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Jacob-Dazarola, R. ., & Tapia Reyes, M. . (2018). Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones. Kepes, 15(18), 279–312. https://doi.org/10.17151/kepes.2018.15.18.11
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Rubén Jacob-Dazarola
Universidad de Chile
Resumen
El presente artículo expone la investigación preliminar desarrollada mayoritariamente a través de la revisión bibliográfica para establecer un marco teórico capaz de evidenciar las relaciones existentes entre la disciplina del diseño, en particular su enfoque denominado diseño emocional, y la tarea implícita en la labor de los diseñadores de “dar forma” a las cosas con el fenómeno conocido como correspondencias intermodales, actuando estas últimas como un puente entre lo intangible (ideas, conceptos, emociones) y lo material (formas, objetos, artefactos). Las correspondencias intermodales pueden ser definidas como la capacidad humana de interpretar los estímulos de una modalidad sensorial con los sentidos de otra. Durante la revisión llevada a cabo se pudo comprobar la existencia de relaciones significativas entre las emociones y el sonido; luego de la revisión de estas correspondencias resulta posible concluir que la correspondencia entre sonidos y formas es aquella que resulta más prometedora para el desarrollo de nuevos métodos que permitan la morfogénesis de productos con un alto valor emocional y afectivo debido a su implicación directa con las emociones. Para dar inicio a un futuro proceso de investigación experimental en este ámbito, el proceso preliminar concluye con el planteamiento de una hipótesis y preguntas de investigación que definan las principales interrogantes a resolver.
Palabras clave:
Citas
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Busso, C. et al. (2004). Analysis of Emotion Recognition using Facial Expressions, Speech and Multimodal Information. Recuperado de https://sail.usc.edu/publications/files/Busso_2004.pdf.
Christakis, N.A. and Fowler, J.H. (2011). Connected: The Surprising Power of Our Social Networks and How They Shape Our Lives ― How Your Friends’ Friends’ Friends Affect. Boston, USA: Back Bay Books.
Crilly, N., Moultrie, J. and Clarkson, P.J. (2004). Seeing things: Consumer response to the visual domain in product design. Design Studies, 25 (6), 547-577.
Cross, N. (1997). Descriptive models of creative design: Application to an example. Design Studies, 18 (4), 427-440.
Cytowic, R. (1995). Synesthesia: Phenomenology And Neuropsychology A Review of Current Knowledge. Psyche, 2, 2-10.
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Deroy, O. and Spence, C. (2013). Why we are not all synesthetes (not even weakly so). Psychonomic Bulletin & Review, 20 (4), 643-664.
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Dillman Carpentier, F.R. and Potter, R.F. (2007). Effects of Music on Physiological Arousal: Explorations into Tempo and Genre. Media Psychology, 10 (3), 339-363.
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Fassnidge, C. et al. (2017). A deafening flash! Visual interference of auditory signal detection. Consciousness and Cognition, 49, 15-24.
Flores-Gutiérrez, E. y Díaz, J.L. (2009). La respuesta emocional a la música: atribución de términos de la emoción a segmentos musicales. Salud Mental, 32 (1), 21-34.
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Fryer, L., Freeman, J. and Pring, L. (2014). Touching words is not enough: How visual experience influences haptic-auditory associations in the “BoubaKiki” effect. Cognition, 132 (2), 164-173.
Gallace, A., Boschin, E. and Spence, C. (2011). On the taste of “Bouba” and “Kiki”: An exploration of word–food associations in neurologically normal participants. Cognitive Neuroscience, 2 (1), 34-46.
Gregory, S.A. (Ed.). (1966). The Design Method. Boston, USA: Springer US.
Hanson-Vaux, G., Crisinel, A.-S. and Spence, C. (2013). Smelling Shapes: Crossmodal Correspondences Between Odors and Shapes. Chemical Senses, 38 (2), 161-166.
Haverkamp, M. (2015). Can synesthetic perception help to define attractive productive design? En Conference: 5th International Congress of Synaesthesia, Science & Arts. Alcalá la Real, Jaén, Spain.
