Preface

Kansei is an advanced function of the brain that can be the source of emotion,
inspiration, intuition, pleasure/displeasure, taste, curiosity, aesthetics and creation.
At the University of Tsukuba, we are working on research to understand thosefunctions of mind through experimental work as well as practical design works.
An extremely wide range of disciplines collaborate together not only on how
to measure the state of mind and the physical qualities of products, but also on
understanding the Kansei as brain and neural function.
The approach also includes the effort of defining the Kansei. The Evoked
Metaphor (which is not explained here, but resources for further information
can be found in the appendix) offers a new comprehension of Kansei processes.
Other aspects such as creativity, feelings, intuitive cognition, the asobi gap incommunication, and delay are also relevant to understand this subconscious brain
function.
But first of all, the importance of our research lies in the fact that our entire
life is influenced by Kansei processes. Therefore we would like to introduce theconcept to a broader international audience and start the discussion.
In this small introduction book, the author looks at this cross disciplinary researchfrom a designer’s viewpoint. I appreciate Ms. Beuttel’s elegant observation andfriendly writing that illustrates how Kansei research can be connected to our daily
life. A worthwhile reading.
T. Yamanaka, University of Tsukuba

3

outlIne

1. IntroductIon —9
1.1. Scenario with 'cololo'—9
1.2. Description of Kansei—9
1.3. Purpose of this paper—12
2. GettInG started:nanamI mIzutanI’s research on 'Playful food'—15
2.1. Initial point of interest—15
2.2. Choice of stimuli—16
2.3. Measuring methods—16
2.4. Course of experiment—17
2.5. Evaluation and result of analysis—17
2.6. Conclusion and outlook—18
3. m easurInG K anseI —21
4. usInG near-Infrared s PectroscoPy (nIrs):
yusuKe naGamorI’s research on creatIve braIn actIvIty—25
4.1. Initial point of interest—25
4.2. Choice of the measuring device—26
4.3. Choice of tasks—26
4.4. Course of experiment—27
4.5. Evaluation and result of analysis—28
4.6. Conclusion and conceivable applications—28
5. s urPrIsInG results:
mIho Kyoya’s fIndInG that ‘delay Is not necessarIly faulty’—33
5.1. Inspiring moments—33
5.2. Experiment setup—34
5.3. Measuring methods—34
5.4. Course of experiment—34
5.5. Evaluation and result of analysis—35
5.6. Conclusion—35
6. e nhance K anseI value —37
7. 'beacon' – an Interface for s ocIo - musIcal InteractIon —39
7.1. Scenario with 'beacon'—39
7.2. What is 'beacon'?—40
5

8. s hIho naKamorI’s eye - beam Project:from an analysIs devIce to a communIcatIon devIce —43
8.1. Inspiring moments—43
8.2. From idea through research to design—44
8.3. Analysis of 25 psycho-physiological information devices—44
8.3.1. Method—44
8.3.2. Result—44
8.3.3. Conclusions—45
8.4. Questionnaire survey on communication in group discussions—45
8.4.1. Questionnaire form—45
8.4.2. Evaluation and result of analysis—46
8.4.2.1. Relevant aspects of group discussions—46
8.4.2.2. Possible effects of eye-gaze visualization—47
8.4.3. Interim conclusion—48
8.5. Application scenario—48
9. K anseI and tacIt KnowledGe —51
9.1. Kansei and tacit knowledge—51
9.2. Asobi—52
10. closInG r emarKs —53
11. bIblIoGraPhy—55

6

1. IntroductIon

1.1. Scenario with 'cololo'
After a long day of important and finally successful business meetings, David is in
his hotel room. His tension gets released. He wants to take a shower and opens
his suitcase. On the top is a small ball, he plays with it for a moment and thenlays it on the bed. He picks some fresh casual clothes and goes into the bathroom.
When he opens the bathroom door again, he finds the ball on the floor, the lightsof the LED stripe around it are twinkling. He smiles and gently rolls the ball backand forth with his feet. Then he gets himself a beverage from the minibar. The ballstarts spinning and blinking. He moves it to a comfy chair, sits down and while heis sipping his drink, he thinks about Helen, his fiancée: her smile and the great day
out on the beach recently… Like a response to his thoughts, the small ball rotatesagain.
What would you do in a similar situation? Give your loved one a telephone call?
Actually, David is already communicating with Helen. It is that cute little ball.
She also has one and both balls are wirelessly connected. When one of his matesplays with the ball, the companion piece will start to rotate and its LEDs twinkle.
It touchingly expresses, "I am thinking of you!" This small ball is a communication
device, to be exact, a Kansei communication device. It is called 'cololo' and it is thegraduate work of Makiko Hoshikawa supervised by Toshiaki Uchiyama, AssistantProfessor at the Graduate School of Comprehensive Human Science / Master’sand Doctoral Program in Kansei, Behavioral and Brain Sciences at the University ofTsukuba.
By introducing the subject of this report – Kansei research and design – withthis scenario, a vivid example is provided to refer to when we venture into further
explanation.
1.2. Description of Kansei
In his papers "On Kansei and Kansei Design – a Description of Japanese Design
Approach" and "Explaining Kansei Design Studies" Pierre Lévy describes Kansei as acomplex inner process of human beings that involves several mental operations likesensation, perception, and cognition:-"Kansei process gathers the functions related to emotions, sensitivity, feelings,
experience, and intuition… (i.e. sensory qualities related functions […] ),including interactions between them.""Kansei means are all the senses (sight, hearing, taste, smell, touch, balance,
recognition...) and – probably – other internal factors (such as personality,
mood, experience, and so on)."9-"Kansei result is the fruit of Kansei process (i.e. of these function processes
and of their interactions). It appears to be a unified perception providing aqualitative meaning and value of one’s direct environment. In other words,
Kansei result is how one perceives qualitatively one’s environment. Therefore,
Kansei result is a synthesis of sensory qualities."

In addition to this, Lévy points out that "Kansei is intrinsically linked to one’s
environment and experience. In other words, when one’s environment andexperience change, one’s Kansei changes too. Consequently, Kansei evolves
permanently."
Professor Toshimasa Yamanaka, Academic Advisor at the Graduate Schoolof Comprehensive Human Science / Master’s and Doctoral Program in Kansei,
Behavioral and Brain Sciences at the University of Tsukuba, therefore likes to use
the term "Kansei status", which emphasizes its fragile, temporary state.
The immense complexity becomes obvious when we transfer this description
to the situation of telecommunication between the above introduced David andHelen. Here, not only the inter-human relationship itself matters, but also theimpact of the transmitting device.
Let’s look at their situation when using a common telecommunication device, themobile phone. David is in a cheerful mood after his success, he wants to share his
feelings with Helen, have a relaxed talk, maybe make some plans for the weekend
and enjoy the anticipation. To reach her, there is a kind of magic device: the mobile
phone promises the immediate fulfillment of his desire to talk to her.
One characteristic of telecommunication is that we can’t evaluate the situationof our dialogue partner before we actually get through to her or him. WhenDavid wants to call Helen, he actually has no idea where she is, what she is doing
and how she is feeling at that moment. Being far away, his Kansei means can’t
perceive relevant information about that. He can only rely on his experience andinformation. What does she usually do at that time? How is her schedule? Is shebusy with something right now?
This leads to another point: the person calling is the one who acts, he or she ismentally prepared to talk. However, the person receiving the call can only reactand is not necessarily prepared. The very moment of an incoming call is a surprise.
It might be a long expected call, useful information just in time , or an annoyancethat distracts from work or interrupts a conversation. This perception is influenced
by the feelings toward the person who calls. Helen will appreciate a call from David
almost anytime, but might be annoyed by a marketing telephone survey disturbing
her while concentrating on a task.
The telephone demands an immediate and spontaneous response from theperson who receives the call, no matter what he or she is doing in that moment –10

