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Os recursos sonoros presentes na literatura infantil digital modificam a experiência leitora por introduzir novas possibilidades interpretativas e interativas. Este trabalho trata das respostas leitoras de seis crianças à trilha sonora de appbooks de literatura infantil, analisadas a partir de uma experiência prática em uma escola pública da Catalunha. A atividade de mediação envolveu a realização de oficinas literárias, com o objetivo de identificar aspectos da relação transacional entre obra e leitor. Essas análises apontaram indícios do papel mediador dos recursos sonoros na construção de uma interação de caráter tanto estético, ou seja, sensível, pessoal e afetivo, como eferente, de caráter mais reflexivo, com a literatura digital.

The history of plastics in product design is divided into four sections, based on key changes in manufacturer perception of the aesthetic strengths of the material. These are discussed through a review of the literature. Noting that the perceived imperfect aesthetic associated with 3D-printing technology has not stalled the advance of additive manufacturing, the chapter combines Hekkert’s human-product aesthetic interaction and Norman’s reflective-level human processing theory, to expand aesthetics in relation to material understanding. It concludes that the instrumental aesthetic interaction qualities of plastics, combined with the increased reflective-level human processing afforded by 3D printing, places more value on free manipulation of the material than on the quality of resulting surface texture.

Increasingly, the unboxing experience is regarded as a critical moment in product appraisal. As such, designers and companies should pay more attention to product packaging due to this increased in...

Designing an aesthetic interaction is an important issue for Interaction Design (ID) and Human-Computer Interaction (HCI). While a number of frameworks exist, the experimental study of potential underlying principles remains rare. In this paper, we suggest that particular interaction attributes (e.g., “fast”) are systematically related to particular experiential qualities (e.g., “feeling competent”) and that interaction “feels better” if interaction matches the intended experience. A laboratory study (N = 32) explores this notion by testing two different ways of interacting within the same activity (opening a wine bottle) in two different experiential scenarios (focusing on relatedness, focusing on competence). Two corkscrews with different interaction profiles were used: one assumed to support a feeling of competence and the other to support relatedness. As expected, we found systematic shifts in preferences for specific corkscrews, differences in affective experience and in the relationships between interaction attributes and experiential qualities depending on the fit of interaction to the experience.

The authors discuss a series of experimental studies targeting ubiquitous musical activities. The studies explore the application of time tagging as an aesthetically oriented interaction design metaphor. A new support mechanism is proposed: the stripe. The stripe works as an entry point to the sound data providing a functional unit that features both interaction and audio manipulation. A new prototype based on the stripe metaphor was implemented. Twenty four subjects participated in the assessment of three creative sonic products produced with and without support for time tagging. Results indicate that – provided equivalent conditions – creative products obtained through asynchronous activities demand a larger temporal investment but do not necessarily yield more creative outcomes. The authors discuss the implications of these results for aesthetically aware interaction design.

"Tea with Crows" is a motion interactive sculpture composed of a shape-shifting tea table and a kinetic chandelier. It combines visually intriguing aesthetics and multimodal technology such as motion and sound interaction to stimulate audience participation. The sculpture also evokes a wide array of subjective responses, fosters social interaction, and creates meaning-making experiences. The empowering effect of the sculpture opens the possibility to adopt, reinterpret, and de familiarize digital technology to extend imagination, self-expression and subjective purpose. \

