Tools for Awareness – Awareness Lab design research blog

Shaver 2. Stimulation

The previous post described different options for skin sensation during “shaving”. The goal of the shaving process is to increase intimacy with and relaxation in the body through movement and tactile stimuli. The most promising materials were: cotton wool, soft foam, neopreen, fleece and velvet (view previous post). This post describes the outcomes of two tests: which type of motor is provides most suitable stimulus. Second: what is the best combination between motor and material.

The motors

Four different motors were tested with 3.3 and 5 volt power: a. Rotating DC motor, b. Eccentric Rotating Mass without cover c. Linear Resonance Actuator, d. Eccentric Rotating Mass with cover, view figure 1. The three vibration motors showed small differences in noise level and sensations on the skin. The form factor was also taken into account which made motor [b] less suitable for integrating in a device. Motor [d] was the most powerful. Motor [a] also generated air flow which was pleasant. But at 3.3 volt the motor was not strong enough to handle the resistance of the skin, at 5 volt it was spinning too hard which make it feel less safe.

Vibrating materials

All five materials: cotton wool, soft foam, neopreen, fleece and velvet were tested on the three functioning motors: b. Eccentric Rotating Mass without cover c. Linear Resonance Actuator, d. Eccentric Rotating Mass with cover. The experience was influenced for the most part by the attenuation of the material and the strength of the vibration through the fabric. The sensation on the skin was pleasant and relaxing for most materials except the foam. attenuation was strong for the foam, fleece and neopreen. The most interesting stimulation came from the combination of [b] and velvet. This gave the impression of a cleansing, activating sensation which, during the performance, can be swapped by a more soothing material such as fleece.

Vibrating strength and pulse

Experiments were first done on the intensity of the vibration. Higher intensity also meant an increase in sound. This turned out to be too distracting. A balance was found where the vibration was pleasant with both materials and the sound wasn’t too distracting. A constant vibration appeared too intense so a pause was introduced were the vibration stopped and there was recovery time. The ideal pulse is 1500 ms of vibration and a 500 ms pause.

Shaver 1. Head

This is the first of three posts researching different elements of a shaver for Damian:

Shaving head
Stimulation
Device shape

The goal of this experiment was to assess the sensations of nine different materials on the cheeks and throat and the emotions and mind states this evoked. The materials will be used as a “shaving head” in a fake shaving ritual. The shaver will be placed on the dressing table. The aim of this ritual is to increase intimacy with and relaxation in the body through movement and tactile stimuli. The materials were tested by moving the sample over the face and neck.

Nine different samples for use as a shaving head.

The textures range from soft and smooth (neopreen, fleece) to more rough and firm (foam, velvet). The soft and smooth textures create a sense of relaxation and abandonment, the softer, the more relaxing. Smoothness of the material creates the impression of a smoother skin which evokes positive emotions [e, h]. The rougher and firmer materials evoke a sense of cleansing and promote alertness [d, i].

An unexpected addition to the tactile sensations was the sound the textures made when they moved over the skin. The sound has to match the sensations in terms of intensity. A fitting match strengthens the experience[b, e, i]. Louder sounds distract from the subtle tactile sensations [d].

The colour or appearance of the material also plays a role in how the texture is experienced. Light colours promise softness, if this doesn’t match the tactile experience this is confusing [a]. Materials like teddy [g] or foam [c] are associated with bathing and cleaning and are familiar.

Both the alert, cleansing and the relaxing experience can contribute to the goals of intimacy and relaxation. A test can be done in which the surfaces are swapped and used in succession to get the most of both experiences. In the final prototype the intention is to use either rotation or vibration as an extra stimulus. Tests will have to show which type of stimulation will contribute most to the goals.

Damians Dressing Table

Who is Damian?

One of dragking Damians looks. Picture by @norigineel

The past couple of post are part of the project “Damians Dressing Table”, but who is Damian? Damian D. Doggy is the drag persona of designer and researcher Danielle Roberts, the creator of this blog. Damian was born a couple of years ago. He is a dragking and helps Danielle to explore their gender and sexuality. Damian can be any kind of male: sissy, tough, classy or vulnerable. For more information you can check out his Instagram page.

The project

In the Damians Dressing Table project Roberts combines their design research practice with their drag performances. The mail goal of the project is to explore if and how self-transcendent experiences [1] can be evoked during the act of putting on make-up before a performance. The focus is on the two main components of self-transcendence: loss of sense of self and a greater connection with the environment. To this end Roberts is design-researching a dressing table with (interactive) objects using the somaesthetic design method. This project is part of the Soft Spaces project by the Design Museum Den Bosch in collaboration with Drag Up Family. It consists of four parts:

The table & objects: an interactive installation with (interactive) objects which Damian uses to put on make-up
A performance: a live lip-sync performance
An exhibition: visitors can view the installation and watch a video of its use
Audience participation: visitors can try the table and participate in an exploratory experiment on the effects of using the table

Documentation

This blog will track the somaesthetic design research progress of the project. The first posts about this project were of an exploratory nature. Followed by a post on the table cloth design and the table layout. The next groups of posts will focus on one of the interactive elements.