perhaps cushioned only by activating the answering machine. For the person making
the call, the scheme of communication is: idea to contact a person > use the phone.
For the person who receives the call the scheme is vice versa: suddenly ringing
phone > identification of the calling person.
David will balance his desire to talk with Helen against the possibility of
disturbing her, but in fact, he can only try to call her and find out. Maybe he getsthe answering machine, so all he can do is leave a message. Later, when Helenlistens to his message and calls back, David might be at dinner with his colleagues, asituation where he may not be able to talk freely. Or maybe she answers the phone,
but he can tell from the tone of her voice, the volume, the background noise, andalso from her words, that she is busy or in a situation where she can’t speak openly.
So they briefly exchange news and agree to call again later.
As mentioned before, Kansei status changes along with the situation, hence,David’s feelings will be influenced depending on whether his expectations are
fulfilled or not. In both cases above his expectation isn’t met and that will dampen
his mood a bit.
There is also a huge probability that they will have a nice chat, however,
we all have experienced situations of mismatched telecommunication and theresulting disappointment – the telephone often neglects its promise of immediateconnection. Therefore the concept of 'cololo' is instantly comprehensible andemotional appealing.
Its name 'cololo' implies the Japanese words kokoro/kokolo （心）,which means "heart", "mind", and the onomatopoeia koro koro/kolo kolo （コロコロ） for the rolling sound of circular objects (the spelling depends on the method
used to transcribe Japanese into Roman letters) and means, "Your heartfelt mind
is expressed by the turning ball." It is a bit like a heart-to-heart communication
without words. Actually, in communication between couples, families, and friends
there are often situations where words are not so necessary and 'cololo' transports
those mutual feelings of love and care over distance.
Its appearance with LEDs and covers of different designs makes it appealing
to men and women as well as children and adults, also its very simple interface –designed to be operated with the feet – is easily graspable and barrier-free.
Even without an instant response, playing with the ball itself is pleasant.
Intensified by the imagination that any movement of the own ball causes the fellow
ball to change its location and lets the LED stripe twinkle, leaving its very special
message, "I am so happy that you are in the world!"
1.3. Purpose of this paper'Cololo' is one example of how research on Kansei can offer valuable inspirationand good reasons to improve existing products, services and interfaces or develop
11

new ones.
A design that manages to integrate the complexities of human behavior in an
appropriate and convincing way increases its chances to succeed.
Based on several examples of research pursued by the Laboratory of Kansei
Information Science at the University of Tsukuba, this paper attempts to provide an
insight on:-

12

What kind of interests and questions trigger a Kansei research idea?
How to start Kansei research, choose methods and devices, set up an
experiment?
How to relate the findings to design issues?

2. GettInG started: nanamI mIzutanI’s research on'Playful food'

The Master’s and Doctoral Program in Kansei, Behavioral and Brain Sciencesof the Graduate School of Comprehensive Human Science at the Universityof Tsukuba offer unique research facilities. Located in one building, faculties of
Neuroscience, Psychology, Science of Mental Disorder as well as Art and Design
all work together to elucidate Kansei. Experts, researchers, and students of thesefields benefit from this affiliation: they exchange knowledge and advice with eachother, interdisciplinary research is conducted and high-end psycho-physiologicalmeasurement devices are at hand – like Near-Infrared Spectroscopy (NIRS) tomeasure cerebral blood flow and Electroencephalography (EEG) to measurebrainwave activity.
However, to pursue a Kansei experiment, the use of this high-end equipment is
not mandatory. A revealing example is Nanami Mizutani’s experiment on 'Playful
Food'
2.1. Initial point of interest
Nanami Mizutani is a 3rd year doctor course student who dedicated her researchand design activity to food. Mizutani is not alone in her fascination with food design.
Food increasingly gains attention among product designers worldwide. The focus
of interest is not so much taste, aroma, and texture or recipes and ingredients, butrather visual appearances, rituals of food consumption, and the emotional/mental
impacts of eating. As an essential part of our everyday life, food is an attractive
medium for designers to enhance quality of life as well as to comment on our food
habits or social contexts of food.
Mizutani’s starting point merges two observations: the appeal of witty and often
surprising products that transcend mere practical functionality; and the increasing
interest people have in eating well, enjoying food and gaining connoisseurship. She
wants to explore how eating can be influenced by positive feelings like fun, surprise,
delight, and pleasure. A term that could summarize these emotions is "playfulness",
asobi gokoro, 遊び心.
Combining playfulness with food is nothing unusual, particularly not in Japan,
where food with playful details are very well appreciated.
Mizutani distinguishes two types of playfulness:--'Playfulness as an action' can be described as the activity of creating and making
something with your hands. There are no rules, just experimenting with thematerial, trying things out and having fun. Examples from the food sector are
baking cookies and decorating them, building a gingerbread house, making
edible figures, etc.
'Playfulness as a concept' can be described as a kind of humor. A new andunexpected connection between the object and another item or idea provides
15

a shift to an unusual and interesting point of view, implies an ironic comment
or is just funny nonsense. Examples from the food sector are all kinds ofshapes or decorations that are not related to food in its primary meaning likepictures of cute characters or animals.
Ensuing from that, the concise experimental question is: What are the interactions
between food and playfulness? Can playfulness make eating time more enjoyable? If
yes, in which way? And can playfulness make food tastier?
2.2. Choice of stimuli
One of the most crucial points to explore a phenomenon of human emotion or
behavior is to find an appropriate experiment with stimuli that suit the purpose andallow comparison.
To investigate the influence of playfulness on food’s taste and pleasure, Mizutani
chose rakugaki sembei （落書きせんべい）, which means "doodle rice-cracker":drawing pictures on rice crackers with colored sugar. It is a popular activity at
Japanese shrine festivals. We can assume that rakugaki sembei is associated withfeelings of fun, joy, happiness, and recalls the nostalgia of the childhood.
Referring to the above introduced types of playfulness, 3 different stimuli were
tested:-Stimulus 1: Classical rakugaki sembei: Test persons decorate the rice-crackers
on their own – this stimulus refers to both, 'playfulness as a concept' as well as'playfulness as an action'.
Stimulus 2: Pre-decorated rice-crackers with the picture of a cherry – thisstimulus refers to 'playfulness as a concept'.
Stimulus 3: Pre-decorated rice-crackers with an abstract pattern, a circle ofdifferent colors – this stimulus refers neither to 'playfulness as an action' nor
to 'playfulness as a concept'.

2.3. Measuring methods
Mizutani employed the following methods to measure the impact of these stimuli:-

16

Brief questionnaire with two 7-point-scales about the extend of deliciousness (美味しさ) and pleasure (楽しさ).
Conversation analysis with special attention to the amount of utterance,
the topics coming up in the conversation, and the amount of aizuchi (あいづち) – words or sounds articulated by the listener to signal attentivenessand comprehension, very characteristic for Japanese communication.
Incidentally, the latter is a very interesting example for how cultural patterns-of communication can be used as measuring indicators.
For this purpose, the talk of the test persons during the experiment wasfilmed and recorded.
POMS (Profile of Mood States) questionnaire, before and after the experiment.
POMS is a frequently used method to evaluate present mood states of the test
persons, and a before-after comparison can indicate whether the stimulus hascaused some mood changes.