This dissertation investigates aesthetics of engagement in -interaction. Aesthetic refers to the aesthetic experience, based on a phenomenological and pragmatist understanding: dynamic and personal, appealing mutually to - and formed inseparably by - our bodily, emotional, as well as intellectual faculties. Engagement signifies this experience as forming a deeply involved relationship between people and an artefact in interaction. The theoretical background upon which this work is based, asserts that we perceive the world in terms of how we can act in it. Action, through the body, is how we make sense of the world around us. To be congruent with these foundations and the topic at hand means that the research program was investigated through a constructive design research process. The research program anchors and outlines the goal of this investigation: to contribute shareable knowledge of how to design for aesthetic engagement in interaction by leveraging a first-person -perspective. The findings of this research form two contributions to the overlapping fields of Human-Computer Interaction and (Interaction) Design Research. The main contribution is methodological and is concerned with generating knowledge through design. The methodological structure of this dissertation builds on a programmatic approach that centres on the first-person perspective of the designer, who learns from experience by reflecting on design action. Such an approach is fundamental to the design tradition, but its dependency on subjectivity is also a source of epistemological conflict since design, as mode of inquiry, matures and comes in contact with more established disciplines that have their own academic traditions. For design research, to develop its own intellectual culture, alternative and bidirectional relationships between theory and practice need to be further shaped, articulated, and debated in the field. This dissertation contributes to this discussion around designerly ways of knowing by exposing how skillful coping and intuition, through mechanisms of reflection-on-action, generate a multitude of perspectives on a complex design space. These perspectives reveal parts of the complexity of designing for aesthetic engagement, while leaving it intact. Exposing and consolidating the first-person (design) knowledge embedded in these perspectives allows this knowledge to be articulated as a shareable academic knowledge contribution. This shareable knowledge forms the second contribution of this dissertation. Reflections on the process and results of eight constructive design research projects describe a design space around aesthetic engagement. Individual reflections are consolidated into themes that describe how a design may elicit aesthetic engagement in interaction. These themes are experiential qualities: conceptual values that can be leveraged for a design to appeal to both mind and body in ways that are rich, open-ended and ambiguous. The findings propose strategies for interactions with digital technologies to open up the complexity of relations in the world between artefacts and people. Designing for aesthetics of engagement proposes ways to respect people’ skills in making sense of the complexity of the lived world. In respecting the uniqueness of their body and the subjectivity of their experiences, to design for aesthetic engagement is to support the expression of personal points of view in interaction. This points to ways in which designers can open up interactions with digital technologies to be more beautiful, respectful, and liveable, as it touches what makes us human: our personal being in the world.

The aesthetics of human-computer interaction and interaction design are conceptualized in terms of a pragmatic account of human experience. We elaborate this account through a framework for aesthetic experience built around three themes: (1) a holistic approach wherein the person with feelings, emotions, and thoughts is the focus of design; (2) a constructivist stance in which self is seen as continuously engaged and constituted in making sense of experience; and (3) a dialogical ontology in which self, others, and technology are constructed as multiple centers of value. We use this framework to critically reflect on research into the aesthetics of interaction and to suggest sensibilities for designing aesthetic interaction. Finally, a digital jewelery case study is described to demonstrate a design approach that is open to the perspectives presented in the framework and to consider how the framework and sensibilities are reflected in engagement with participants and approach to design.

According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection to the familiar versions of the affective response argument and the line of support for ethical-aesthetic interaction he proposes to install in their place. I conclude that neither is compelling; however, an important insight can be salvaged from his positive proposal, and I argue that the insight does, in fact, point toward a novel defense of the thesis.

This paper proposes an aesthetic perspective to decompose interaction for its aesthetic components. Our approach is to collect both dancers' subjective descriptions and objective analysis on the same interactivity built under the guidance of an aesthetic experience of everyday lives. In order to get the descriptions, dancers' professional skills were utilized to create interactivity. Existed theories of aesthetic attributes and movement analysis method were utilized to analyze. Based on these works, we generated four aesthetic components that can impact the aesthetic experience. The research contribution is to get further understanding of the essence of aesthetic interaction and to offer interaction designers a reference to build aesthetic experience.

Graceful interaction is one of the several forms of aesthetic interaction that have been proposed to enrich the quality of user experience. In this paper we discuss the refinement of the concept of graceful interaction by mapping physical dance movement into graceful interaction. We argued that graceful interaction has deep roots in organic bodily rhythms and the social conditions which help structure them. To gain a further understanding of graceful interaction we compared physical dance movement with the conception of graceful interaction. We conducted a literature analysis on pertinent aesthetic concepts used in interface design, followed by an interview with an art performance expert to gain an understanding of pertinent graceful concepts in art performance. An interpretive analysis was then conducted to produce mappings of graceful interaction concepts from art performance to graceful interaction features based on an interaction quality framework.

