Virtual Impression Networks for Capturing Deep Impressions

Taura, Toshiharu; Yamamoto, Etsuhide; Fasiha, Mohd Yusof Nor; Nagai, Yukari

doi:10.1007/978-94-007-0510-4_30

Cited by 12 publications

(6 citation statements)

References 9 publications

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“…Using a similar method, we conducted another simulation 5 of the process of forming impressions from various stimuli. We obtained results indicating that forming impressions from stimuli that a participant liked involved far more intricately intertwined and expanded associations than from those formed from stimuli that the same participant did not like (Taura, Yamamoto, Fasiha, & Nagai, 2011) (Figure 4).…”

Section: Intuition or Gut Feelingmentioning

confidence: 93%

Creativity in Innovation Design: the roles of intuition, synthesis, and hypothesis

Taura

Nagai

2017

International Journal of Design Creativity and Innovation

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In a highly technologically-advanced mature society, a shift in focus occurs from quantitative to qualitative innovation. This paper discusses this shift from the perspective of design. We address these future topics by showing our views or opinions, as well as by referring to some theories and arguments that have appeared up to the present in this regard. Concretely, we postulate that the design process comprises the stages of intuition or gut feeling, followed by analysis or synthesis, finally leading to the design outcome. Assuming that one of the factors that determines design creativity is whether the purpose or goal of a design is inside or outside of the design process, we also examine the aspects of these conditions. We then suggest the idea of an Innovation Design process model composed of two cycles: analytical design creation and synthetic design creation. In the former, a design solution is explored to fulfill a purpose or goal pre-assigned to a product from outside, leading to quantitative innovation. In the latter, hypothesization starting with an intuition or gut feeling leads to the design of a breakthrough product, leading to qualitative innovation. Finally, we present an outline of the design school (workshop) conducted based on these thoughts.

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Section: Intuition or Gut Feelingmentioning

confidence: 93%

Creativity in Innovation Design: the roles of intuition, synthesis, and hypothesis

Taura

Nagai

2017

International Journal of Design Creativity and Innovation

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“…In addition to regarding verbalisations as a fundamental means of analysing the design process (Chakrabarti et al, 2004) they are also deemed as a means of information for drawing conclusions on perceptions in the case of eye-tracking investigations (Ruckpaul et al, 2014b). Verbalisations are also used to analyse users' feelings (Taura et al, 2010;Junaidy and Nagai, 2013). Additionally, explicit scale ratings are commonly used for examining users' product preferences (Taura et al, 2010;Rieuf et al, 2015).…”

Section: Capturing the Dynamics Of Shifting Viewpoints Verbal Featurmentioning

confidence: 99%

“…Verbalisations are also used to analyse users' feelings (Taura et al, 2010;Junaidy and Nagai, 2013). Additionally, explicit scale ratings are commonly used for examining users' product preferences (Taura et al, 2010;Rieuf et al, 2015).…”

Section: Capturing the Dynamics Of Shifting Viewpoints Verbal Featurmentioning

confidence: 99%

Dynamics of shifting viewpoints: an investigation into users' attitudes towards products

Georgiev

Yamada

Taura

2017

JDR

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This study focuses on how products are viewed by their users. In order to capture users' viewpoints, we focused on how the virtual 3D model of a product was examined (rotated/translated/moved by the user). We attempt to understand these viewing mechanisms by focusing on the dynamics of shifting viewpoints and verbal features during the generation of product impressions. The notion of dynamics of shifting viewpoints in this study refers to changes between 'still viewpoints' and 'moving viewpoints'. If, in a given period when product impressions are generated, a viewpoint does not change, it is defined as a still viewpoint, whereas a moving viewpoint refers to shifts in the ways in which the products are viewed during a given period. The notion of verbal features involves the quantitative characteristics of verbalisations. The findings from an experimental observation show that the dynamics of shifting viewpoints, verbal features, and user's preferences are related.

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“…It is known as implicit cognition, which is understood to be that which is not explicitly recognized or verbalized (Reingold & Colleen, 2003). Explicit expression, which is presumably a shallow analysis, is referred to as surface-level cognition, and underlying cognition that is difficult to express is referred to as in-depth cognitive level (e.g., feeling, taste, impression) (Nagai et al, 2011;, Taura, et al, 2010) (see, Figure 1). Taura et al (2010) explain that implicit impressions could exist in the feelings and are implied underneath explicit impressions that are related to deep impressions.…”

Section: In-depth Cognitive Levelmentioning

confidence: 99%

“…Explicit expression, which is presumably a shallow analysis, is referred to as surface-level cognition, and underlying cognition that is difficult to express is referred to as in-depth cognitive level (e.g., feeling, taste, impression) (Nagai et al, 2011;, Taura, et al, 2010) (see, Figure 1). Taura et al (2010) explain that implicit impressions could exist in the feelings and are implied underneath explicit impressions that are related to deep impressions. Humans establish extremely rich metaphorical concepts (within in-depth impression) as key features of cognition in creative design; thus, a designer is able to capture a profound understanding of an object (Nagai et al, 2011).…”

Section: In-depth Cognitive Levelmentioning

confidence: 99%

Craftsmen Versus Designers: The Difference of In-Depth Cognitive Levels at the Early Stage of Idea Generation

Junaidy

Nagai

Ihsan

2013

Lecture Notes in Mechanical Engineering

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This paper investigates the in-depth cognitive levels at the early stage of idea generation for craftsmen and designers. Examining this early stage may explain the fundamental thoughts in observing and defining design problems. We conducted an experiment using thinkaloud protocol, where verbalized thoughts were analyzed using a concept network method based on Associative Concept Network Analysis (ACNA). Furthermore, we identified semantic relationships based on Factor Analysis. The findings showed that craftsmen tended to activate low-weighted associative concepts at in-depth cognitive level with a smaller number of polysemous features, thus explaining their concerns about tangible-related issues, such as proportion and shape. Designers, however, activated highly weighted associative concepts with more polysemous features, and they were typically concerned with intangible issues, such as surroundings context (i.e., eating culture) and users' affective preferences (i.e., companion, appeal).

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Virtual Impression Networks for Capturing Deep Impressions

Cited by 12 publications

References 9 publications

Creativity in Innovation Design: the roles of intuition, synthesis, and hypothesis

Creativity in Innovation Design: the roles of intuition, synthesis, and hypothesis

Dynamics of shifting viewpoints: an investigation into users' attitudes towards products

Craftsmen Versus Designers: The Difference of In-Depth Cognitive Levels at the Early Stage of Idea Generation

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