Hee Lee, C. (2016). Three Studies of Synaesthesia. Recuperado de https://www. changheelee.com/three-studies-of-synaesthesia.html.
Jacob-Dazarola, R. (2015). Percepción y emoción en el diseño de productos. Análisis y propuestas para su integración a las MIPYME (tesis de posgrado). Universidad Politécnica de Valencia, Valencia, España.
Jacob-Dazarola, R. and Martínez Torán, M. (2013). Yeah, I Talk to My Car... So What?: Roles and Levels of Closeness in Person-product Relationship. The International Journal of Designed Objects, 6 (3), 49-60.
Jacob-Dazarola, R., Ortíz Nicolás, J.C. and Cárdenas Bayona, L. (2016). Behavioral Measures of Emotion. En H.L. Meiselman (Ed.), Emotion Measurement (pp. 101-124). Cambridge, United Kingdom: Woodhead Publishing.
Jiménez, S., Pohlmeyer, A.E. y Desmet, P.M.A. (2016). Diseño positivo. Guía de referencia. Bogotá, Colombia: Universidad de Los Andes.
Kandinsky, W. (1979). De lo espiritual en el arte. Ciudad de México, México: Premia Editora de Libros S.A.
Kandinsky, W. (2003). Punto y línea sobre el plano. Contribución al análisis de los elementos pictóricos. Buenos Aires, España: Paidós.
Karjalainen, T.-M. (2005). Semantic Mapping of Design Processes. Recuperado de http://ead.verhaag.net/fullpapers/ead06_id246_2.pdf.
Kawahara, S. and Shinohara, K. (2012). A tripartite trans-modal relationship among sounds, shapes and emotions: A case of abrupt modulation. Recuperado de http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.649.2100&rep=rep1&type=pdf
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Krcadinac, U. et al. (2013). Synesketch: An Open Source Library for SentenceBased Emotion Recognition. IEEE Transactions on Affective Computing, 4 (3), 312-325.
Krcadinac, U. et al. (2016). Textual Affect Communication and Evocation Using Abstract Generative Visuals. IEEE Transactions on Human-Machine Systems, 46 (3), 370-379.
Krippendorff, K. and Butter, R. (1984). Product Semantics: Exploring the Symbolic Qualities of Form. Innovation, 3 (2), 4-9.
Krippendorff, K. and Butter, R. (2008). Semantics: Meanings and Contexts of Artifacts. En H.N.J. Schifferstein and P. Hekkert (Ed.), Product Experience (pp. 353-376). New York, USA: Elsevier.
Lesot, M.-J. et al. (2010). Product Shape and Emotional Design an Application To Perfume Bottles. Recuperado de http://webia.lip6.fr/~lesot/ LesotBouchardDetynieckiOmhoverKEER10.pdf.
Lim, S. et al. (2008). Shape Exploration in Design: Formalising and Supporting a Transformational Process. International Journal of Architectural Computing, 6 (4), 415-434.
Miesler, L. (2011). Imitating Human Forms in Product Design: How Does Anthropomorphism Work, When Does It Work, and What Does It Affect. Recuperado de https://www1.unisg.ch/www/edis.nsf/SysLkpByIdentifier/3917/$FILE/dis3917.pdf.
Milán, E.G., Martínez, O.I. y de Córdoba Serrano, M.J. (2014). El universo KikiBouba: ideaestesia, empatía y neuromarketing. Granada, España: Editorial Artecittà.
Miller, G.A. (1995). WordNet: A Lexical Database for English. Communications of the ACM, 38 (11), 39-41.
Miller, G.A. et al. (1990). Introduction to wordnet: An on-line lexical database. International Journal of Lexicography, 3 (4), 235–244.
Mothersill, P. (2014). The Form of Emotive Design (tesis de posgrado). Massachusetts Institute of Technology, Boston, USA. Mothersill, P. and Bove, V.M. (2015). EmotiveModeler. Interactions, 22 (6), 14- 15.