2.4. Course of experiment
The test persons in this experiment were twelve women between 20 and 30 years
old, divided into four groups of three.
When experimenting with food, it is necessary to take in consideration thattest persons will be satiated after eating some of the stimuli and get tired of them,which might influence their reaction to the stimulus. Therefore, the consumptionof the 3 stimuli in Mizutani’s experiment has been split up into 3 sessions.
In order to gain reliable data, it is very important to keep comparable
conditions. Here, in every experiment session, the groups were not only invited
to the same room, but also at the same time of day. Moreover, the experimentenvironment was carefully kept in the same manner with all the equipment needed
for rakugaki sembei and included also a bottle of tea for each test person.
The experiment ran as follows:
ca. 5 min: POMS questionnaireca. 10 min: Stimulus
ca. 5 min: POMS questionnaire and 7-point-scale questionnaire
2.5. Evaluation and result of analysis
The data obtained by the measurements were statistically evaluated and thesignificance of the results were verified.
The before-after comparison of the POMS questionnaire indicates that the
rakugaki sembei (stimulus 1) caused a significant mood change: The activity raisedthe "liveliness" of the test persons.
This correlates to the evaluation of the 7-point-scale measuring the degree ofpleasure: Rakugaki sembei showed significant higher scores than stimulus 2 and3. However, the result revealed no observable relation between playfulness anddeliciousness.
When looking at the result of the conversation analysis, again stimulus 1 offersinteresting insights. All groups showed a significant decrease in the amount ofutterance during the rakugaki sembei-activity. They didn’t talk so much, because17they were concentrating on the action of doodling. In relation to that, the amountof aizuchi, sounds of attentiveness, also decreased.
And when conversation was resumed, the main topic – in all groups more than
50% – was the stimulus itself: they talked all about the drawing of pictures on ricecrackers with colored sugar.
Frequent topics of conversations in all sessions were "the experiment", "thecurrent stimuli", and "food in general". However, while eating the rice-crackers
with an abstract pattern (stimulus 3), test persons talked about everything andanything apart from the above listed topics – with a significant percentage of almost
60%.
2.6. Conclusion and outlook
Let’s call to mind the key question of the experiment. What kind of influence
does playfulness have on pleasure and the taste of food? Two kinds of playfulness
were described and the three stimuli were categorized among them. The stimuluswith the most significant results is the one providing the rakugaki sembei-activity(stimulus 1). This stimulus was characterized as an example for both 'playfulness
as an action' and 'playfulness as a concept'. Since the pre-decorated rice-cracker
with the picture of a cherry (stimulus 2) – which was described as an example for'playfulness as a concept' – remained without significant results, we can conclude,that it is rather 'playfulness as an action' that produced the feelings of pleasure andthe increase in liveliness.
Then, 'playfulness as an action' also seems to bring the attention to the present
activity, which can be inferred by the decrease of both utterance and aizuchi.
This experiment could not prove a relation between playfulness anddeliciousness. However, one test person mentioned that food with pictures is moredelicious than food without pictures.
Although not significant for all groups, the cherry-decorated rice-cracker(stimulus 2) triggered a conversation about food topics in general – averagely about
a quarter of the entire conversation.
These inconclusive results prompt the questions Mizutani wants to address inher further exploration of the subject:-

From food-related pictures to non-food-related pictures to abstract patterns:
do different kinds of pictures on food produce different perceptions of food?
And if so, what significance belongs to 'playfulness as a concept'?
How to measure deliciousness and taste? Is a 7-point-scale appropriate? And
how to evaluate whether playfulness has an impact on it or not.

Kansei research is not done with a single experiment. Conducting an experiment18

provides not only findings but also new questions. The research idea needs to beapproached from various angles by a series of experiments using different stimuli
and measuring methods.
Nevertheless, we can already learn from Mizutani’s experiment. The playful
rakugaki sembei-activity involved the test persons actively: decide what to draw, inwhich colors, and then put it into practice – they had to include their own ideas.
This resulted in a lot of fun, with the additional effect of being engaging. The test
persons paid full attention to their current activity and the food they ate at thatmoment.
It doesn't seem inadequate to apply this insight to serious issues of foodconsumption in today’s advanced economies like diseases caused by bad eating
habits or alienation from food production and food preparation – to name but
a few. When tackling these problems, 'playfulness as an action' is a considerable
strategy. What motivates people more to prepare and eat healthy meals thanhaving fun while doing it?
And to develop suitable products and services is a matter of design.

19

3. measurInG KanseI

The above description of a Kansei experiment setup is a good opportunity to
explain some basic principles of measuring Kansei.
In her experiment, Mizutani has obtained two kinds of data: conscious andunconscious information.
--

Conscious information can be obtained by interviews, questionnaires, andany other measuring methods allowing the test persons to consciously decide
how they estimate their impressions and feelings about a subject. Examples
from the above experiment are the two 7-point-scales about the extent ofdeliciousness and pleasure.
Unconscious information is obtained by e. g. Electro-encephalography(EEG), Near-Infrared Spectroscopy (NIRS), Eye-tracker, and others methods
measuring the test person’s neuro-physiological or behavioral reaction toa specific stimulus. Here, test persons can not consciously control the data
output.
But there are more simple methods to gain unconscious information as
well. In the above experiment, the conversation of the test persons during theconsumption of the stimuli was filmed and recorded – unbeknownst to the test
persons. A microphone was placed under the table and a video camera behinda two-way-mirror.
It is important to mention that the respectful and ethical treatment of
test persons is of highest priority. At the University of Tsukuba, experiments
involving human test subjects must be approved by an ethical committee.
To meet this requirement in Mizutani’s experiment, all test persons wereafterwards informed about the recording and asked for permission to evaluate
it.
Moreover, keeping any obtained personal information confidential goes
without saying.

For research on Kansei processes it is necessary to obtain and evaluate both kindsof information, conscious and unconscious information. But why?
It is easily imaginable that the conversation of the test persons won’t be as
relaxed and free when they know about the recording beforehand. They might
be more cautious about what they say, a circumstance that distorts their naturalexpression and behavior – which is actually the core of interest. Thus, unconscious
information is more objective within context, and helps to secure the result’s
reliability.
Professor Yamanaka explains this a bit further. Kansei research aims to obtainsignificant data about processes in the human heart and mind, however, they are
not easy to examine. Humans often can’t really explain how they feel, can’t find the21right words or omit certain aspects. Statements in questionnaires or interviews
are inherently subjective, limiting the insights that can be gained. Therefore, at the
University of Tsukuba, methods of neuroscience are applied as well, to find out
more about hidden emotions. By using measuring devices of the above-mentioned
kind, a person’s immediate emotional reaction to a certain stimulus becomes visible
and measurable. Together with other obtained data, conclusions on the person’sKansei status during the experiment can be drawn. The evaluation of similar datafrom several persons leads towards the goal of Kansei research: to deduce generalprinciples of human Kansei status, how an environment is qualitatively perceived ina particular situation. This information, then, can be applied to improve existing
designs and to evolve new design solutions.
However, the methods of neuroscience have advantages and disadvantages, as
Lévy points out, "Kansei is a mental process complex enough not to be measured
directly, even with intrusive methods (such as fMRI): what is observed is not Kansei
but consequences of Kansei […]. Therefore Kansei can be measured only indirectlyor partially, by measuring psycho-physiological and behavioral responses."
One major difficulty is the interpretation of data generated by the measurement
devices. Some parts of the output still remain uninterpretable (e. g. the contextual
meanings of many graphs are not clarified yet), while well understood output
is prone to over-interpretation. It requires some sensitivity to deal with thecomplexity of the data and to conclude a valuable result.
Let’s look at an instructive example of an experiment using Near-Infrared
Spectroscopy (NIRS).

22

4. usInG near-Infrared sPectroscoPy (nIrs):yusuKe
naGamorI’s research on creatIve braIn actIvIty

4.1. Initial point of interest
One mental process addressed by the rakugaki sembei-activity is creativity – andcreativity is the subject 5th-year doctor course student Yusuke Nagamori is
researching on.
Nagamori’s attention was attracted by the fact that matters of creativity arecomparatively less explored. One reason for this might be the difficulty to measurethese light-bulb moments of creativity that result from complex interactions
between people’s thoughts, their experiences, and their environment.
What sparks inspiration? Where do new ideas come from? And what impulses
make the process evolve?
Likewise, when an artist revises his or her work or a part of it, he or she will
examine what is conveyed and compare this with the intended expression.
Then, why is a creative person convinced of an idea or why does he or she continue
looking for a better solution?
This description of creativity as a complex process appears to have much incommon with the complexity of Kansei processes explained in the introduction.
And indeed, creativity is a process tied to Kansei – actually an important one.
Hence, Kansei research is not only interested in the perceived experience users or
consumers have with environments, situations or objects, but also in the creative
processes of artists and designers.
High-end psycho-physiological measurement devices have made complex innerprocesses, like Kansei processes, more accessible for examination. That way,
creativity can be measured as well. But Nagamori doesn’t intent to evaluate thevalue of a creative work. The process of creativity and its subjective experience areof value themselves and ought to be distinguished from the output. In this way, an
increased understanding of the creative process itself can lead to new strategies
and methods to support creativity.
To reduce the complexity of questions like "What happens in the brain during
creative acts?" and "What environments and conditions produce creative ideas?"
Nagamori focuses on the different levels of creativity and describes three major
ones:-

