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Exploring Affective Dimensions of Form

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Edward Melcer
added 3 research items
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 builds upon prior work with nonverbal assessments of affect, and stems from an interest in flexibly evaluating dynamic gestalt during individual and group interactions by using a wider variety of potential shapes. In this paper we provide background for our approach, and present a new valence-arousal model for identifying and constructing affective shapes and the Constructive Sensual Evaluation Instrument (CSEI).
In this paper, we present a study examining how individuals embody emotion within form. Our findings provide a general taxonomy of affective dimensions of shape consistent with and extending previous literature. We also show that ordinary people can reasonably construct embodied shapes using affective dimensions, and illustrate that emotion is conveyed through both visual dimensions and tactile manipulations of shape. Participants used three distinct strategies for embodiment of emotion through shape: the look of a shape (visual representation), creation of a shape symbolizing the experience of an intended emotion (metaphor), and by evoking the intended emotion in the creator through affective movements and manipulations during construction (motion). This work ties together and extends understanding around emotion and form in HCI subdomains such as tangible embodied interaction, emotional assessment, and user experience evaluation.
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.