Mothersill, P. and Bove, V.M. (2015). The EmotiveModeler. En Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems. New York, USA.
Muñoz Abad, C. y Jiménez Fernández, A. (1990). La expresión de la emoción a través de la conducta vocal. Revista de Psicología General y Aplicada, 43 (3), 289-299.
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Bragança, G.F.F. (2008). A Sinestesia e a Construção de Significado Musical (tesis de posgrado). Universidade Federal de Minas Gerais, Belo Horizonte, Brasil.
Bragança, G.F.F., Marques Fonseca, J.G. and Caramelli, P. (2015). Synesthesia and music perception. Dementia & Neuropsychologia, 9 (1), 16-23.
Bremner, A.J. et al. (2013). “Bouba” and “Kiki” in Namibia? A remote culture make similar shape-sound matches, but different shape-taste matches to Westerners. Cognition, 126 (2), 165-172.
Brunel, L., Carvalho, P.F. and Goldstone, R.L. (2015). It does belong together: Cross-modal correspondences influence cross-modal integration during perceptual learning. Frontiers in Psychology, 6, 1-10.
Busso, C. et al. (2004). Analysis of Emotion Recognition using Facial Expressions, Speech and Multimodal Information. Recuperado de https://sail.usc.edu/publications/files/Busso_2004.pdf.
Christakis, N.A. and Fowler, J.H. (2011). Connected: The Surprising Power of Our Social Networks and How They Shape Our Lives ― How Your Friends’ Friends’ Friends Affect. Boston, USA: Back Bay Books.
Crilly, N., Moultrie, J. and Clarkson, P.J. (2004). Seeing things: Consumer response to the visual domain in product design. Design Studies, 25 (6), 547-577.
Cross, N. (1997). Descriptive models of creative design: Application to an example. Design Studies, 18 (4), 427-440.
Cytowic, R. (1995). Synesthesia: Phenomenology And Neuropsychology A Review of Current Knowledge. Psyche, 2, 2-10.
Cytowic, R. and Eagleman, D. (2009). Wednesday is Indigo Blue: Discovering the Brain of Synesthesia. London, United Kingdom: MIT Press.
Deroy, O. and Spence, C. (2013). Why we are not all synesthetes (not even weakly so). Psychonomic Bulletin & Review, 20 (4), 643-664.
Desmet, P.M.A. (2002). Designing Emotions (tesis de posgrado). Technische University Delft, Delft, Holland.
Desmet, P.M.A. (2013). Positive Design. Inaugural lecture. Delft, Holland: Technische University Delft.
Desmet, P.M.A. and Pohlmeyer, A.E. (2013). Positive Design: An Introduction to Design for Subjective Well-Being. International Journal of Design, 7 (3), 5-19.
Dillman Carpentier, F.R. and Potter, R.F. (2007). Effects of Music on Physiological Arousal: Explorations into Tempo and Genre. Media Psychology, 10 (3), 339-363.
Ekman, P. (1999). Basic emotions. En T. Dalgleish and M. Power (Ed.), Handbook of Cogniton and Emotion (pp. 45-60). New York, USA: John Wiley & Sons Ltd.
Epley, N. et al. (2008). When We Need A Human: Motivational Determinants of Anthropomorphism. Social Cognition, 26 (2), 143-155.
Fassnidge, C. et al. (2017). A deafening flash! Visual interference of auditory signal detection. Consciousness and Cognition, 49, 15-24.
Flores-Gutiérrez, E. y Díaz, J.L. (2009). La respuesta emocional a la música: atribución de términos de la emoción a segmentos musicales. Salud Mental, 32 (1), 21-34.
Frayer, M. (2010). Giving the Toaster Eyes: Applied Anthropomorphism and its Influences on User-Object Relations with Everyday Objects (tesis de posgrado). Lund University, Lund, Sweden.
Frijda, N.H. y Mesquita, B. (1998). The Analysis of Emotions. En M. Mascolo and S. Griffin (Ed.), What Develops in Emotional Development? (pp. 273- 295). New York, USA: Plenum Press.
