Some thoughts on haptic aesthetics for design transmodal aesthetics

Abstract

Designing for total user satisfaction is or should be the goal of human centered product design. However, satisfaction is a complex function of multiple interdependent variables many of which are only recently being explored. Among these are the haptic senses and sensations. Considerable research attention is currently given to them particularly in interface design. However, the existence and role of haptic emotions and aesthetics in product design and their interactions with visual aesthetics and emotions seem to be comparatively overlooked. The proposition is made herein that an object should be so designed that it is as pleasurable to hold and use as it (or its image) is pleasing to look at. Furthermore, it should be so designed that viewing it or its image arouses the appropriate virtual haptic responses. That is, the object should be designed so as to maximize its haptic as well as visual aesthetics and emotions. As an aid to progress in this area, this paper makes the argument for more recognition of the existence of a visual â‡' (virtual haptic synesthesia; the evocation of mentally aroused haptic sensations which follow on viewing an object or even its image. Such sensations may lie below the conscious level but still be potent in forming the viewer's total aesthetic and emotional response to an object. The descriptor "transmodal aesthetic" is used here in postulating a related phenomenon in which a feature or object which affects one sensory aesthetic will influence the aesthetic response of another sense. In the product case for instance, this occurs when an object or feature of it which is pleasing to the haptic senses results in the object (or image of it) being pleasing to the visual sense. This postulates or acknowledges that if the hand finds something pleasant/unpleasant, it will evoke pleasing/displeasing emotions to the eye rather than vice-versa. Because we are not often consciously aware of the haptic sensations evoked in us by visual stimuli, we must learn to conscientiously attend and respond to them. This will greatly increase our appreciation of art in general and product design in particular. This paper is a discursive attempt to set out several aspects of fundamental virtual haptics which should be explored in their role of providing haptic pleasure as an important aspect of product design. Several areas for research into haptic aesthetics and their relationship to visual aesthetics particular for products are suggested. © 2013 Springer-Verlag Berlin Heidelberg.