Imitation actually requires little creative thinking
Arrangement combines existing ideas or objects into
something new
Creation generates a new and original idea seemingly out of the blue25

4.2. Choice of the measuring device
In the case of Nagamori’s experiment on creativity, it is evident that theexperimental setup requires the possibility for the test persons to create
something – at least virtually on a computer screen.
The decision about which measuring device to use for such an experimentis another example for advantages and disadvantages of psycho-physiologicalmeasuring devices. Besides the above mentioned difficulty of data interpretation,
the measurement devices themselves have inherent limitations. Although functional
Magnetic Resonance Imaging (fMRI) seems to be applicable for Nagamori’s purpose,
as it can measure activity throughout the brain, fMRI requires lying down in anarrow tube, which is an extremely unfamiliar environment and might, therefore,
negatively affect creative thinking. Near-Infrared Spectroscopy (NIRS), in contrast,
is a measuring method that allows a variety of activities in every-day-like situations:while sitting at a desk or in an easy chair, test persons only have to wear a cap withprobes. But there are also limitations, e. g. the brain activity being measured is only
from the surface of the cortex and not from the deeper areas of the brain.
4.3. Choice of tasks
Within the broad field of creativity, Nagamori favored color arrangement as an
appropriate task for this experiment. Different to modeling and drawing, color
arrangement is a task, that doesn’t require special training, on the contrary,combining colors is familiar to everybody and we do it in many daily life activities,
e. g. matching clothes. Thus, also test persons without formal training in design canparticipate freely.
The color arrangement tasks consist primarily of arranging three colors in suchway that their combination creates a specific mood, associated to given adjectives.
Three different mood schemata were defined: soft and warm, soft and cold, and coldand hard.
To investigate whether there is a difference in the brain activity related to theabove mentioned different levels of creativity, Nagamori formulated the following 4tasks varying in degree of required creativity:-

26

Task 0 – control task
Test persons were asked to select the exact same color combination as
displayed in the instruction window from a palette of colors. Here, nomood schema was given, a simple imitation task requiring no creativity at all.
However, this task is relevant for calibration: the NIRS device records any
brain activities, thus also those related to movements, e. g. the hand operating
the mouse. Data of this non-creative control task has to be compared withthe data of the creative tasks to distinguish between motor brain activity and

-

-

-

creative brain activity.
Task 1 – creative task, requiring a low degree of creativity
Test persons were asked to select the exact same two colors as displayed in
the instruction window for both ends of the array and arrange them with one
color of their choice in the center – according to the given mood schema soft
and warm, soft and cold or cold and hard.
Task 2 – creative task, requiring a medium degree of creativity
Test persons were asked to select the exact same color as displayed in the
instruction window for the center of the array and arrange it with two colorsof their choice at both ends – according to the given mood schema.
Task 3 – creative task, requiring a high degree of creativity
Test persons were asked to choose and arrange all three colors by themselves– according to the given mood schema.

To avoid any influences due to previous tasks, the mood schemata of the tasks
appeared in random order. For each of the three mood schemata there were 30
patterns available in task 1 and 10 patterns in task 2.
Some books were consulted to select the colors of the palette and matchingcolors for the various patterns of task 1 and 2.
4.4. Course of experiment
The participants in this experiment were 14 persons, aged between 24 and 34, allright-handers. 7 persons were educated in design while 7 persons had no training
in design.
The detail of right-handedness and the fact that the test persons had topass the Standard Color Vision Test, to make sure they don’t suffer from color
blindness, are again some examples of influencing factors that need to be taken into
consideration cautiously when conducting an experiment.
The color arrangement tasks were conducted on a computer screen by using themouse. The screen layout of this experiment consisted of 3 parts:-

A palette of 57 colors, defined by RGB values.
The instruction window, where the specific instructions about the current task
were displayed.
The arrangement area, where the test persons should compose their solutionof the given color arrangement task, with a submit button at the bottom.
Additionally, a neutral gray screen with the request to relax was interposed
between each task.
In order to get familiar with the experiment’s tasks, test persons first practiced
27

all tasks in a sample session. In the actual experiment, test persons were given 60
seconds for each task. Each task was followed by a 30 second period of rest (grayscreen). The 4 tasks were clustered into one set and repeated 2 times. The test
screens were operated in an automatic sequence, no matter whether the task wascompleted or not.
4.5. Evaluation and result of analysis
The NIRS device – to put it simply – measures changes in the concentration ofoxygenated hemoglobin (oxy-Hb) in the brain’s blood flow. An increased amountof oxy-hemoglobin indicates an increase in brain activity in that area. Based on thedetected changes, conclusions can be drawn.
In order to make the obtained data comparable, the data of the control task
was subtracted from the data of each creative task: task 1 – task 0; task 2 – task 0
and task 3 – task 0. Then, tasks were compared with each other in pairs: task 1-0
versus task 2-0; task 1-0 versus task 3-0 and task 2-0 versus task 3-0.
The two points of interest in this experiment were whether there are any
differences in the concentration of oxy-hemoglobin between design-trained test
persons and non-design-trained test persons as well as between the 4 tasks due tothe increase of required creativity.
When divided into design-trained and non-design-trained test persons, the dataof the non-design-trained persons generally showed more significant changes inbrain activity than design-trained persons. Furthermore, wider areas of the brainsof the non-design-trained persons were activated while solving the tasks.
When comparing the different tasks, significant differences in all comparisonswere found for the non-design-trained test persons: compared with task 1 andtask 3, more brain activity occurred while performing task 2 – the task requiring a
medium degree of creativity.
For the design-trained persons, in contrast, only the comparison of task 1 versus
task 2 showed significant differences in brain activity with higher activity in task 1 –the task which required a low degree of creativity.
There is another finding that may be interesting. In popular understanding,creativity is assigned to the right hemisphere of the brain, whereas logics are
assigned to the left hemisphere. Scientifically, this description may be inaccurate
or too simplifying. However, significant changes in the concentration of oxyhemoglobin were measured mostly for channels located on the right hemisphereof the participant’s brains. Nevertheless, Nagamori recommends caution on overinterpreting this result.
4.6. Conclusion and conceivable applications
In this experiment – opposite to expectation – changes in brain activity weren’t28

congruent with the stepwise increase of freedom in creativity. Significant
differences in brain activity appeared during solving task 1 (design-trained test
persons) and task 2 (non-design-trained test persons), both tasks require only little
or medium creativity.
So far, the tasks have been described by their degree of creativity, but they canbe characterized by constraint as well: task 1 had the most constraints attached toit and task 3 the least.
Indeed. Three professional designers were consulted concerning this result. In
their opinion, task 1 and 2 had been the most difficult tasks, because starting fromzero is much easier. However, since task 1 requires only one color to choose, it
seems more accomplishable, while task 2 appears really difficult: although twocolors can be freely chosen, they have to be matched with the given one.
Thus, the significant increase of brain activity recorded for the non-designtrained group might be caused by the difficult constraint of task 2. But Nagamori
points out that the data obtained by the NIRS device does not provide information
whether the task was perceived as complicated and challenging.
Nevertheless, design-trained test persons used their brain more efficiently than
the not trained persons. Changes in brain activity were observed in much smallerareas of their brain. Moreover, there was a broad diversity in the way in whichbrain activity changed, and it is therefore likely that each person has developed
individual methods of creative problem solving.
So, why were significant differences in the brain activity of the design-trained
test persons triggered by task 1? A possible interpretation is related to the saying,"Constraint stimulates creativity". Maybe task 1 inspired their ambition to create
something unique from the one color they could choose.
The result of this experiment shows that brain activity during creative problem
solving differs depending on the degree of constraint in the given tasks, and isfurthermore influenced by whether or not a person received education in design.
Creative processes seem to respond to training, and designers develop this kindof expertise. The subsequent difference between design-trained people and nondesign-trained people has to be taken into account when conceiving new strategies
and methods to support creativity. Asking Nagamori about possible uses of thisinsight, he emphasizes that research is still in an early stage, and that further
experiments are necessary. Currently, he is conducting tests with chair-building
tasks using LEGO bricks.
Basic research like this takes time and requires diligence, but it is dedicatedbasic research – without a later application in mind – that can lead to unexpected
insights, inspiration, and real innovation.
In a sense, even though their research was not related, Nagamori’s experimentcomplements the experiment of Mizutani. While Mizutani’s results showed that29

