Affective design of products using an audio-based protocol: Application to eyeglass frame

An interactive motion planning framework that can learn from experience

“…Besides, a key challenge for the designers is to analyze end-users' responses in the design process and to promote product innovation, but users' preferences cannot be precisely formulated [15]. Hence, the optimization of the preference of users is today extremely difficult for an automatic method, and the integration with the direct participation of designers is an essential stage [16,17].…”

Investigation on a Non-verbal Emotion Assessment Tool in Cross-cultural Context

“…This study adopted a bank of 24 music samples [13], described by 4 quantitative perceptual dimensions ("funny, lively -serious, calm", "provocative, odd -serene, mellow", "depressed, calm -technological, excitant", and "dynamic, fashion -peaceful, relaxed"), which values are given by a matrix P (size 24*4, 24 pieces of music sample, 4 perceptual variables) (see [13] for the definition of the perceptual dimensions using multidimensional scaling).…”

“…An experimental design with 22 design samples was defined [13], which we consider of reasonable size to limit the fatigue of the subjects. A D-optimal design of experiments for the 4 factors A, B, C, D was defined with a DOE software.…”

“…Norman (2004) noted that the visual and behavioral states exist in a subconscious space while the verbal state exists in a conscious space, which means that sensorial processes (right brain) input in an intuitive way rather than verbal processes (left brain) input in an analytical way [11]. Therefore, using language-independent scales, like animation (e.g., Product Emotion Measurement [6]), picture (e.g., Self-Assessment Manikin [12]), or sound (e.g., Auditory Parameter Method [13]), for emotion measurement brings a higher reliability.…”

“…Two versions of the auditory stimuli had been investigated successively: a selection from the International Affective Digitized Sounds [9], which is a collection of 137 ecological sounds; and a bank of music samples defined by Lu and Petiot [13].…”