Please use this identifier to cite or link to this item: http://hdl.handle.net/1942/16792
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dc.contributor.authorADAMS, Carmen-
dc.contributor.authorPETERMANS, Ann-
dc.contributor.authorVANRIE, Jan-
dc.contributor.authorJANSSENS, Wim-
dc.date.accessioned2014-05-19T13:56:08Z-
dc.date.available2014-05-19T13:56:08Z-
dc.date.issued2014-
dc.identifier.citationDesign and Emotion, Bogota, Colombia, 8/10/2014 - 10/10/2014-
dc.identifier.urihttp://hdl.handle.net/1942/16792-
dc.description.abstractIn design practice designers often use visual representation techniques to communicate to their clients. The use of visual representation techniques has been critiqued to add to a dominance of the visual sense, which is seen as a potential weakness since the other senses might by subordinated. In this paper the authors therefore introduce the concept of crossmodal correspondences. Crossmodal correspondences refer to the tendency for a feature or attribute in one sensory modality to be matched or associated with a feature or attribute in another sensory modality. In the authors’ viewpoint, designers have been using this practice intuitively, for example the use of colours (i.e., visual sense) which are labelled as warm or cold (i.e., tactile sense). In this paper the notion of crossmodal correspondences is labelled and positioned as a research field that could be of added value for designers.-
dc.language.isoen-
dc.subject.othermultisensory design; visual dominance; visual representation techniques; crossmodal correspondences-
dc.titleDESIGNING FOR MULTIPLE SENSES WHILE USING VISUAL REPRESENTATION TECHNIQUES? CROSSMODAL CORRESPONDENCES AS A COUNTERFORCE TO THE DOMINANCE OF THE VISUAL SENSE-
dc.typeConference Material-
local.bibliographicCitation.conferencedate8/10/2014 - 10/10/2014-
local.bibliographicCitation.conferencenameDesign and Emotion-
local.bibliographicCitation.conferenceplaceBogota, Colombia-
local.bibliographicCitation.jcatC2-
dc.relation.referencesCrisinel, A.S., & Spence, C. (2009). Implicit association between basic tastes and pitch. Neuroscience Letters, 464, 39-42. Crisinel, A.S., & Spence, C. (2010). As bitter as a trombone: Synesthetic correspondences in non-synesthetes between tastes and flavors and musical instruments and notes. Attention, Perception, & Psychophysics, 72, 1994-2002. Cross, N. (1982). Designerly Ways of Knowing. Design Studies, 3(4), 221-227 Dishinger, M. (2006) The non-careful sight. In: P. Devlieger, F. Renders, H. Froyen, & K. Wildiers (Eds.), Blindness and the multi-sensorial city. Antwerp, Belgium: Garant, 143-176 Fenko, A., Schifferstein, H.N.J., & Hekkert, P. (2010). Looking hot or feeling hot: What determines the product experience of warmth? Materials and Design, 31, 1325-1331. Herssens, J. (2013). Designing Architecture for More. A Framework of Haptic Design Parameters with the Experience of People Born Blind. (Doctoral dissertation). Retrieved from www.jherssens.com. (ISBN PHL/UH 978-90-8913-019-8) Howes, D. (2004). Empire of the senses: The sensual culture reader, Oxford: Berg. Köhler, W. (1929). Gestalt psychology. New York: Liveright. Lui, Y. (1997). Symbols: circles and spheres represent the same referents. Metaphor and Symbol, 12, 135-147 Pallasmaa, J. (2005). The Eyes of the Skin: Architecture and the Senses. London, UK: Wiley-Academy Parise, C. V., & Spence, C. (2009). ‘When birds of a feather flock together’: Synesthetic correspondences modulate audiovisual integration in non-synesthetes. PLoS One, 4(5), e5664. Petermans, A., Janssens, W., & Van Cleempoel, K. (2013). A Holistic Framework for Conceptualizing Customer Experiences in Retail Environments. International Journal of Design, 7(2), 1-18. Ramachandran, V.S., & Hubbard, E.M. (2001). Synaesthesia: a window into perception, thought and language. Journal of Consciousness Studies, 8, 3–34. Ramachandran, V.S., & Hubbard, E.M. (2003). Hearing colors, tasting shapes. Scientific American, 288, 43-49. Rasmussen, S.E. (1962). Experiencing Architecture (2nd ed.). Cambridge, MA: MIT Press Rozendaal, M.C., & Schifferstein, H.N.J. (2010). Pleasantness in Bodily Experience: A Phenomenological Inquiry. International Journal of Design, 4(2), 55-63. Sapir, E. (1929). A study in phonetic symbolism. Journal of Experimental Psychology, 12, 225-239. Schifferstein, H.N.J., & Desmet, P.M.A. (2008). Tools facilitating multisensory product design. The Design Journal, 11(2), 137-158. Spence, C. (2011). Crossmodal correspondences: a tutorial review. Attention, Perception, & Psychophysics, 73, 971-995 Spence, C. (2012). Managing sensory expectations concerning products and brands: Capitalizing on the potential of sound and shape symbolism. Journal of Consumer Psychology, 22, 37-54. Spence, C., & Gallace, A. (2011). Tasting shapes and words. Food Quality & Preference, 22, 290-295. Wastiels, L., Schifferstein, H. N. J., Wouters, I., & Heylighen, A. (2013). Touching materials visually: about the dominance of vision in building material assessment. International Journal of Design, 7(2), 31-41-
local.type.refereedRefereed-
local.type.specifiedPaper-
item.accessRightsClosed Access-
item.fulltextNo Fulltext-
item.contributorADAMS, Carmen-
item.contributorPETERMANS, Ann-
item.contributorVANRIE, Jan-
item.contributorJANSSENS, Wim-
item.fullcitationADAMS, Carmen; PETERMANS, Ann; VANRIE, Jan & JANSSENS, Wim (2014) DESIGNING FOR MULTIPLE SENSES WHILE USING VISUAL REPRESENTATION TECHNIQUES? CROSSMODAL CORRESPONDENCES AS A COUNTERFORCE TO THE DOMINANCE OF THE VISUAL SENSE. In: Design and Emotion, Bogota, Colombia, 8/10/2014 - 10/10/2014.-
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