encouraging people to be creative has an energizing effect, his experiment revealed
the expertise of trained designers. This also sheds light on the limits of creative
involvement. Even if we fail drawing a nice picture on a rice cracker, it won’t bea disaster. We just eat it up and no one will ever see it. There is no risk. But thesituation is completely different when it comes to longer lasting products, forexample, bespoke design and customized products. Who wants to exercise in the park
wearing sneakers in mismatching colors?
Customization services have gained notable popularity since they can provide
customers with unique products that fulfill their specific needs and wishes. When
reflecting on Nagamori’s experiment, however, non-design-trained people mightfeel uncertain about the quality of their customized design. Thus, a conceivableapplication would be to offer customization customers a 'design consulting'as an optional service. A designer will have a look at the design preview of thecustomized product, comment on it, and give advice regarding some improvements.
In this way, the customer will feel reassured and happy – even a bit more proud of
his or her own creation.
How creativity and Kansei are linked will be further illustrated by the following
research.

30

32

5. surPrIsInG results: mIho Kyoya’s fIndInG that‘delay Is not necessarIly faulty’

5.1. Inspiring moments
After midnight. Bright beams and booming beats. People move their bodies to themusic. On the walls behind them emerge colors, patterns, pictures and drawings –constantly evolving and changing.
This is the surrounding Miho Kyoya experiences during her activity as a VJ (Visual
Jockey) at clubs. She creates those patterns and drawings, spontaneously inspiredby the sound of the music and the atmosphere of the evening.
There was it again! From time to time she notices a funny sound effect. She starts
to anticipate that sound and snaps her fingers when she expects it. Where doesit come from? From the computer equipment, yes, but this sound is somehow
delayed, can’t be related to a certain process…
In Kyoya’s mind, her knowledge and her experiences on music, sound, rhythm,
grove, interaction, and joy get connected, and a subconscious process starts.
Back to daylight, Kyoya returns to her studies at the University of Tsukuba.
Design, interaction, and usability are the topics she addresses for her graduation
thesis.
In interaction design, feedback sounds are a common method to improve theusability of man - machine interfaces. A feedback sound reassures the user thatthe application has performed the intended action. However, to avoid confusion,
the feedback sound ought to be triggered as immediately as possible, to beunambiguously connected with the action. Studies have shown that a delayed
feedback sound decreases learning performance and increases stress.
Is that really so? Under all circumstances?
Kyoya begins to question that and wonders whether there are conditions thatsuspend this usability principle. Like this sound effect she experienced in the club.
That time, she didn’t feel any stress at all. She tries to recall the characteristicsof this sound. Its delay was somehow… matching the rhythm of the music… likeputting an accent on the backbeat.
Rhythm has a strong physical effect. The human body responds to a rhythm withthe synchronization of its movements. We all have experienced it: when listening tomusic, we often spontaneously start to tap our feet or snap our fingers.
Why shouldn’t this powerful mechanism affect usability in some way, too? Andso, encouraged by her supervisor Assistant Professor Uchiyama, Kyoya pursued thefollowing experiment for her graduation thesis.
33

5.2. Experiment setup
Kyoya chose a computer game to examine how the timing of a feedback sound incombination with background music influences the usability.
Game The game used in this experiment is a simple Pong-type game, inspired bytable tennis. Players move a paddle right or left to bounce a ball. Here, the paddle
was controlled with the left and right cursor keys.
Sound of the game The background music of the game was in the manner of a
metronome, pulsing at 100 beats per minute (bpm). The ball’s speed correspondedwith these beats at a moderate tempo.
When the paddle hit the ball, a sound was triggered as feedback.
Delay of the feedback sound The same game was tested with 4 differently delayed
feedback sounds:
Game A: No delay of the feedback soundGame B: 100 mSec – little delay of the feedback soundGame C: 300 mSec – medium delay of the feedback soundGame D: 500 mSec – huge delay of the feedback soundThe feedback sound in game A adds an accent on the downbeat while thefeedback sound in game C adds an accent on the backbeat of the background music– they both were matching the rhythm. The feedback sounds in game B and D
weren’t matching the rhythm of the background music.
5.3. Measuring methods
To measure the objective usability of each game, the scores were recorded.
In order to obtain subjective information about the usability, a 10 item 5-point
semantic differential questionnaire was developed.
First, a great number of terms were collected from books about usability andcomputer game magazines. These were then reduced to the 10 most relevantterms concerning a Pong-type game – by using the KJ-method (a context-oriented
structuring method developed by Jiro Kawakita). The 10 terms were: "easy" （簡単）, "I can immerse myself in the game" （没頭できる）, "is thrilling" （スリルがある）, "no feeling of discomfort" （違和感がない）, "originalg” （斬新）, "showsclass" （センスがある）, "pleasant" （快適）, "familiar" （親しみやすい）, "goodtempo" （テンポがよい）, and their opposite terms.
5.4. Course of experiment
30 test persons – all university students, 12 men and 18 women – participatedin the experiment. They played all of the 4 different games several times, andall scores were recorded. After playing each game, each test person filled in the34semantic differential questionnaire.
5.5. Evaluation and result of analysis
At first, to assess statistical significance, an Analysis of Variance (ANOVA) of theobtained data was carried out.
High score The game in which the test persons achieved the highest averagescore was game C – the game with the second longest delayed feedback sound,followed by game A – the one with the undelayed feedback sound.
Questionnaire To evaluate the semantic differential questionnaire, additionally,
a Principal Component Analysis (PCA) was run on the data. Principal Component
Analysis distils complex data into a fewer relevant main elements, the principal
components.
According to PCA, 4 items of the questionnaire – "no feeling of discomfort" （違和感がない）, "pleasant" （快適）, "familiar" （親しみやすい）,and "good tempo" (テンポがよい) – can be subsumed under the term "usability" （操作性）. The best results concerning usability showed game A. Among the gameswith delayed sound effects, game C was rated the most easy to operate.
Another principal component emerged, "excitement" （ドキドキ感）,
in which the item "original" （斬新） is comprised. Here, when comparing thegames that match the rhythm of the background music, the one with the delayed
feedback sound (game C) was judged better than the one without delay (game A).
5.6. Conclusion
Despite the fact that the feedback sound in game C was the second longest delayed
one of the experiment, game C shows the best overall result, objectively andsubjectively. Players achieved the highest scores, it was exciting, and ranks in thesecond place concerning usability.
Delay is not necessarily faulty, on the contrary, the delayed sound effect here,
matching the rhythm of the background music, provided an emotional enhancementthat led to an even better performance of the test persons playing this game. It
added a unique value to the game – an effect that can be used for other suitableapplications as well.
This finding is also particularly interesting since it is technically difficult toexactly synchronize an operation with a feedback sound. Delay shouldn’t beperceived as merely a technical malfunction: put into the right shape, delay can bepart of an intelligent design.
So, all in all, we can call this surprising and useful result the Kansei way of solving a(technical) problem.

