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Source publication
This paper introduces a constructive and collaborative digital, multi-touch instrument for tactile evaluation of user experiences with interactive systems. We are developing a tool that allows individuals or groups to digitally construct affective objects that represent their own personal mappings of emotions to shape characteristics. Our approach...
Contexts in source publication
Context 1
... instance, in the game Minecraft one common interaction among players is to go on a mining expedition. At the start of such an experience the cube would likely represent excitement for all players with lots of rounded extrusions (see Figure 4A). However, over time the players experiences could diverge. ...
Context 2
... as one player maintaining excitement after finding an area with rich resources, another feeling bored after finding nothing, and a third angry after dying and losing supplies. This could lead to a shape that is squashed to show boredom, spiky to show anger, and rounded to show excitement in order to encapsulate the full experience (see Figure 4B). Later on, the bored player may become excited after finding a material rich area and remove the squashing transformation, but the third player may remain angry from the permanent loss of resources (see Figure 4C). ...
Context 3
... could lead to a shape that is squashed to show boredom, spiky to show anger, and rounded to show excitement in order to encapsulate the full experience (see Figure 4B). Later on, the bored player may become excited after finding a material rich area and remove the squashing transformation, but the third player may remain angry from the permanent loss of resources (see Figure 4C). ...
Citations
The image is a basis of any piece of art. This research work envisages the nature of artistic images manifestation, the mechanism of sensory perception and creation of the image‐bearing solution in the designer project activities. The hierarchy of sensory images is represented and the stages of project image formation are distinguished. The historical examples of symbolization of archetypical foretypes and systematization of images arising in the consciousness of the designer in the course of projecting are analyzed. The relationship between the elements of project image structure is introduced, and the process of creation of the new forms such as environment project images, costume style solutions and conceptual ideas of visual data presentation is illustrated. The image concentrates the designer consciousness and forms the inner world of the personality. The language of the images appears in the copies, associations, prints, stamps, and symbols providing the visual information without a word. It is very symbolic, polysemic and contradictory. It is supported by the archetypical symbols and often connected with the ethnic culture and traditions developed in the different art genres.
We build upon recent research designing a constructive, multi-touch emotional assessment tool and present preliminary qualitative results from a Wizard of Oz study simulating the tool with clay. Our results showed the importance of emotionally contextualized spatial orientations, manipulations, and interactions of real world objects in the constructive process, and led to the identification of two new affective dimensions for the tool.
