Abstract
A set of prominent designers embarked on a research journey to explore aesthetics in movement-based design. Here we unpack one of the design sensitivities unique to our practice: a strong first person perspective—where the movements, somatics and aesthetic sensibilities of the designer, design researcher and user are at the forefront. We present an annotated portfolio of design exemplars and a brief introduction to some of the design methods and theory we use, together substantiating and explaining the first-person perspective. At the same time, we show how this felt dimension, despite its subjective nature, is what provides rigor and structure to our design research. Our aim is to assist researchers in soma-based design and designers wanting to consider the multiple facets when designing for the aesthetics of movement. The applications span a large field of designs, including slow introspective, contemplative interactions, arts, dance, health applications, games, work applications and many others.
Highlights
We are currently experiencing a rise in movement-based design, both commercially and in academic explorations
Let us start by providing a brief background on the first-person perspective; providing theoretical underpinnings, as well a review of how it has already been used in Human-Computer Interaction (HCI) and interaction design research and practice
Through the lens of the first-person perspective, we have uncovered some of the issues in addressing aesthetics in soma-based designs
Summary
We are currently experiencing a rise in movement-based design, both commercially and in academic explorations. Technologies transform our experience through amplifying or reducing reality, and by translating our behavior through inviting and inhibiting actions [3] We see it already in technologies such as the smartphone, which has altered everything from how we meet, socialize, or play, to even changing our bodily movements (e.g., [4]). We inscribe our understanding of our bodily selves into them and they in turn shape us, what we do and how we do them, both in terms of practices, and in a literal, corporeal sense These technologies will (depending on how we design them) encourage certain movements, certain aesthetic experiences, certain practices and understandings of our bodies—while not encouraging others. They will influence our availability for certain qualities of interaction and not others. In [31], Merleau-Ponty goes deeper into how our bodies are in this way interconnected through body language and gaze
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