35

6. enhance KanseI value

Kyoya’s research appears like a storybook example, she transformed a personal
Kansei experience into successful Kansei research. This triggers the question how
to generate valuable Kansei research ideas in general?
Professor Yamanaka suggests to seek out experiences that are as rich as
possible, broadly – from manifold areas – and deeply – with as many details as
possible. To explain how to handle them, he likes to use the metaphor of a "drawercabinet" in which these experiences are gathered and stored. "But don’t put eachexperience in a 'drawer', label the 'drawer', and then close it – keep it open, keep
the contents connected!"
And this is what Kyoya did. She experienced a delayed sound effect that was
not disturbing. It happened during her VJ activity at a club, not at university while
studying – this refers to seeking broadly. She put this experience in a "drawer",which means she consciously dealt with it as something worthwhile remembering.
Maybe she also "stored" other details she noticed, like "that sound was somehow
matching the rhythm of the music" – this refers to seeking deeply. Due to her
studies and other interests, the "drawer cabinet of her mind" is already filled witha lot of knowledge, many other ideas, thoughts, and experiences. Luckily, thesetting of this "cabinet" allowed a creative process to start. Creative processes arecharacterized as free unrestricted thinking processes in which various information– the content of the "drawers" – becomes connected in an unusual, even rulebreaking way. These new associations incubate new thoughts and ideas. This ismeant by "keep it open", to enable this kind of process. It is a Kansei process,creative processes are – as mentioned above Kansei tied processes. We are notaware of this process, Kyoya wasn’t as well. But when it has ended, she pulled out
some "items" from different "drawers" and formulated her research idea. She felt
and knew that it is a good idea, that there is something worthwhile exploring.
Many Kansei experiences may not reach this state and are not processed further
by creative thinking. They are given no consideration because they seem too
personal, neither significant to a larger group, nor to mention applicable to mass
marketed products. But who knows? Although it is a bit like digging for gold, relying
on one’s own Kansei experiences – however unconventional they may seem – andkeeping them accessible for subconscious inspiration processes is key to enhancethe value of Kansei Research.

37

38

7. 'beacon' – an Interface for socIo-musIcal
InteractIon

The above research was the theoretical part of Kyoya’s graduation thesis. Although
the result turned out to be very promising, she didn’t design a computer game orother suitable software application using this effect of delay. Nevertheless, her
practical graduation work is also about feedback sound and music, taking it to a
new stage: the feedback sound itself becomes music. Assistant Professor Uchiyama
and Assistant Professor Kenji Suzuki (Department of Intelligent Interaction
Technologies) supervised the project. Its result, 'beacon', is a unique music
instrument that is currently getting attention at international exhibitions.
7.1. Scenario with 'beacon'
Let’s have a look what could happen at these exhibitions.
Peter was sitting on a bench in the exhibition hall and felt so frustrated. On oneof his favorite internet sites he read about this exhibition which featured manyelectronic gadgets and devices, digital music instruments and computer games– all the things Peter was interested in. He spent almost all his spare time after
school on making music on his computer or playing games.
The exhibition was quite popular, and although visitors were allowed to try andexperience everything, Peter hadn’t a chance to check out a single exhibit. People
were shoving and pushing – and he just couldn’t assert himself.
In a darkened part of the room was a boy moving back and forward around asilvery cylindrical-shaped device. It was emitting a rotating red laser beam. Everytime the beam hit the feet of the boy, a sound was generated. The pitch varied
depending on the distance to the center, nearer produced lower tones, remoter
produced higher tones.
Peter watched the boy explore this device. He put his feet lengthwise into thebeam and created a legato-like sound. Next, he turned his feet, the toes towards
the device in the center and caused staccato-like sounds.
Then, while the boy stood there with his legs apart, it happened that a visitor
passed by, and his foot was hit by the laser beam in the exact moment between
when each of the boy’s two feet were hit. A nice chord played: low – high – low.
The visitor didn’t notice it, but the boy was inspired and tried now to play similar
chords, stretching out his hand to the floor in order to trigger additional sounds.
His attempts looked really funny and when he suddenly lost balance and fell down,Peter couldn’t help laughing out loud. The very next moment he put his hand over
his mouth, upset and embarrassed.
The boy turned towards him. Peter looked down to the floor, avoiding his angry
glance.
“Stop laughing and play with me! Together we can create harmony.”
Me??? Peter raised his eyes. The boy was not angry. Friendly?
39

“Come on!” he insisted.
Slowly, almost hesitantly, Peter approached closer. He placed himself at theedge of the radius, and when the beam came around, he heard two high tones.
The boy adapted his position to Peter’s, and the next beam played a chord.
“Not bad,” he said and took a step back to try another configuration.
Soon Peter also wanted to try more. First he changed his positions, then hestarted to interact with the boy, and before long they were jumping and dancing
around the device.
Other visitors were attracted by their lively playing and gathered around them.
Some of them joined in the fun, intuitively understanding how it worked.
But suddenly Peter was baffled by his own courage. “I have to go now!” he said
and left.
On the next day, Peter went to the exhibition again. He hoped that there werefewer people today and he could look at the objects undisturbed.
“I’m so glad you came!”Peter turned around. There was the boy again. He pulled a bunch of chewing
gum packages out of his pocket, “I’m Martin. I thought to build a kind of musicalclock playing a real melody… You know, with this device. The packages are the’spikes’…”
Peter was too surprised to say anything.
“I can get more of these… My mother owns the kiosk in the basement.” Martin
was a bit confused by Peter’s silence. “The flea waltz! It’s easy!”Peter slowly nodded. They sat down on the floor and started placing some of
the chewing gum packages within the radius of the device. When the laser beam
came around, they carefully listened, moved the packages, and waited for the next
beam, adjusted and checked, adjusted and checked. After a while of doing so, thefirst bars of the piece took shape, and finally the famous tune was vividly played.
Hand clapping and cheers. “Hey, you guys did an awesome job!” Totally
immersed in their play, they didn’t realize that some visitors were watching them,fascinated by their idea.
Martin smiled at Peter, “Will you come again tomorrow? The exhibition runs
until next Sunday. I can’t wait to try more things with this device.”Peter also smiled. … “Yes.”
7.2. What is 'beacon'?
'Beacon' is a completely new device and difficult to categorize. Certainly, 'beacon'
is a full functional music instrument with major, minor, and chromatic scales
available as well as Japanese, Chinese, Indian, and other scales, also it has a builtin synthesizer that allows setting of various timbres, from piano to percussion.
However, to call it simply a "digital music instrument" wouldn’t live up to its entire
potential.
As Assistant Professor Uchiyama suggests, "physical" is an important keyword.
Making music has become more and more digital, composing and sampling all alone
in front of a computer, hardly moving. But not so 'beacon'. Its rotating beams –their number can be set from 1 to 4 – encourage people to use their whole body,40

to jump and dance, in order to play a melody… encourage to explore this new
device, to be curious and creative, to find new ways of playing it… and encourage
people to join in, to cooperate with each other, to play and perform together.
The dancers are the musicians, and the musicians are the composers – andtogether they are a team.
And so, 'beacon' can also illustrate a remark by Professor Yamanaka, "Design anopportunity for communication – not the button of a so-called communication
device!" He would like to see more designs that go beyond the basics of style andfunctionality, that focus also on the quality of communication itself and provide
situations in which people can enjoy each other’s company.

41

8. shIho naKamorI’s eye-beam Project: from ananalysIs devIce to a communIcatIon devIce

New devices beyond current categories are nothing unusual for the Laboratoryof Kansei Information Science at the University of Tsukuba. 4th year doctor
course student Shiho Nakamori is also setting off on an unprecedented piece ofequipment, evolving around the eye’s gaze, loops of communication, and tacitknowledge. The project, pursued by interdisciplinary teamwork, illustrates theprocess of a substantial Kansei research in order to craft an innovative design.
8.1. Inspiring moments
Three experiences and moments of inspiration respectively are crucial sources of
the idea:--

Over the years of studying, Nakamori has gained expertise in using eyetracking methods for Kansei experiments. She observed the path of eyemovement – where the eyes fixate, where they move to – e. g. when peopleview representational art and non-representational (abstract) art, or theoriginal work and its reproduction.
As part of her studies, Nakamori attends many lectures and presentations.
In these presentations, the lecturers often show pictures and refer to somedetails in them, explaining important topics. However, even if the lecturer uses
a laser pointer, Nakamori sometimes experiences a feeling of uncertainty:
Did I get it right? Is the detail I look at really the one the lecturer talked about?

-Also, Nakamori’s attention was captured by media art, games, productsystems, etc. that use psycho-physiological measurement devices beyond
science and medicine.

