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Northumbria Peer Review June 2011
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Northumbria Peer Review June 2011

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Beginning presentation from my PhD in design (I'm seven months in so there are still a lot of TBCs!)

Beginning presentation from my PhD in design (I'm seven months in so there are still a lot of TBCs!)

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  • 1. The Aesthetics of Touch Vicky TeinakiFull time doctoral student, year 1 Northumbria University School of Design Peer Review 2nd June 2011
  • 2. Previously….
  • 3. Finalist—Student Product !"#$%&$(% !"#$%&(#%$)*#$+($,$%#&$-$#+."&/$0 ",%$&1#23#$)245#0$64&&(%$2,6#22#0 (&#$%),2#$#7.7$5#0$8$97$:5#%%+(.$,(; %&(#$)",(.#$ <22$&"#5$64&&(%$,5#$1+5#2#%%2;$,2&#5 =#7.7$+-$;#221>?$+%$%#2#)&#0$($&"#$* *,@5A7$$!4)"+(.$,(;$-$&"#$&"5##$% *,B#$+&$%4(0$&"#$,%%+.(#0$ 9 9"%+(.$,(;$-$&"#$ )(*+,$%&$ 9K>G6 )245#0$64&&(%$ =5#D5#%#(&+(.$&"#$ (%"+( G do ti EF$(&#$%),2#A$1"+2#$ "20+(.$01($&"#$ la %#2#)&$64&&($777 sol GK>?6 fa 777*, mi re do %&( do ? 4D$+( )24 H J C&,5&$6;$D5#%%+(.$&"#$%+23#5$ HK>I6 %#2#)&$64&&($($,(;$-$&"#$ <K>J6 %&(#%7 I < 9 IK><6 do ti la sol 777*,B#%$&"#$ fa %&(#$2+."&$ mi re do 4D$+($&",&$ do )245777 012*+,$ ("3+4( 9",(.#$ do ti B#; la do sol fa ti la mi re mi sol fa M+."$)&,3# ="+."$9A mi re do do N+0$)&,3# do (mid C) ti la sol N,@5$5$ fa mi fa *+(5 re !$*,B#$,$%4(0O$ do D5#%%$,(;$-$&"#$&"5##$ 2+&$4D$,5#,%$($#,)"$ -$&"#$%&(#%7$!"#;$ -.$ D2,;$&"#$%,*#$(&#$,&$ L1$)&,3# 0+--#5#(&$)&,3#% do =21$9A "/%*"+( 561.*+, re mi twinkle %3+( do fa do do sol sol la la sol Twin-kle twin-kle lit-tle star :2,;+(.$ ,$ &4(#$ 2 m fa fa mi mi re re do )(%+%&%$-$0#04)+(.$ How I won-der what you are &"#$ *#20+)$ %",D#O$ so l 3 sol sol fa fa mi mi re %#&&+(.$ ,$ B#;$ ,(0$ Up a-bove the world so high la %4(0+(.$&"#$(&#%7 sol sol fa fa mi mi re !4(#%$ ),($ 6#$ ti Like a dia-mond in the sky 2#,5(#0$ #+&"#5$ -5*$ 4 do do do sol sol la la sol 15+&&#($ *,&#5+,2$ 5$ 5 Twin-kle twin-kle lit-tle star 6;$ 5#).(+%+(.$ &"#$ 1 7 6 fa fa mi mi re re do *#20+)$ %",D#$ 6;$ How I won-der what you are L#,5(+(.$&$D2,;$!1+(B2#$!1+(B2#$L+&&2#$C&,5 #,57 !"#$4%#$-$%D#)+! $)$)245%$-5$0+--#5#(&$(&#%$*#,($ &",&$&"#;$),($6#$5#-#5#()#0$&$&#,)"$%),2#%7$<$)245#0$ C# D# F# G# A# C# D# F# G# A# Db Eb Gb Ab Bb Db Eb Gb Ab Bb P;2D"(#$ 1+&"$ &"#$ #Q4+3,2#(&$ )245%$ 1420$ 6#$ ,($ ,DD5D5+,&#$,))#%%5;7 C D E F G A B C D E F G A BSinging Stones 2005Singing StonesBachelor of Product Design Final Year Thesis Project Aiming to find an intuitive way for people to create music, Singing Stones combine Hungarian composer Zoltaire Kodaly’s moveable-do scale and colour- Final Year Bachelor of Product DesignBronze Award BEST Awards sound synaesthesia in an electronic product for one or many players. e product was presented both as a non-functioning hard model and an Unitec New Zealand interactive Flash demo (see interactive section).
  •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ouldmakers Report The HothouseThe Hothouse 2006-8Graphic Design Graphic Design/Flash AnimationDesign Researcher An ongoing project over three months, the process began with making diagrams suitable for presentations and culminated in a library of symbols and FlashThe Hothouse/Unitec New Zealand presentation.
  • 5. Tactile Technologies 2008Master of DesignUnitec New Zealand
  • 6. Interaction Designer 2008-10Design, IA, front-end developmentLocus Research
