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Analysis of Cognition Difference of Visual and Imagined Haptic Inputs on Product Texture
Abstract
The rise of aesthetic economics is remarkable over the past few years and it is also displays the culture and creative industry which would be outstanding in the world. The useful feature of the product is not the only reason to buy the product of the consumer. The interface of product aesthetics gives people a sense of beauty and impression; it also promotes people to consume and collect. However many products while similar in visual appearance, differ in their haptic characteristics affect people’s willingness to buy. Based on the above reasons, the trend of product design is consumer-oriented. This study analyzes the cognition difference of visual and imagined haptic inputs based on product texture. We choose tea cups with different textures be the stimulus samples in this experiment to investigate the participants’ psychological feelings. The purpose of this study is to discover the correspondence between product textures with consumers’ feel and generate specific guidelines for design in the future. There are four findings suggested by this paper. The first one is that a product with an attractive visual appearance is not necessarily pleasing to the touch. The second one is people view the products through visual and describe the product bias in emotional thinking. The third one is antonym adjectives of the popular products are less which conform of people with normal mental state. The fourth one is most of visual and haptic adjectives have commonality. Hopefully, industries and multi-cultural style of products will continue to support the future development and growth of aesthetic economics.
... For the mental model of cognitive engineering (Kreifeldt, Lin, & Chuang, 2011;Yen, C. Lin, & R. Lin, 2013), Norman (1988) proposed a conceptual model that includes three parts: design model, user's model, and system image. When a designer designs a product for a user, the designer expects that the user will understand and use it in the desired way, meaning that the user's model is identical to the design model. ...
... On the other hand, poetry codes are open and invite the active negotiation of the audience. Extreme types of poetry codes THE COGNITION OF TURNING POETRY INTO PAINTING 483 can be called aesthetic, and can sometimes be decoded only via clues within the verbal elements (Tiedens & Linton, 2001;Silvia, 2005;Worringer, 2007). ...
This study sought to examine how Botswana recognized
and celebrated her linguistic
and cultural diversity in
society and in the education system. At various national celebrations, such as President’s Day, National Cultural
Day, and National Language Day, Botswana celebrated he
r linguistic and cultural di
versity by inviting ethnic
groups from almost all regions of the society to perform
cultural dances, poetry, and music while the same
dispensation was denied primary school learners from ethni
c minority groups. The use of Setswana as the medium
of instruction leaves out the learners’ cultures, language
s, and identities. Teachers and school management were the
key participants in the study while
learners’ artefacts were examined. Da
ta were collected through open-ended
questionnaires and interviews and an
alysis of documents/programmes from
the Ministry of Sports, Youth and
Culture responsible for natio
nal celebrations. The findings indicated that
learners were denied linguistic and
cultural diversity of their languages and cultures in the cl
assrooms while there was evid
ence of celebrating culture
and linguistic diversity in society. Th
is called for a change in perspective
and attitude to extend linguistic and
cultural diversity to the classrooms so that learners c
ould become capable of shouldering responsibility of their
lives and participate in the development of their country.
Keywords:
multilingualism, multicultura
lism, ethnic minority gro
ups, national celebrations
(2) US-China Education Review 2015(8B). Available from: https://www.researchgate.net/publication/324983872_US-China_Education_Review_20158B [accessed May 08 2018].
... The other three functions, which may be less familiar, are as follows: The phatic function is to keep the channels of communication open, the metalingual function is to identify the code that is being used, and the poetic function is the relationship of the message to itself, as shown in Figure 1. THE COGNITION OF TURNING POETRY INTO PAINTING 474 For the mental model of cognitive engineering (Kreifeldt, Lin, & Chuang, 2011;Yen, C. Lin, & R. Lin, 2013), Norman (1988) proposed a conceptual model that includes three parts: design model, user's model, and system image. When a designer designs a product for a user, the designer expects that the user will understand and use it in the desired way, meaning that the user's model is identical to the design model. ...
... The main confusions between the paintings and their poetic titles derived from the different natures of visual and verbal codes. Visual codes have a defined, limited paradigm of signifiers with precisely related content and context (Barthes, 1967;Fiske, 1990 can be called aesthetic, and can sometimes be decoded only via clues within the verbal elements (Tiedens & Linton, 2001;Silvia, 2005;Worringer, 2007). ...
This study used the fuzzy approach to investigate the cognition of emotional responses and visual scenes when turning poetry into painting. In Experiment I, subjects were asked to match a painting with a poetic title based on their emotional responses. Experiment II used a fuzzy rating by which subjects were asked to subjectively evaluate the degree of overall fitness, as well as the degree of fitness between each poem and the emotional responses to and scenes of the paintings. The results show that the fuzzy approach can be applied for the effective evaluation of paintings and can provide artists with an idea of how to concentrate their efforts at the creation stage and improve communication with viewers.