These three quite different occurrences are not directly related, but Nakamori
connected and shaped them into the following idea:
If psycho-physiological measuring methods are applied to artworks, then why not
apply them to design? … Out of all these measuring methods, why not use eyetracking? … Maybe, gaze-position and eye-movement data can be transformed
into easily comprehensible information that improves communication … To convey
more of the speaker’s knowledge and thinking to the audience … Or in othersituations as well … Isn’t there that Japanese saying, “The eyes are more eloquent
than the mouth （目は口ほどにものを言う。）”?

43

8.2. From idea through research to design
Nakamori’s idea is both an experienced problem and a starting point for a solution,
raising a lot of questions:-

What characterizes the interaction process with a psycho-physiologicalinformation device?
In what way can the visualization of eye-tracker information change
communication?
What is conveyed by gaze-points and eye-movement? Can it reveal too much?
What kind of information is appropriate, useful, and effective?
How do people interpret eye gaze locations? Are they certain about theirunderstanding of it?
Does it promote discussion and information exchange?
What do people think about other people whose gaze points are conveyed?
…

To tackle these questions, Nakamori is pursuing several surveys and experiments.
Based on the findings and inspiration gained in this process, she will start to design
a communication tool. Her research is still in progress. The results and conclusions
so far will be described in the following section.
8.3. Analysis of 25 psycho-physiological information devices
At first, Nakamori analyzed the process structure of action and reaction in various
media artworks and product systems that use psycho-physiological measurement.
Through internet search, she gathered 25 devices. Among them were forexample 'Wave UFO' by Mariko Mori and 'Mindball Game' by Interactive
Productline AB, both using brainwave data (EEG, Electroencephalography).
In 'Mindball Game', for instance, the objective is to "move" the ball into the
opponent’s goal by being more relaxed. Therefore, the player’s alpha- and thetabrainwaves – which indicate relaxation – are measured by electrodes in a headband.
Connected to the interactive play table, this data makes a ball on the table top
move like magic.
8.3.1. Method
The DEMATEL (DEcision MAking Trial and Evaluation Laboratory) method
was used to analyze the interaction process of the 25 devices. DEMATEL is a
structuring method that provides a visual model of cause-effect relationships
among the components in a complex system, including the intensity of these
relations.
44

8.3.2. Result
By analyzing the information devices, the DEMATEL model extracted twelve stagesof interaction that repeat in a loop/spiral pattern. But not all devices show all
twelve stages, the most frequent sequences of interaction are:-Users try to control themselves > a psycho-physiological reaction occurs. In the'Mindball Game', for example, the attempt of the players to relax results in abrainwave change.
A psycho-physiological reaction occurs > feedback is produced by the device. In the'Mindball Game', again, a brainwave change will cause the device to move theball.

Hence, the most common loop of interaction can be characterized as a processof think > result > realize > (re-)think. "(Re-)think" marks the start of the next loop,
whereby the result of one cycle is the cue for the next. This continuing loop/spiralprocess can be illustrated by 'Wave UFO'. Three at a time visitors are invited
to take a seat inside the UFO-like cabin. They have electrodes attached to theirforeheads which gather brainwave data. Based on this data, computer generated
imagery is projected into the dome of the 'Wave UFO'. While the visitors look at
it, they respond by becoming excited or calm, which implies a change in their brain
activity. This, in turn, will instantly transform the projection. And so the imagery
constantly changes.
8.3.3. Conclusions
A striking detail is that none of the twelve stages in the interaction process of theanalyzed devices reveals any information about the underlying thinking process. We
can only perceive visible feedback, but not the actual cause which led to the change.
From her experience with eye-tracking systems, Nakamori assumes that the useof an eye-tracker would offer the possibility to externalize a part of the thinking
process. Eye-tracker information is tacit/implicit information, it conveys what aperson almost unconsciously looks at. Its simplified visualization could therefore
provide hints to understand the result.
8.4. Questionnaire survey on communication in group discussions
As a next step, Nakamori wanted to find out more about the relevant aspects ofgroup discussions and possible effects of eye-gaze visualization. She decided tostart with conducting a questionnaire survey, an effective way to obtain data frommany people and gain initial insights. The results will provide clues for the next
step: to conduct a more complex experiment with a small number of test persons –this step-by-step approach is a common research procedure.
45

8.4.1. Questionnaire form
The questionnaire consisted of two parts. Both parts contained multiple choice andfree response questions:-

In the first part, the participants were asked about their experience of andattitude towards group discussions, what role do they usually take in a group
discussion, what do they care about, etc.?
In the second part, a group discussion situation was simulated. To be exact,a meeting at the beginning of a design project during which team memberspresent their ideas. The questionnaire contained 6 different photographs,
and participants were requested to regard them as discussion material forthe meeting. 3 of the photographs were unmodified while in 3 others thepresenter’s most looked-at area of the picture was indicated with a red circle.
For each of the 6 pictures, participants were asked whether they can anticipate
the idea of the sender, whether they are interested in the idea and the senderitself, whether their own thoughts about the picture seems to coincide withthe thoughts of the sender, and how they rate the picture itself.
The circle, indicating the eye-gaze, was placed randomly on the pictures.
Also, the order of the 6 photographs in the questionnaire was random.
For comparison purpose, both versions of each photograph – with andwithout eye-gaze indication – were evenly represented in the questionnaire,
determined by a distribution pattern.

8.4.2. Evaluation and result of analysis
Nakamori obtained data from 89 questionnaires, filled in by university students
with experience in group discussions – 40 men and 49 women of an average age of
22 years.
8.4.2.1. Relevant aspects of group discussions
Roles The majority of the participants, 41%, takes the role of a "listener" （聞き役）, followed by the role of a "director" （問題を指摘する役）, who points toproblems/questions, with 24%. Other roles were "energizer" （盛り上げ役）, who
encourages the discussion, with 16%, and "leader" （リーダー役）, with 14%.
Attitudes Almost two thirds of participants, 63%, made statements about what
they pay attention to in group discussions. Nakamori analyzed these free response
statements in three steps:
46

Extraction of 97 morphemes from all responses. Morphemes are the smallest
units of language that have semantic meaning. They can be independent words

--(nouns, verbs, adjectives), but also affixes like "un-" or "-able" in English. Thesemorphemes are necessary for the next step.
Generate a network-like 'Keygraph'. 'Keygraph' is a technique to visualize therelationships among keywords in complex text-based data. First, the frequentmorphemes/words are collected and placed within the graph’s space. Then,
those terms that frequently co-occur in the sentences of the data are linked
with each other. And finally, the less frequent words are included.
The 'Keygraph'-network of this research showed two clusters. A huge one
with the terms "speak" （話す）, "participation" （参加）,and "understanding" (理解) in the center, and a very small one comprising"dispute" （喧嘩）.
Identification of relevant statements. The terms with the most links are"speak" （話す）, "everyone" （全員）, and "participation" （参加）. However,they merely describe the general concept of a group discussion. To discover
more relevant statements, those terms with less links were gathered andcounted according to their frequency of occurrence in the text responses. The
most numerous term was "not reject (an opinion)" （否定しない）, followed by"listen" （聞く）.

