Our proposed Valence- 

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... models of emotion are primarily concerned with mapping an affective response to a single valence emotion. This approach to affect has mainly resulted in circumplex models, such as Rus sell’s valence -arousal model [ 13] (see Figure 5), that treat negative and positive valence as opposite ends of the same spectrum. While such models are sufficient for many affective measurement tools, the complex, multi- layered, and time sensitive nature of an interactive experience (or story) requires a more expressive model. Specifically, we need a model that accounts for the simultaneous experience of opposite-valence emotions (i.e. mixed emotions [8]) and cultural/contextual differences. For instance, a user could enjoy manipulating interface controls of some system but greatly dislike the sound effects associated with their use. Traditional models and tools would likely map the overall experience to only a positive or negative emotion rather than grasp the concurrent, highly positive and negative affect occurring throughout the experience. To address this issue, we altered Russell’s circumplex valence -arousal model by splitting the valence dimension into separate positive and negative dimensions. We then placed arousal, negative valence, and positive valence at right angles to form the Valence-Arousal Cube (see Figure 2). The Valence-Arousal Cube offers three distinct advantages for construction of the CSEI. First, primary emotions from Russell’s model can still be reached along the cube’s edges. Second, mixed emotions fall towards the center of the cube and can be reached through combinations of positive and negative valence. These combinations represent affect that is ambiguous, eliciting a context and culture based interpretation from the user. Third, separating valence into its atomic dimensions allows us to associate distinct affective manipulations of shape with each dimension, resulting in an Affective Shape Cube (see Figure 3 and Table 1). The Affective Shape Cube quantifies ways in which shapes can be manipulated to evoke affective response. By transforming a shape along affective dimensions of the cube, a variety of primary and mixed emotion objects can be created. It is important to note that the Affective Shape Cube only maps shape to affective response. The actual interpretation of emotion evoked by shape is left to the individual, context, and culture. However, shapes that fall along points closer to the faces of the cube are far more likely to have a universal interpretation than ambiguous shapes that lay closer to the center of the cube. E.g. the anteater and spiky SEI objects correlate to anger and surprise trans-culturally because the majority of shape transformations are along arousal and negative valence dimensions, placing them near the arousal/negative valence face. On the other hand, the barba papa SEI object has conflicting dimensional transformations (asymmetry vs. smooth extrusion) which places it towards the center of the cube and leaves interpretation more to context and culture (see Figure 6). This may explain why the barba papa was confusing and unused by Swedish test subjects since there was no cultural equivalent [5]. The exact details of how the CSEI tool should function or be used during tactile evaluation scenarios is still unclear, and even what scenarios may be best for such a tool needs further exploration. Ultimately, we want to examine what people create with the CSEI tool to first refine the instrument, and then focus on exploring the proper usage scenarios. As such, we are currently conducting a study employing a Wizard of Oz mockup of the CSEI system using clay. Our goal in this study is to verify and refine the Affective Shape Cube, and determine manipulations/gestures necessary for individual and group utilization of the CSEI. We then plan to prototype the initial CSEI and conduct user evaluations of the CSEI in tests with individuals, groups, and finally children. We should have results from the current study, and the preliminary prototype, to present at this ...

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... from the ambiguous affective objects of SEI, its mapping of individual taxonomy to shape, and its focus on generating dialogue. Additionally, we draw inspiration from participatory design — bringing children into the design process through construction of physical objects representative of a co-created language of evaluation [ 2, 10]. We have also been influenced by art therapy — the process of expression and creation of products through art media that are perceived predominantly through the tactile-haptic, visual sensory, and perceptual channels, which are then processed for their affect, associations, and meaning through cognitive and verbal channels [9]. Ultimately this has led to our design of the Constructive Sensual Evaluation Instrument (CSEI). The CSEI is a multi-touch application that allows multiple users to co- construct abstract shapes representative of emotional states. The CSEI works by providing "digital" clay and distributing the cognition of clay manipulation between users and device. When users first interact with the clay they see a neutral sphere. To perform a manipulation, users draw a circle around the portion, or whole shape, that they wish to manipulate (see Figure 1A). Users can then employ gestures for quick and simple manipulations such as pinching fingers to squash the selection, spreading fingers to stretch the selection, and dragging four fingers to roll the selection (see Figure 1B). Additionally, upon selection an edit menu pops up for complex and precise manipulations such as pushing the selection out from the shape or pulling it inwards, smoothing or sharpening, twisting, increasing size of the selection, and symmetrically mirroring the manipulations over different axes (see Figure 1C). The CSEI utilizes an underlying construct for the dynamic relation among emotions called the Valence- Arousal Cube (see Figure 2). We constructed the VA Cube to address a common issue with many models of emotion where positive and negative valence are treated as opposite ends of the same dimensional spectrum. By instead separating the valence dimension into distinct positive and negative dimensions, a more expressive model encapsulating mixed emotions and contextual/cultural differences is constructed. This type of model also more accurately represents current research in neuroscience where highly interconnected regions in the brain dealing with negative or positive affect run concurrently and handle complex cognitive- emotional interactions ...