• Design Convergence Study
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• v.16 no.6
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• pp.137-152
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• 2017

This research aims to develop the companion robot experience design for elderly in korea based on needs-function deploy matrix of robot and emotion expression research of robot in multimodal interaction. First, Elder users' main needs were categorized into 4 groups based on ethnographic research. Second, the functional elements and physical actuators of robot were mapped to user needs in function- needs deploy matrix. The final UX design prototype was implemented with a robot type that has a verbal non-touch multi modal interface with emotional facial expression based on Ekman's Facial Action Coding System (FACS). The proposed robot prototype was validated through a user test session to analyze the influence of the robot interaction on the cognition and emotion of users by Story Recall Test and face emotion analysis software; Emotion API when the robot changes facial expression corresponds to the emotion of the delivered information by the robot and when the robot initiated interaction cycle voluntarily. The group with emotional robot showed a relatively high recall rate in the delayed recall test and In the facial expression analysis, the facial expression and the interaction initiation of the robot affected on emotion and preference of the elderly participants.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.170-171
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• 2005

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2007.05a
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• pp.176-179
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• 2007

Every individual uses, appraises and interacts with products on a daily basis. It is evident from current trends and theories associated with product design, that these products that are a part of our everyday lives, satisfy our needs in two ways, functionally and psychologically. While a product's usability or the service it provides may satisfy our functional needs, it is often the case that when given a choice, we may select one product from the other, even though they are functionally alike. Why do we make these choices, and more importantly, how? When users are satisfied with a product's performance, they seek a stronger emotional involvement with them(Lewalski, 1988). Are emotions responsible for our choices, likes and dislikes of products? What is the nature of this emotional involvement, what are these emotions, and how, if possible, can we design to generate specific emotions? This research proposes to develop into these questions. It is an effort to formulate the underpinnings of "design for emotions" and uncover the possibilities of a design process that places "emotion" as an equally important concern for the design of objects, as functionality or aesthetic appeal. The literature review will include a systematic study of human and product attributes, theoretical and empirical studies of emotion, and the interaction of humans and products is discussed. This project examines what product characteristics lead to an emotional experience, when people interact with them, and suggests a methodology or design guidelines that may allow designers to enhance or specifically modify the emotions experienced by people, while using the products that are a part of their everyday lives.

• Journal of the Korean Institute of Intelligent Systems
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• v.11 no.7
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• pp.611-614
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• 2001

Voice is one of the most efficient communication media and it includes several kinds of factors about speaker, context emotion and so on. Human emotion is expressed is expressed in the speech, the gesture, the physiological phenomena(the breath, the beating of the pulse, etc). In this paper, the emotion recognition method model using neuro-fuzzy in order to have cognizance of emotion from voice signal is presented and simulated.

• Science of Emotion and Sensibility
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• v.15 no.2
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• pp.223-230
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• 2012

This study researched the relationship between the element of "Favorable and Friendly" emotion on product design and the consumer's reaction to it. The emotional elements used here were proposed in the existing study. The research method was divided into 1st test and 2nd test. In the 1st test result, Favorable was related to "want to own, simple, new product and high-class", and also connected with "digital product, gaming product and computers". The products related to Friendly had association with the items about "interesting, cute, familiar, warmth and soft", and also connected with "simple product (toylike, household items, etc), low-price product, product which likes a friend, soft product, kitchen product and beauty treatments product, and so on". In the 2nd test, the preference of emotional product was high than general product, and it was known from the evaluation about design preference and design elements. If the preference was high following the order as: "Formativeness> Trend> Aesthetics> Color", the difference among the scores were small. And then the result about the relationship of emotional design factor "Favorable & Friendly" and evaluation of design preference & design elements was extraction.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.33-47
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• 2015

The purpose of this study is to understand the ideas of characteristic of convergence design related to slow fashion design. Convergence design in digital stage can be defined as a social phenomenon which different function of product move toward one direction for greater efficiency. Slow fashion is based on the Slow Movement. (This is a movement with similar principles to the Slow Food Movement, as it promotes an alternative mass production, such as fast fashion.) The aims of this research are to study slow fashion that has appeared in the fashion industry through various approaches for convergence designs, and to find the possibility of use for slow fashion. The research method consisted of carrying out case studies and analyzing literatures and proceeding cases. The characteristics of convergence designs are classified into technical convergence, emotion-oriented convergence and complex convergence. Technical convergence has an effect on slow fashion as a multi-functional design. Second, emotion-oriented convergence affects social-cultural design. Slow fashion related to a complex convergence design reveals emotion-oriented deign. Slow fashion is related to convergence design is to expect contribute to provide a good source for the future fashion industry and fashion market.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.05a
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• pp.188-189
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• 2004

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2004.11a
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• pp.21-21
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• 2004

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2012.05a
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• pp.136-137
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• 2012

• Journal of Distribution Science
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• v.17 no.1
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• pp.95-103
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• 2019

Purpose - Recently, many theoretical researches suggested that arts-based marketing strategies provide many benefits for marketers to differentiate their brand or product from others. However, there has been little research focusing on consumers' response types from artwork (artifact-emotion appraisal; A-emotion vs. represented world-emotion appraisal; R-emotion). In order to deepen our understanding of arts-based marketing strategies, we addressed a research question related to how artwork-provoked consumers' emotional response can impact the perceived evaluation of art infused products. Research design, data, and methodology - To answer the research question, we conducted a pretest and one experimental study. The experimental study was 2(art-provoked response type: A-emotion vs. R-emotion) by 2(emotional valence: positive vs. negative) by 2(produce type: hedonic vs. utilitarian) mixed design. The art-provoked response type and emotional valence were between-subject design and product type was within subject design. For the experimental study, 108 undergraduate students and graduate students were randomly assigned to one of 4 conditions (A-emotion-positive, A-emotion-negative, R-emotion-positive, R-emotion-negative). Participants reported their evaluation of art-infused product and other items for a manipulation check. Results - The major results from the experimental study are as follow. First, participant's art-provoked response type influenced evaluation of art infused products differently. More specifically, the effect of emotional valence of artwork on product evaluation was not significant in A-emotion. However, in R-emotion, relative to the product with artwork provoked negative emotional valence, the product with artwork provoked positive emotional valence elicited significantly higher product evaluation. Second, product type also affected the art infusion effect significantly. Particularly, the differential effect of participant's art-provoked response type on product evaluation revealed when it is for a utilitarian product, but not for a hedonic product. Conclusions - Theoretically, the findings of this study expand academic research on art infusion. And the findings also can be extrapolated to generate lots of implication for marketers. In sum, when they plan art marketing strategies to build the favorable relationship with their customers, they need to consider customers' response type of an infused art and product type.