Somatosensation as a proximal sense can have a strong impact on our attitude toward physical objects and other human beings. However, relatively little is known about how hedonic valence of touch is processed at the cortical level. Here we investigated the electrophysiological correlates of affective tactile sensation during caressing of the right forearm with pleasant and unpleasant textile fabrics. We show dissociation between more physically driven differential brain responses to the different fabrics in early somatosensory cortex – the well-known mu-suppression (10–20 Hz) – and a beta-band response (25–30 Hz) in presumably higher-order somatosensory areas in the right hemisphere that correlated well with the subjective valence of tactile caressing. Importantly, when using single trial classification techniques, beta-power significantly distinguished between pleasant and unpleasant stimulation on a single trial basis with high accuracy. Our results therefore suggest a dissociation of the sensory and affective aspects of touch in the somatosensory system and may provide features that may be used for single trial decoding of affective mental states from simple electroencephalographic measurements.

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We explore the idea of making aesthetic decorative patterns that contain multiple visual codes. We chart an iterative collaboration with ceramic designers and a restaurant to refine a recognition technology to work reliably on ceramics, produce a pattern book of designs, and prototype sets of tableware and a mobile app to enhance a dining experience. We document how the designers learned to work with and creatively exploit the technology, enriching their patterns with embellishments and backgrounds and developing strategies for embedding codes into complex designs. We discuss the potential and challenges of interacting with such patterns. We argue for a transition from designing 'codes to patterns' that reflects the skills of designers alongside the development of new technologies.

Open design is a catchall term for various on-and offline design and making activities. It can be used to describe a type of design process that allows for (is open to) the participation of anybody (novice or professional) in the collaborative development of something. As well as this, it can mean the distribution and unrestricted use of design blueprints and documentation for the use by others. In this paper, the authors highlight various aspects of open and collaborative design and argue for the use of new terms that address what is open and when. A rangeThe Design Journal 539Open Design: Contributions, Solutions, Processes and Projects of design projects and online platforms that have open attributes are then explored, whereby these terms are applied. In terms of design, the focus is specifically on the design of physical things rather than graphical, software or system design.