is traditionally associated with the creation of artefacts as a source of experience and emotion while research is devoted to the production of knowledge.

Mine undersøgelser på Genoptræningscenteret i Lyngby
viste et komplekst og problematisk samspil mellem rollator og den eksekutivt svækkede ældre. Jeg har søgt at identificere og analysere kritiske situationer i den observerede brug. En sådan dybere forståelse af rollatorens materialitet håber jeg kan fremme
en bredere tilgang til træning samt til indkøb, tilpasning og ultimativt design af rollatorer.

Most business thinks about technology innovation, they see new technologies, new capabilities and new functions as important to the future of the company. However, the ultimate need of a business is how a product will captivate consumers; because, the influence of emotion in relation to products is evidence in product; purchase, use and why people desire something. In the present world of saturated market, corporations need to seek ways of engaging consumers in order to maintain or increase their sales rates. Thus, building elements of desire in new products is seen as an approach towards achieving this. Emotional desire in its various forms is a strong driving factor for a consumer needs; therefore, consumers need to be captivated to desire, wanting new things even before the old had been invalidated. Hence, this paper seeks the knowledge regarding how desire emotion can be built in new product. The paper illuminates on emotional desire; identifies the three ways it can be brought about; elaborates on the determining factors and the resulting appraisal that will elicits the desire emotion. Based on this understanding, a study was performed where a newly developed mug design and an old design were tested to know emotive responses of people towards them. The result from the study shows some interesting findings by demonstrating the theories in practice and also showing insight to product tested. Thus, this paper will be useful to product developers as it will guide them on how emotional desire can be integrated into new product.

The transmission of memory seems to be an obsession of our time. This issue has been addressed by different disciplines and approaches. Design, as a discipline that contributes to the enhancement of culture, can help to expand the horizon of memory studies, but so far this issue is still undefined and blurred. Mnemosphere project, through an interdisciplinary approach, investigates the ways in which the memory of places is designed and communicated through experiential spaces capable of stimulating emotions. The research proposes a dialogue between communication design and exhibition design, in the atmospheric and aesthetic dimension, with emphasis on the translation of content into a system for the understanding of the mnestic space set up. This is done with special attention to the topics of emotions, chromatic perception, and the design of temporary spaces and services. The research first considers the articulation of a common lexicon regarding the memory of places, atmospheres o...

"Over the years, the area of human-computer interaction has been focused on cognitive factors. However, in the last decade there have been a growing interest and focus on emotional factors. Thus, it has been valued above all the user experience in which emotions play a crucial role because of their recognized importance in terms of both performance and influence in areas such as motivation, learning, decision making, intelligence, and behavior. The main aim of this work was to understand the potential of the application of emotional design in interfaces by analyzing the emotional responses triggered in the interaction with a web interface, Duolingo, a website for learning languages.
Keywords: emotional design, interfaces, emotional responses, web"