References

[1] D. Roberts, A. de Rooij, “Exploring Embodied Interaction to Support Self-Transcendence in the Art Installation ‘ Magic Tea ,’” xCoAx, Jun. 2023, doi: 10.34626/xcoax.2023.11th.292.

Experiment e. Embodied table lay-out design

Four experiments with table lay-out, embodiment and interaction — Experiments with table lay-out, embodiment and interaction.

The main goal of these experiments was to gain insights into how changes in table lay-out may increase the sense of connection between the actor, the action (putting on schmink) and the objects. Seventeen different lay-outs were tried.

There is a limited amount of objects of which the use is clear. Calm may be created through a clear suggestion of order and a balanced composition on the surface [a].

The lay-out invites interaction and use when the order in which the objects are placed [a], their the survey-ability [c] and the way interaction is suggested is clear and makes sense [c]. A playful lay-out which has a certain logic and natural feel to it helps to sustain attention and curiosity [c]. Contrast and residual space play an important role in providing meaning. A chaotic scene is less inviting [b].

In pictures under [c] a setting is created which has the potential for positive interaction: it suggests two playful steps to help set up the table. By transferring the objects from one part of the table to another, designated part the actor adds a layer of meaning to the activity [d]. These actions promote attention and strengthen the connection between the actor, the objects and the activity which is about to start. This small ritual also provides pleasure and playfulness.

In this setup it is important that the objects are within reach otherwise the opposite effect is created: less connectivity, feeling dis-empowered. Interaction may be explored by moving and using the objects per action. This makes the objects seem more important, even magical [d]. It also helps to increase focus on the action.

Experiment d. Dressing the table

The main goal of these experiments was to get insights into the role of the table surface in strengthening the connection between the actor, the action (drinking tea) and the objects. Eight variations were tried.

Using the tablecloth to enhance the sense of connection.

To create a sense of connection with the table and the objects the texture and colour of the cloth is important [a]. Smooth materials with a lighter colour work best because the contrast with the objects is minimized [b].

The sense of connection increases with the visibility of the connection points [b,c]. This works best in experiments where the actor literally steps into the tablecloth [c,d]. The whole setting becomes an embrace of the objects and the activity. Maintaining focus on the scene is very easy and comes naturally.

The non-stretch cloth however, limits the movements while performing the actions which creates a sense of distance [c]. Parts of the tablecloth should stretch to provide more freedom of movement.

Experiment c. Drinking tea and playful tableware

The main goal of these experiments was to get insights into how changes in the use of tableware might increase the sense of connection between the actor, the action (drinking tea) and the objects. Eighteen different constructions were tried.

Figure 1. Four examples of tableware constructions

The choices for the configurations were initiated by the visual appeal. Most constructions are visually pleasing but this is no guarantee for interesting or satisfying interaction. For the interaction to be successful (an increase the sense of connection) perceived accessibility and autonomy in grabbing and placing the cup are important [a].

Space and stability are important themes in this experiment. Space in and around the objects create a sense of calm and possibilities. This must be balanced with enough stability for performing the activity and not cause worry [b].

Some constructions evoke playfulness. Different types of marbles were introduced. Interacting with them distracts from the main activity but this needn’t disrupt the connection with or attention for the activity [c]. Most connecting is playing with the liquid in the bowl. This evokes interesting layers of association while reinforcing the attention on drinking the tea. This was experienced while using the bigger bowls [d].

Differences in temperature are helpful in focusing on the activity [d]. To much vibration from the marbles is too distracting. For this experiment functional plates were used which didn’t always make sense or didn’t support play in an optimal way. The next step could be to use abstract objects (used in earlier experiments, view Figure 2.) in combination with functional tableware to achieve maximum connection.

Experiment b. Elbows and lower arms while peeling an orange

The main goal of these experiments was to get insights into how changes to the surface of the table might increase the sense of connection between the actor, the action and the objects. Nine different materials were tested during the activity of peeling an orange.

B and D, the most promising materials for creating a sense of connection

Sounds play an important role in these tests. Sharp sounds [a] create too much distraction and stand out too much from the activity. Soft or muffled sounds or the absence of sound seems to draw you in to the experience [b,d].

Materials which decrease contrast [d] work very well in connecting to the activity and experiencing a sense of calm and just being there. Contrast can be reduced in temperature (the surface takes on room temperature) [d], matte (darker) colours [b,d], a reduction of glare [b,c,d], no sharp edges and evenly distributed pressure (on elbows for example) [b,d]. Unexpected or incongruent sensory experiences [c] have an alienating effect which heighten attention but reduce a sense of connection with the activity.

Soft, mat materials create calm and relaxation which seems to help to open towards the experience and feel more connected to it [b,d].

The rubber [d] and fleece materials [b] show the most promise to increase connection. A next step could explore which of these features can be transferred to sleeves of a costume and which can be part of the tabletop.

Experiment a. Fingers and hands while peeling an orange

This experiment explores the effect of interventions on touch of hands and fingers on the sense of connection between the actor, the action and the objects.

This image illustrates the main finding.