  • 7. Writing/editingin the interactiondesign community
  • 8. Common threads
  • 9. Common threads
  • 10. An Aesthetics of Touch
  • 11. An Aesthetics of TouchThe Qualities of Haptics for Experience DesignThis research will help support designers to critique the qualitiesof touch in the service of designing for experience, by compiling avocabulary for haptic aesthetic qualities.OutputsA framework for designers to use to critique touch.
  • 12. PhD Timeline — Vicky Teinaki 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 Stagegates IPA Year 2 Writeup Viva Literature Review Parallel Fields Existing Languages Use of Touch in Design Pilot Studies Revea/expert interviewsDesign Probes/Languages Identify /pilot methodologies Writeup of methodology Collate proposed vocabulary Data collectionWorkshops with designers Situate in design process Valorising proposed frameworks Writeup here there be dragons
  • 13. Why?
  • 14. ”We know more than we can tell“—Polanyi (1947)
  • 15. ”We know more than we can tell“—Polanyi (1947) ”Criticism improves our perception“ —Barzell (2011)
  • 16. User Experience Making an explicit haptic language available for design communication (rather than tacit + inpenetrable/indefensible) …DESIGN & Product InteractionEMOTION Semantics Aesthetics of Design Play/fun interaction Storytelling Product Immaterial Personality Interface Aesthetics Bertelsen et al (2004) (gesture, Meaning movement) Materiality Somaesthetics HAPTIC Hara et al (2007) Critter Materials Library Regier (2005) (2010) Soft(n) Emotional DimensionsHAPTICS Schiphorst (2007) Museumopathy Chaterjee (2010) HAPTIC (Dagman, 2010) Hara et al (2007) Embodiment Phenomenology McCarty & Wallace Consumer Phenomena (2006) Skill, tacit Psychology Experience knowledge Language for Touch Motamedi (2008) prototyping etc. Aroma Wheel Language for Touch Sensory Noble (1981) Motamedi (2008) languages Flabour Wheels (e.g. coffee, food) Affective Loop Sundstrom (2010) Vocabulary Design MethodsCOMMUNICATION Kansei Diamond model (Qiren) Onion model Engineering Iceberg model (Qiren) … understanding that this will Sensual Evaluation Instrument (2010) Framework (?) not be prescriptive Vicky Teinaki The Vocabulary of Touch | Yr1 PhD University of Northumbria 04 February 2011
  • 17. Wine Graphic Design Experience DesignLanguage of taste/ Language of vision Language of touch?smellAlso Music (language of sound), perfume (language of smell)
  • 18. The “fixed vocabulary issue”
  • 19. Kansei Engineering = quantifying the sensesProduct language is often prescriptive/top downOthers focus on material selection (e.g. Karana et al)
  • 20. NostalgiaPersonal/Reminiscence Meaning Making Tactile to access truths ascertainable only through touch and to verify what is seen (Clasen) Visual as a means of aesthetic appreciations (Clasen)Impersonal/Educational Museological to experience the rare and the museum-worthy (Clasen) Learning as a scientific method (Clasen) Imaginative/Creative to facilitate an intimate and imaginative experience (Clasen) Chatterjee et.al. (2009) on aspects of museumopathy
  • 21. The Language of Taste/SmellWine TastingLehrer’s Wine andConversation (1989)suggests that metaphors canjump genres, and that expertwords help amateurs.
  • 22. Next Steps
  • 23. Video interviews of experts/designers — semantic analysisAlso pilot with selected students from Reveal
  • 24. There are methods of coding/understanding touchadapted from Lederman and Klatsky (1985)
  • 25. Probes of touch critiqueSuggestions include sentences, visuals, objects.