Fryer, L., Freeman, J. and Pring, L. (2014). Touching words is not enough: How visual experience influences haptic-auditory associations in the “BoubaKiki” effect. Cognition, 132 (2), 164-173.
Gallace, A., Boschin, E. and Spence, C. (2011). On the taste of “Bouba” and “Kiki”: An exploration of word–food associations in neurologically normal participants. Cognitive Neuroscience, 2 (1), 34-46.
Gregory, S.A. (Ed.). (1966). The Design Method. Boston, USA: Springer US.
Hanson-Vaux, G., Crisinel, A.-S. and Spence, C. (2013). Smelling Shapes: Crossmodal Correspondences Between Odors and Shapes. Chemical Senses, 38 (2), 161-166.
Haverkamp, M. (2015). Can synesthetic perception help to define attractive productive design? En Conference: 5th International Congress of Synaesthesia, Science & Arts. Alcalá la Real, Jaén, Spain.
Hee Lee, C. (2016). Three Studies of Synaesthesia. Recuperado de https://www. changheelee.com/three-studies-of-synaesthesia.html.
Jacob-Dazarola, R. (2015). Percepción y emoción en el diseño de productos. Análisis y propuestas para su integración a las MIPYME (tesis de posgrado). Universidad Politécnica de Valencia, Valencia, España.
Jacob-Dazarola, R. and Martínez Torán, M. (2013). Yeah, I Talk to My Car... So What?: Roles and Levels of Closeness in Person-product Relationship. The International Journal of Designed Objects, 6 (3), 49-60.
Jacob-Dazarola, R., Ortíz Nicolás, J.C. and Cárdenas Bayona, L. (2016). Behavioral Measures of Emotion. En H.L. Meiselman (Ed.), Emotion Measurement (pp. 101-124). Cambridge, United Kingdom: Woodhead Publishing.
Jiménez, S., Pohlmeyer, A.E. y Desmet, P.M.A. (2016). Diseño positivo. Guía de referencia. Bogotá, Colombia: Universidad de Los Andes.
Kandinsky, W. (1979). De lo espiritual en el arte. Ciudad de México, México: Premia Editora de Libros S.A.
Kandinsky, W. (2003). Punto y línea sobre el plano. Contribución al análisis de los elementos pictóricos. Buenos Aires, España: Paidós.
Karjalainen, T.-M. (2005). Semantic Mapping of Design Processes. Recuperado de http://ead.verhaag.net/fullpapers/ead06_id246_2.pdf.
Kawahara, S. and Shinohara, K. (2012). A tripartite trans-modal relationship among sounds, shapes and emotions: A case of abrupt modulation. Recuperado de http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.649.2100&rep=rep1&type=pdf
Köhler, W. (1929). Gestalt psychology. New York, USA: H. Liveright.
Krcadinac, U. et al. (2013). Synesketch: An Open Source Library for SentenceBased Emotion Recognition. IEEE Transactions on Affective Computing, 4 (3), 312-325.
Krcadinac, U. et al. (2016). Textual Affect Communication and Evocation Using Abstract Generative Visuals. IEEE Transactions on Human-Machine Systems, 46 (3), 370-379.
Krippendorff, K. and Butter, R. (1984). Product Semantics: Exploring the Symbolic Qualities of Form. Innovation, 3 (2), 4-9.
Krippendorff, K. and Butter, R. (2008). Semantics: Meanings and Contexts of Artifacts. En H.N.J. Schifferstein and P. Hekkert (Ed.), Product Experience (pp. 353-376). New York, USA: Elsevier.
Lesot, M.-J. et al. (2010). Product Shape and Emotional Design an Application To Perfume Bottles. Recuperado de http://webia.lip6.fr/~lesot/ LesotBouchardDetynieckiOmhoverKEER10.pdf.
Lim, S. et al. (2008). Shape Exploration in Design: Formalising and Supporting a Transformational Process. International Journal of Architectural Computing, 6 (4), 415-434.