Without gloves [a] the direct touch of the fingertips gives a sense of direct connection. However, the clear difference between the skin and the surface of the objects creates a sense of distance.

There appears to be a difference between wearing the gloves and acting with them. A comfortable glove is pleasant to wear and feel on the skin [d]. It promotes relaxation and sometimes even abandonment. It gives a sense of satisfaction and connection just to be there with all the objects.

When it comes to actually performing the action, connection with the objects is promoted by a glove with a good fit which reduces over extreem sensations of temperature and structure. The glove shouldn’t be so present as to hinder the activity [c], obscure all sensations of the objects [d] or draw too much attention to itself. The thin leather glove [b] matches these criteria. An immobilizing or restricting glove [c] could be worn before performing the actual action to facilitate attentive awareness of the situation.

Embodied ideation at the table

Introduction

This post introduces four technology-free experiments to explore embodiment using a table. From the observations described in the previous post an ideation process is started which uses estrangement or defamiliarization as its main mechanism. Estrangement is about making the familiar strange [1] by using the body, context, routines, materials or props in unfamiliar ways [2]. Defamiliarization disrupts the usual way of doing something and destabilizes our way of thinking about and acting in common situation. From destabilization may emerge insights and ideas. This creates a new space for designing for everyday engagement [2].

Experiments

The experiments are conducted by the design researcher and describe their first person perspective. Strategies of changing bodily sensations through artefacts (for example tableware) and altering the material (for example the surface of the table) [2] were used. The main goal of the experiments was to get insights into how different interventions might increase the sense of connection between the actor, the action and the objects. The descriptions focus on the bodily sensations and the emotions which are evoked. In each experiment different variations were tried and described. Every post gives a summery of the most relevant findings and how they may be used in a next prototype or design. The images with each experiment (a,b,c,d) support the main findings.

a. Fingers and hands while peeling an orange

b. Elbows and lower arms while peeling an orange

c. Drinking tea and playful tableware

d. Dressing the table

Follow the links to read more about the individual experiments, over time more links will be activated.

References

[1] Genevieve Bell, Mark Blythe, and Phoebe Sengers. 2005. Making by making strange: Defamiliarization and the design of domestic technologies. ACM Trans. Comput.-Hum. Interact. 12, 2 (June 2005), 149–173. https://doi.org/10.1145/1067860.1067862

[2] Danielle Wilde, Anna Vallgårda, and Oscar Tomico. 2017. Embodied Design Ideation Methods: Analysing the Power of Estrangement. In Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems (CHI ’17). Association for Computing Machinery, New York, NY, USA, 5158–5170. https://doi.org/10.1145/3025453.3025873

Table Manners, Observations at the Table

Introduction

This is the first post for a new project called: Damian’s Dressing Table. The project builds on insights gained from the Magic Tea project [1], [2]. It’s objective, therefore, is still the same: to explore how technology can promote self-transcendent experiences (STEs) during everyday activities using interactive technology. The Magic Tea project started from the everyday activity of drinking tea, this project starts from an object often used in everyday activities: a table. From the embodied experiences at the table one activity will be chosen which can then be enhanced with technology to promote STEs.

Somaesthetic Design

In this project the main methodology used to for research and design is Somaesthetic (or Soma) Design. This is a design (research) approach which emphasizes first person, lived experiences with a focus on attention for bodily sensations and aesthetics [3]. This post describes observations of activities performed by the author. They form the starting point for experiments which are more embodied. The main objectives for the observations were to find out how the body moves and feels during some common activities performed at a table. Which parts of the body are used most often. It also explores skin contact with objects during the activity.

Figure 1. Stills with heat maps for five everyday activities.

Recording actions

To this end a small home studio was set up with a video camera (phone) on a tripod and a table. This was a way to study myself while performing activities which regularly take place at this table. Later the video was analysed and key movements of every activity were captured as a still. The still was overlaid with a heat map which was created manually (view Fig. 1). This map indicates touch and pressure points on the skin.

Conclusions

From the observations it becomes clear that the fingertips are very important for all actions which require precision. Only in a few cases the whole hand is involved. The lower arms often come into contact with the table. Hands and fingers often touch each other between actions. One hand is often used to steady the objects, this is done in various ways.

Find out more about the next steps.

References

[1] D. Roberts. “Wisdom Interface.” Tools for Awareness. http://numuseum.nl/blog/category/wisdom-interface/ (accessed Aug. 26, 2024).

[2] D. Roberts, A. de Rooij, “Exploring Embodied Interaction to Support Self-Transcendence in the Art Installation ‘ Magic Tea ,’” xCoAx, Jun. 2023, doi: 10.34626/xcoax.2023.11th.292.

[3] Kristina Höök, Steve Benford, Paul Tennent, Vasiliki Tsaknaki, Miquel Alfaras, Juan Martinez Avila, Christine Li, Joseph Marshall, Claudia Daudén Roquet, Pedro Sanches, Anna Ståhl, Muhammad Umair, Charles Windlin, and Feng Zhou. “Unpacking Non-Dualistic Design: The Soma Design Case.” ACM Trans. Comput.-Hum. Interact. 28, 6, Article 40, Dec. 2021, doi: 10.1145/3462448