The purpose of this study is to investigate how visual and tactile inputs may influence consumer evaluative process when they shop for a pair of denim jeans. In order to gain a deeper understanding, denim jeans samples were employed and a qualitative method was adopted to examine both sensory and cognitive responses towards the product-specific cues such as colour and fabric. The sample consisted of 42 Canadian females aged from 18 to 27 years old. According to the results of this study, dark coloured jeans are often associated with higher prices. Additionally, many participants used fabric hand to evaluate thermo-physiological/sensorial comfort and durability, as well as fabric stretch to assess shape retention, physical mobility and psychological comfort (self-/body-image). These findings suggest that consumers do not merely use specific product cues to judge its inherent functional/concrete qualities (e.g., weight, thermal properties), but also link various cues to higher or abstract values (e.g., social, psychological and sensorial benefits/pleasure). Clearly, affective and cognitive processing occurred and coexisted throughout the evaluative process.
In this paper, we introduce a general framework for product experience that applies to all affective responses that can be experienced in human-product interaction. Three distinct components or levels of product experiences are discussed: aesthetic experience, experience of meaning, and emotional experience. All three components are distinguished in having their own lawful underlying process. The aesthetic level involves a product’s capacity to delight one or more of our sensory modalities. The meaning level involves our ability to assign personality or other expressive characteristics and to assess the personal or symbolic significance of products. The emotional level involves those experiences that are typically considered in emotion psychology and in everyday language about emotions, such as love and anger, which are elicited by the appraised relational meaning of products. The framework indicates patterns for the processes that underlie the different types of affective product experiences, which are used to explain the personal and layered nature of product experience
The human senses play an important role in people's understanding and experience of products. The overall aim of this explorative study was to further investigate users' haptic product experiences in respect of how they are verbalised and how they relate to visual product experiences. The pilot studies revealed an important result, showing the participants' difficulty in verbalising product experiences. A mediating tool was therefore introduced to trigger the information. The main results of the study are that haptic product experiences appeared to contribute to all experience dimensions, but especially those concerning the dimensions "interface qualities" and "objective/ measurable". The results indicate that the information received from one sense created expectations for experiences through other senses and the information perceived through the second sense was used to confirm or modify anticipated experiences. The less prior knowledge participants had of the particular product, the more important the additional information delivered through the second sense appeared to be. Finally, haptic product experiences appeared to be related to a few haptic product properties, but more systematic studies need to be carried out to confirm these results and to identify the effect of the product properties on the intensity of different haptic product experiences.
revision accepted for publication October 2, 1987. How do different dimensions (e.g., color and form) interact when the visual
system locates boundaries in surfaces? Seven experiments are reported in which subjects located a target “singleton” element
that was unique in a given dimension. Minimal interference occurred when another dimension, known to be irrelevant, was varied
randomly, even if the specific identity of the target feature was unknown (Experiments 1–4). These results argue against the
hypothesis of a single difference-detection process that operates on multidimensional representations. However, performance
was also little affected by whether the subjects knew in advance which dimension contained the singleton (Experiment 5), so
an attentional set to suppress the irrelevant dimension was not implicated. On the other hand, singletons in the (prespecified)
irrelevant dimension did produce major interference when the target was unspecified (Experiments 6 and 7), which indicates
that texture boundaries of similar types cannot be accessed completely independently for separable dimensions. Together, the
results suggest that boundaries may be registered by detectors that respond to specific types and locations of boundaries
specified by variation within a particular dimension; selection by boundary type is effective, but selection or suppression
by dimension is relatively ineffective. Parallels with some recent neurophysiological findings are noted.
In the present study a few aspects of planning for terrorism events that expose large numbers of people to contamination are discussed. Many issues were considered as an absolute requirement for implementation of NBC response: 1) policy, 2) plan and 3) emergency department response to surge capacity. Key elements of the healthcare facility response plan include prompt recognition of the incident, staff and facility protection, patient decontamination and triage, medical therapy and coordination with external emergency response and public health agencies. Controversial aspects include the optimal choice of personnel protective equipment, establishment of patient decontamination procedures, the role of chemical and biological agent detectors and potential environment packs and water treatment systems. Bioterrorism is an event in a civil setting that is equivalent to an epidemic in a medical setting. This incident usually results in a direct challenge to the medical community. The medical profession must assume a central role and participate actively in the discussion and planning of strategies in order to influence formulation of policies that will be activated in response to bioterrorism events.
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