Tangible user interfaces enable users to interact with digital information by directly interacting with physical objects. Aesthetic interaction is about triggering imagination, it is thought provoking and encourages people to think differently about the encountered interactive systems, what they do and how they might be used differently to serve differentiated goals. The aesthetic experience is one of the main elements in interaction design. We propose to combine ubiquitous computing with aesthetic interaction. In this paper, we present a new aesthetic interaction concept, a technology that enables aesthetic interaction on capacitive multi-touch devices. Our proposed a kit consists of iPhone device Tangible device and conductive ink sketching. We supply user draw lines or any sketches on it via conductive ink, which makes the simply interaction connection between the iPhone's capacitive touch screen. Sketching conductive ink on a paper creates an aesthetic interaction by the capacitive surfaces.

This article focuses on the relationship between the aesthetics and the socioeconomics of the contemporary theater of Rio de Janeiro, Brazil, in the context of the beginning of a post-doctoral research in which new theatrical poetics are studied along with their new modes of production. The possibilities of aesthetic interaction between the forces of sponsorship and television within the Rio contemporary scene are analyzed here for the first time. From this and other contexts would emerge a “new Rio theatrical spirit”, responsible for ideologically enabling the existence of experimental theater through the praxis of the artist-entrepreneur. The hypothesis formulated covers, in the aesthetic field, a paradoxical Rio trend, in which conservative representations of “natural” and “average human figures” would inhabit highly innovative scenic devices, both as a creative expedient and as a possible outcome of the game of social demarcation forces in the theatrical field of the city.

A social robot interacts and communicates with humans by using the embodied knowledge gained from interactions with its social environment. In recent years, emotion has emerged as a popular concept for designing social robots. Several studies on social robots reported an increase in robot sociability through emotional imitative interactions between the robot and humans. In this paper conventional emotional interactions are extended by exploiting the aesthetic theories that the sociability of a social robot can be markedly enhanced through aesthetic imitative interactions such as “playful acts”. We applied these aesthetic interactions to child-robot interaction. Children imitate the emotional behaviours of a robot through aesthetic interactions; they play with the robot by mimicking its emotional facial expressions. From the tests, we see that aesthetic judgment is more influential than emotions in playful interactions between children and the robot; the aesthetic imitative interactions would reinforce the positive social relationships of children and enhance their social adaptability. To the best of our knowledge, this is the first social robot study to investigate child-robot interaction on the basis of aesthetics.

This master thesis investigates studies on fashion oriented people according to the "Outfit-Centric Accessories" concept. The outfit-centric accessories concept originated from recent research study by Juhlin and Zhang (2011) about mobile phone representation in fashion and Aesthetic of Interaction area of Human-Computer Interaction (HCI). The term outfit-centric accessories originated from clothing and wearer. In this concept an outfit is playing a role as the centerpiece and a mobile phone is functioning as a sort of an accessory that can be added to an outfit. The main aim here is to explore design solution for matching the visual appearance of mobile device with different outfit of a person. The first phase of this thesis is based on a research conducted through a literature review on the Aesthetic Interaction and the Experience-Centered design approach. Literature study has been followed by studies the relation between the fashion and technology and the outfit-centric accessories concept precisely. The findings that are presented here are based on field studies on fashion oriented people who are interested in mobile phone design. Filed studies were conducted through gathering input entries from social networking services such as Facebook and Blogger, survey of questionnaire on outfit matching mechanism, and inquiring people around. The findings are described the outfit "Match Mechanism" and the "social activities around the outfit matching" in relation to the concept. These descriptions have led the project to the system design and development phase regarding the outfit-centric accessories concept. This phase resulted in the Android based mobile application named "Mobile Fashion". This application enables a user to match a mobile device with variety of clothing in the form of a background image, cover, or printable sticker (skin phone) and it allows a user to participate in social services by sharing the look with others. It is worth mentioning that "Mobile Fashion" application presented in Vinnova-nytt (June 2011, No.3, p15) and International Joint Conference on Ambient Intelligent (AmI'11 November, 16, 2011, Amsterdam) (see appendix 14 and 15).