Miesler, L. (2011). Imitating Human Forms in Product Design: How Does Anthropomorphism Work, When Does It Work, and What Does It Affect. Recuperado de https://www1.unisg.ch/www/edis.nsf/SysLkpByIdentifier/3917/$FILE/dis3917.pdf.
Milán, E.G., Martínez, O.I. y de Córdoba Serrano, M.J. (2014). El universo KikiBouba: ideaestesia, empatía y neuromarketing. Granada, España: Editorial Artecittà.
Miller, G.A. (1995). WordNet: A Lexical Database for English. Communications of the ACM, 38 (11), 39-41.
Miller, G.A. et al. (1990). Introduction to wordnet: An on-line lexical database. International Journal of Lexicography, 3 (4), 235–244.
Mothersill, P. (2014). The Form of Emotive Design (tesis de posgrado). Massachusetts Institute of Technology, Boston, USA. Mothersill, P. and Bove, V.M. (2015). EmotiveModeler. Interactions, 22 (6), 14- 15.
Mothersill, P. and Bove, V.M. (2015). The EmotiveModeler. En Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems. New York, USA.
Muñoz Abad, C. y Jiménez Fernández, A. (1990). La expresión de la emoción a través de la conducta vocal. Revista de Psicología General y Aplicada, 43 (3), 289-299.
Neumann, R. and Strack, F. (2000). The automatic transfer of mood between persons. Journal of Personality and Social Psychology, 79 (2), 211-223.
Ngo, M.K., Misra, R. and Spence, C. (2011). Assessing the shapes and speech sounds that people associate with chocolate samples varying in cocoa content. Food Quality and Preference, 22 (6), 567-572.
Norman, D.A. (2004). Emotional Design. Why we love (or hate) everyday things. New York, USA: Basic Books.
Ortíz Nicolás, J.C., Takeda Toda, N. and García Valdez, A. (2007). Predefining emotions for visual product appearance. Recuperado de https://www.researchgate.net/publication/320839649_Predefining_emotions_for_visual_product_appearance.
Owren, M.J. and Bachorowski, J. (2007). Measuring vocal acoustics. En J.A. Coan and J.J.B. Allen (Ed.), Series in affective science. Handbook of emotion elicitation and assessment (pp. 239-266). New York, USA: Oxford University Press.
Özcan-Vieira, E. (2008). Product Sounds. Fundamentals and Applications. Delft, Holland: TU Delft.
Pell, M.D. et al. (2015). Preferential decoding of emotion from human nonlinguistic vocalizations versus speech prosody. Biological Psychology, 111, 14-25.
Plutchik, R. (1980). Emotion, a psychoevolutionary synthesis. Nuew York, USA: Harper & Row.
Poffenberger, A.T. and Barrows, B.E. (1924). The Feeling Value of Lines. Journal of Applied Psychology, 8 (2), 187-205.
Prats, M. et al. (2006). Shape exploration of designs in a style: Toward generation of product designs. Artificial Intelligence for Engineering Design, 20 (3), 201-215.
Ramachandran, V.S. and Hubbard, E.M. (2001). Synaesthesia, A Window Into Perception, Thought and Language. Journal of Consciousness Studies, 8 (12), 3-34.
Requena, G. (2014). Love Project. Recuperado de http://gutorequena.com.br/ site/work/objects/love-project/29/.
Rhodes, A. (2015). Synaesthetic Design Expression: The Blending of the Senses and its Implications on Brand Expression (tesis de posgrado). Arizona State University, Arizona, USA.
Riccò, D. (2016). The Ways of Synesthetic Translation: Design models for media accessibility. Recuperado de http://www.drs2016.org/269/.
Russell, J. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39 (6), 1161-1178.
Scherer, K.R. (2005). What are emotion? And how can they be measured? Social Science Information Sur Les Sciences Sociales, 44 (4), 695-729.
Scherer, K.R., Koivumaki, J. and Rosenthal, R. (1972). Minimal cues in the vocal communication of affect: Judging emotions from content-masked speech. Journal of Psycholinguistic Research, 1 (3), 269-285.
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