The Tactual Experience of Objects

Sonneveld, M. H.; Schifferstein, Hendrik N.J.

doi:10.1016/b978-008045089-6.50005-8

Cited by 67 publications

(55 citation statements)

References 43 publications

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“…Touch has always been a difficult sense to communicate (Sonneveld and Schifferstein, 2008), as it is reliant largely on subjective analogy. Increasingly in this digital age it is vital that there exists a tool with which consumers and designers can express their needs or ideas surrounding the tactile meanings of materials.…”

Section: Design Methodsmentioning

confidence: 99%

“…There has been much recent interest in supporting designers to make informed choices (van Kesteren, 2008;Sonneveld and Schifferstein, 2008;Karana, 2009;Karana et al, 2009;Lee et al, 2010), our framework will significantly add value to their creative output, aiding them in 'understanding other peoples understanding' (Krippendorff and Butler, 2008) of tactile properties or 'hand feel' (the sensory tactile qualities of fabric against the skin) of textile materials. This is particularly important when using collaborative design processes where communication of such perceptions is difficult.…”

Section: Mechanised Objective Testingmentioning

confidence: 99%

“…The intricacy of this experience derives from touching being an inherently interactive experience (Sonneveld and Schifferstein, 2008); touch and being touched are equally important for its unfolding. Much of this experience remains unarticulated or even unconscious, which reflects on the difficulty people have to talk about how textile materials feel, likewise about how they feel when engaging with textiles.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

Atkinson¹,

Baurley

Petreca

et al. 2016

JDR

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Tactile experiences of textile materials are difficult to communicate and elicit. To interrogate this space we propose the tactile triangle, a framework to facilitate systematic analysis and comparison of tactile experiences. The three levels reflect different aspects of tactile experience and possible methods to capture them: physical properties, in which human senses or objective testing measure fabric properties; the perceptual space level in which triadic comparisons reveal combinations of various dimensions which capture and describe tactile experiences; and finally the communication level, in which design games elicit languages communicating tactile perceptions. A case study illustrates the framework's use to compare the tactile experiences of textiles in experts and consumers. The results show expert and consumer perceptions overlapped and correlated well to objective measures except in the perception of temperature. We conclude by discussing the framework's effectiveness, the contribution of individual methods, and its potential as a communication tool for designers.Keywords: textile; fabric; sensory; touch; perception; aesthetics. Biographical notes: Douglas Atkinson is a Research Fellow at The Digital Anthropology Lab, London College of Fashion. His work explores how the digital can be used to infer and represent sensory and emotional aspects of human experience, which are crucial to our identities, relationships to fashion items and the experience of fashion makers. In parallel, he investigates the changes in contemporary design practice due to increasing detachment from material experience. He has previously conducted RCUK, ESRC and EPSRC

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Section: Design Methodsmentioning

confidence: 99%

Section: Mechanised Objective Testingmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

Atkinson¹,

Baurley

Petreca

et al. 2016

JDR

View full text Add to dashboard Cite

show abstract

“…Part of the process of socio-sexual maturity is acquiring skills of sexual perception. Sexual perception is skilled, because it must be learned, and it is mediated by our learning of related conceptual vocabularies [39]. For example, a discriminating palette for tasting wine requires not just tasting many different wines but also developing a conceptual vocabulary to name the distinctions that one learns to perceive (e.g., notes of oak, chalkiness, cherry; the mouthfeel, the finish).…”

Section: Theory Background: Sex and The Subjectmentioning

confidence: 99%

The User Reconfigured: On Subjectivities of Information

Bardzell

2015

AAHCC

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Foundational to HCI is the notion of "the user." Whether a cognitive processor, social actor, consumer, or even a nonuser, the user in HCI has always been as much a technical construct as actual people using systems. We explore an emerging formulation of the user-the subjectivity of information-by laying out what it means and why researchers are being drawn to it. We then use it to guide a case study of a relatively marginal use of computing-digitally mediated sexuality-to holistically explore design in relation to embodiment, tactual experience, sociability, power, ideology, selfhood, and activism. We argue that subjectivities of information clarifies the relationships between design choices and embodied experiences, ways that designers design users and not just products, and ways to cultivate and transform, rather than merely support, human agency.

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“…Having experienced the Eggy prototype in our hands and being pointed toward sensory experiences, the importance of touch came into view. Touch, in contrast to the other senses, is an inherently interactive, reciprocal experience and "forms the basis for the feeling of being in contact" and for "the development of feelings of afection and intimacy" [14]. Touch is an important aspect of transitional objects, which facilitate childhood development of social connectedness.…”

Section: The Design Casementioning

confidence: 99%

Fuzzy Bird Helps Me Calm Down and Connect: Touch with Restraint in an Interactive Object for Children with Autism

Boess¹,

Smoorenburg²,

Kim³

et al. 2017

Proceedings of the Conference on Design and Semantics of Form and Movement - Sense and Sensitivity, DeSForM 2017

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This paper explores the nascent concept of touch with restraint in the design of an interactive object. The design was developed to support children on the autism spectrum in social interaction and to facilitate a feeling of social connectedness. Throughout a constructive design case, the desired nature and interaction style of this interactive object emerged. An object that is characterized by touch with restraint facilitates adoption as a transitional object and mirrors passively and minimally the actions of a user. The design concept and prototype Fuzzy Bird showed the efectiveness of the concept in a user test.This strong concept contributes to the debate of how we come to live with interactive technologies, by drawing atention to the possibility of self-imposing limits on how much interactive technologies do and being respectful toward the human interactions they help facilitate.

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The Tactual Experience of Objects

Cited by 67 publications

References 43 publications

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

The tactile triangle: a design research framework demonstrated through tactile comparisons of textile materials

The User Reconfigured: On Subjectivities of Information

Fuzzy Bird Helps Me Calm Down and Connect: Touch with Restraint in an Interactive Object for Children with Autism

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