An amount of research has risen growing concern of designing aesthetics of interaction in addition to function, usability, and pleasure of it. Beyond aesthetic interaction, we propose poetic interaction as a promising design genre. Based on Bachelard's phenomenological approach, we suggest that poetic interaction design begin with imagination and expression-making of both material and computational things. The challenges include how to design successful reverberation and admiration of poetic images while one interacts and reflects. Examining spatial metaphors, we classify poetic interaction into poetic space and interactive artifacts. With gestalt psychology, we present practical guides for designing poetic interaction. Two examples illustrate the relationship between poetic images and expression-making. Finally, we implement a design work, whisper, to explore the framework, as well as validate our findings via a qualitative experiment. Participants were positively impressed that interaction could deliver experience of poetic images with artifacts and space of implicit expression.

We suggest the concept of expressive forms as a rising design theme to explore aesthetics of computational objects. The theme, exemplified in our design exploration, attempts to synthesize a concept-driven design process and exploratory engagement with new forms and materials available to computational objects. We report the detailed process of designing the soft-spiky mouse including prototyping and a pilot user study, leading to a discussion about the experiential qualities and design implications of expressive forms for research on aesthetic interaction.

This essay aims at exploring Will Self’s novel Dorian: An Imitation (2002) as a postmodernist revision of Oscar Wilde’s celebrated The Picture of Dorian Gray (1891). Exceptional for ones, immoral and shameful for others, Dorian: An Imitation fosters an intertextual relation with the late-Victorian hypotext whereby both texts are transformed out of a refractory process. Like its predecessor, Self’s novel is primarily interested in aesthetic issues. In this light, my main concern consists in analysing the artistic discourses that Dorian: An Imitation reflects and deflects in the era of simulation. Likewise, I examine how the novel delves into the problematic relationship between “reality” and “fiction”, original and simulacra. At the turn of the millennium, when virtual reality/ies are generated by computers, literature has a challenge which, in my view, Self’s novel deals with. Thus, from the theories of simulation proposed by Jean Baudrillard and, to a lesser extent, Gilles Deleuze, my essay confronts Dorian as a valuable text: it adapts the discourse of new technologies to literary language; it goes into the postmodernist ontological crisis; and, finally, it opens up the debate of aesthetic interaction between the canon and new literatures.

The expressive value of fashionable wearables can be greatly heightened through the integration of technology. By incorporating electronics into a garment, we can transform traditional fashion elements such as color, texture, and cut to include movement, touch, light, sound, and interactivity as new aesthetic interaction interfaces. This novel characteristic of being dynamic spurs imaginations that far exceed current explorations.

In this paper we discuss an adaptive museum guide prototype in which playfulness is a key design goal for the interaction experience. The interface for our prototype is a combined tangible user interface and audio display. We discuss how we determined the specific requirements for play through an ethnographic study and analysis based on ecological concepts of Bell and Nardi & O’Day. We found that we could consider play in two main forms in regard to the interface: content and physical play. We also found that play is highly contextual. Designers need to consider the situated nature of play for two reasons: 1) to best serve the overall design purpose; 2) in order to understand the nature and degree of play required. We augmented traditional user experience evaluation methods of questionnaires and interviews with observational analysis based on Djajadiningrat’s descriptions of aesthetic interaction.

Man's spiritual and aesthetic interaction with his environment, particularly with the sea, often transcends his materialistic needs. The sea has been the primordial mother in the cosmogonies of many ancient people and she has continued to serve as a fertile source for poetic imagination. A brief survey of religious beliefs and literary works indicates that many ancient and modern cultures have viewed the sea as both eternal and infinite. The splendidly romantic view of life at sea, as perpetrated by many writers, had very little resemblance to the actual conditions which, in most cases, were precarious, full of uncertainty, discomfort and danger. Faced with the harsh realities of nautical life but motivated by a strong desire to sail its waters resulted in an intense conflict in the psyche of real-life explorers and their fictional counterparts. By examining the details of this conflict, it is here maintained that man's early voyages of discovery, and his present preoccupation with the sea, cannot...