Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
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Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
.

Sumario:

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 llevad... Ver más

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Kepes

1794-7111

2462-8115

Jacob-Dazarola, Rubén

Tapia Reyes, Mauricio

UNIVERSIDAD DE CALDAS

10.17151/kepes.2018.15.18.11

15

2018-07-01

279

312

Colombia

Correspondencias transmodales

diseño emocional

diseño de productos

emociones

morfogénesis

Kepes - 2018

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id oai:revistasojs.ucaldas.edu.co:article_2656
record_format ojs
spelling Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
Preliminary analysis for morphogenesis of objects with high affective meaning based on emotions
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.
This paper introduces the preliminary research developed primarily through a bibliographic review to establish a theoretical framework able to highlight the existing relationships between the field of Design, in particular its approach called Emotional Design, as well as the task implicit in the work of designers to "shape" things with the phenomena known as Intermodal correspondences, which act as a bridge between the intangible (ideas, concepts, emotions) and the material (shapes, artifacts). Intermodal correspondences can be defined as the human capacity to understand the stimuli of a sensory modality with the senses of another. During the review carried out, it was possible to verify the existence of significant relationships between emotions and sound. After reviewing these correspondences it was possible to conclude that the correspondences between sounds and shapes is the one that is most promising for the development of new methods that allow morphogenesis of products with a high emotional and affective value, due to their direct involvement with emotions. To start further experimental research in this area, the preliminary process concludes with the presentation of a hypothesis and research questions that define the main questions to be resolved.
Jacob-Dazarola, Rubén
Tapia Reyes, Mauricio
Correspondencias transmodales
diseño emocional
diseño de productos
emociones
morfogénesis
Transmodal correspondences
emotional design
emotions
morphogenesis
product design
15
18
Núm. 18 , Año 2018 : Julio - Diciembre
Artículo de revista
Journal article
2018-07-01T00:00:00Z
2018-07-01T00:00:00Z
2018-07-01
application/pdf
Universidad de Caldas
Kepes
1794-7111
2462-8115
https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/2656
10.17151/kepes.2018.15.18.11
https://doi.org/10.17151/kepes.2018.15.18.11
spa
https://creativecommons.org/licenses/by-nc-sa/4.0/
Kepes - 2018
279
312
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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.
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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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https://revistasojs.ucaldas.edu.co/index.php/kepes/article/download/2656/2453
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Publication
institution UNIVERSIDAD DE CALDAS
thumbnail https://nuevo.metarevistas.org/UNIVERSIDADDECALDAS/logo.png
country_str Colombia
collection Kepes
title Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
spellingShingle Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
Jacob-Dazarola, Rubén
Tapia Reyes, Mauricio
Correspondencias transmodales
diseño emocional
diseño de productos
emociones
morfogénesis
Transmodal correspondences
emotional design
emotions
morphogenesis
product design
title_short Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
title_full Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
title_fullStr Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
title_full_unstemmed Análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
title_sort análisis preliminar para la morfogénesis de objetos con alto significado afectivo a partir de las emociones
title_eng Preliminary analysis for morphogenesis of objects with high affective meaning based on emotions
description 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.
description_eng This paper introduces the preliminary research developed primarily through a bibliographic review to establish a theoretical framework able to highlight the existing relationships between the field of Design, in particular its approach called Emotional Design, as well as the task implicit in the work of designers to "shape" things with the phenomena known as Intermodal correspondences, which act as a bridge between the intangible (ideas, concepts, emotions) and the material (shapes, artifacts). Intermodal correspondences can be defined as the human capacity to understand the stimuli of a sensory modality with the senses of another. During the review carried out, it was possible to verify the existence of significant relationships between emotions and sound. After reviewing these correspondences it was possible to conclude that the correspondences between sounds and shapes is the one that is most promising for the development of new methods that allow morphogenesis of products with a high emotional and affective value, due to their direct involvement with emotions. To start further experimental research in this area, the preliminary process concludes with the presentation of a hypothesis and research questions that define the main questions to be resolved.
author Jacob-Dazarola, Rubén
Tapia Reyes, Mauricio
author_facet Jacob-Dazarola, Rubén
Tapia Reyes, Mauricio
topicspa_str_mv Correspondencias transmodales
diseño emocional
diseño de productos
emociones
morfogénesis
topic Correspondencias transmodales
diseño emocional
diseño de productos
emociones
morfogénesis
Transmodal correspondences
emotional design
emotions
morphogenesis
product design
topic_facet Correspondencias transmodales
diseño emocional
diseño de productos
emociones
morfogénesis
Transmodal correspondences
emotional design
emotions
morphogenesis
product design
citationvolume 15
citationissue 18
citationedition Núm. 18 , Año 2018 : Julio - Diciembre
publisher Universidad de Caldas
ispartofjournal Kepes
source https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/2656
language spa
format Article
rights https://creativecommons.org/licenses/by-nc-sa/4.0/
Kepes - 2018
info:eu-repo/semantics/openAccess
http://purl.org/coar/access_right/c_abf2
references Bain, M.N. (2008). Real Time Music Visualization: A Study In The Visual Extension Of Music (tesis de posgrado). Ohio State University, Ohio, USA.
Bergman, P. et al. (2009). Perceptual and emotional categorization of sound. The Journal of the Acoustical Society of America, 126 (6), 3156-3167.
Bonsiepe, G. (1999). Del objeto a la interfase: mutaciones del diseño. Buenos Aires, Argentina: Infinito.
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.
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