To sum up, the attitudes towards group discussions can be described as follows:
participants want to respect the opinions of others and understand the others’
points of view and intensions.
Since all participants in this survey have a background in art and design and arefamiliar with brainstorming, Nakamori assumes that the result is possibly influenced
by the rules of this technique, i.e. not to criticize and dismiss any expressed idea.
8.4.2.2. Possible effects of eye-gaze visualization
The data of this part was standardized and analyzed by a two-factor ANOVA(Analysis of Variance): 1. the gaze point (indicated / not indicated) and 2. thephotographs (6 conditions).
The questions and results of the second part can be grouped into four sections.
Understanding – "Can you imagine or anticipate the idea of the sender?" – There
was no significant difference between photographs with and without eye-gaze
indication concerning the understanding of the sender’s idea.
Interest – "Do you want to know more about the idea of the sender, about theperson itself? Do you want to know why the sender chose this picture?" – The
overall interest in the sender decreases significantly for pictures with eye-gaze
indication.
Relationship between the thoughts of the sender and the receiver – "What do you
think the sender thinks about the picture? What do you think about the picture?
47

To what extent are these thoughts similar?" – Participants regarded their own
thoughts about the photograph as more similar to the sender’s thoughts when thephotograph had no eye-gaze indication.
Rating of photographs – "Are you interested in the photograph itself? Do you likeit?" – The ratings of the photographs differed depending on the scene. However,
pictures with eye-gaze indication were generally rated lower than those without.
Nakamori assumes that the red circle may be perceived as disturbing and plans torevise the design.
The evaluation of the free responses is expected to provide more detailed
information when analysis is complete.
8.4.3. Interim conclusion
Eye-tracker information can be assumed to convey additional information. There
are two evidence points that support this hypothesis:--

Literally confronted with another person’s "point of view", participantsreceived information that made them realize the diversity in thinking andperspective. Being aware of this, they can’t proceed on the assumption that
their own thoughts are similar to the sender’s thoughts.
Decreased interest means that some information has already been exchanged.
Take the simple example of your favorite magazine. First, you are very excitedand interested in the new issue. You browse through the pages to get a first
impression – and the initial excitement has decreased. After you read thecover story, your interest in the magazine starts to fade. The next days, youread other articles – and then the magazine is lying on the coffee table, before
it gets archived.
Of course, communication between people is more complex and dynamic,
however, the example illustrates that the more we receive information froman information source the less our interest in the information source becomes.
Consequently, when pictures with eye-gaze indication reduced the interest in
the sender, i. e. the information source, we can conclude that they can convey
more information than pictures without eye-gaze indication.

8.5. Application scenario
Although research is still in progress, Nakamori already has a possible applicationin mind. Nothing concrete, to avoid being biased in interpreting research results,
but nevertheless, eye-tracker information seems to be advantageous in the areaof telecommunication. The possibility to exchange tacit information – in addition
to the explicit information – can, for instance, enrich the communication andcollaboration of geographically distributed project team members.
48

Let’s imagine how an eye-tracker augmented teleconference would be like. The
imagined device in this scenario provides not only information about gaze points
and eye-movement, but also about emotional attitudes, based on the pupil size.
A widened pupil indicates interest and attraction, whereas a contracted pupil canbe a sign of disgust and rejection. Nakamori is also considering this function as an
option.
A reminder pops up on Jane’s computer screen, “14:00 - Tele-meeting with Petra.”5 minutes to go. Jane plugs in her headset and turns on the ‘EyeBeam’device, located below her computer monitor. Then she starts the ‘EyeBeam’teleconference software and drags the design renderings into the main window of
the interface.
“Hi Jane, how is country life going?” Petra appears in the webcam window.
“Hi Petra, I am wonderfully busy with my garden. It’s so inspiring!”“Indeed, it seems like that. I’ve already had a look at the designs that you’ve
sent and was quite impressed.”
A window pops up, “EyeBeam-system now ready.”“Ah, here we go!” Petra can now also view the renderings: refillable bottles for awater dispenser system. The activated ‘EyeBeam’-system keeps Jane’s and Petra’s
screens synchronized to each other. It continually measures gaze-position, eyemovement, and pupil size of the dialog partners and generates the corresponding
feedback information visible on their screens. That’s why Jane can see theappreciation before Petra expresses it, “In my opinion, the designs in the upper
row, the one in middle, and the one on the right, really communicate the messageof the product. Each in their unique way. And I also think that the design on theleft has potential, but…”“Ok, let’s zoom in.”“Particularly, the part of the bottle neck needs some improvement.” While
Petra is speaking, the ‘EyeBeam’-system on Jane’s monitor displays red markings
overlaying the bottle neck. “Red” signifies negative feelings and disapproval.
Jane clicks the right mouse button and additional areas become highlighted,
representing those gaze points that are close related to the most looked-at area.
Jane thinks for a moment, then she proposes, “How about some changes in the
proportion of the bottle neck and the edge of shoulder and body? It’s not reallywell balanced there. What do you think, Petra?”“Ah, you are right. It is difficult to perceive it as a unit. Could you please try
that?”“Sure.”“And now for the presentation,” Petra zooms out again until all renderings
are visible, “I want to generate rapid prototyping models of the two bottles that I
49

mentioned at the beginning, and one of the revised designs.”“Ok. What about the bottle below on the right? I receive positive signals at thebottle’s bottom…”“Oh! … That was an instant message…”
Jane laughs, “Hey, hey, so much positive feedback… A date tonight?”“You have a fertile imagination, Jane! … Sorry for the interruption, but now
back to the presentation! Can you have the new renderings done by the day after
tomorrow? By then, at the latest, we have to run rapid prototyping.”“I’ll do my best.”“Otherwise we present the renderings, no problem!”“The meeting is next Tuesday. At what time do you want me to come?”“Clients arrive at 11 o’clock, how about half past nine?”“Fine, but I haven’t been to the new office yet. Can you give me the directions?”“Oh, yes, of course!”Petra drags a map in her main window. “Actually, it is very
easy to find! Take the West exit of the station, go right and follow the main street
until you reach the Post Office, turn left…”“Petra? Do you take this route?”“Um… no! Why?”“There is a positive feedback hitting the area along the river.”“Hey, that’s true! I prefer to walk along the river. The directions are not thateasy to understand, and it takes a bit longer, but it is really lovely. There are shadytrees and it’s much quieter...”“Nice! I will try this route.”“You will love it, I’m sure!” Petra describes her alternative route to the office.
“But Petra, actually, I wonder if it wouldn’t be better to communicate with theclients by using the ‘EyeBeam’-device... It works great, don’t you think?”“You are kidding! Do you really think it’s a good idea? What if they find out thatyou don’t like their tie?”
Certainly, the most challenging part is to design an interface that provides a guiding
framework to interpret the conveyed eye-tracker information appropriately.
Receiving feedback about another person’s thoughts is a completely new way ofinteraction, something that we have to learn to deal with. It requires openness toanother person’s opinion and also being open to the criticism of one's own ideas.

50

9. KanseI and tacIt KnowledGe

9.1. Kansei and tacit knowledge
In the previous passage, a particular expression – tacit knowledge –has emerged several times. The term comes from "tacit knowing",
a concept developed by Michael Polanyi, a Hungarian-British scientist andphilosopher (1891 – 1976). In his book The Tacit Dimension, he describes a situationthat resembles Nakamori’s experience mentioned above. A lecturer, a teacher
can tell his knowledge "only by relying on the pupil’s intelligent co-operation for
catching the meaning of the demonstration." Both, the student and the lecturer
experience a feeling of uncertainty, ‘Did I get it right?’ and ‘Did they get it right?’
respectively. In the act of defining and pointing to an external thing remains "a gap
to be bridged by an intelligent effort on the part of the person to whom we wantto tell what the word means. Our message had left something behind that we could
not tell, and its reception must rely on it that the person addressed will discoverthat which we have not been able to communicate."
Lecturers are experts in their subject, why can’t they communicate theirknowledge completely? Basically, there a two kinds of knowledge:-

Descriptive/explicit knowledge = think, plan, independent
Tacit/implicit knowledge = feel, aware, interrelated

Our tacit knowledge contains a lot of useful and important information – ideas,
thoughts, feelings, memories, experiences, know-how about using tools, skills of
pattern recognition, etc. But since synonyms for tacit are "unspoken", "unstated"and "implied", we sometimes just can’t find the right words to express this kind of
information. Tacit knowledge is not necessarily unconscious, we are aware of manyof its contents, but it is difficult to properly describe them. Polanyi puts this in anutshell, "We can know more than we can tell."Nevertheless, tacit knowledge can be shared – and Kansei processes
substantially contribute to make communication of tacit knowledge possible.
Professor Yamanaka describes three ways of exchanging information with theenvironment:-

The descriptive/explicit knowledge – consisting of words and numbers –is communicated by explaining and understanding its logically structured
information
The previous way can also be used to communicate tacit knowledge –indirectly: Descriptive knowledge and tacit knowledge are not separated
from each other, they are interconnected by internal Kansei processes.
These Kansei processes work on the transformation of tacit knowledge into
descriptive knowledge. Once made explicit, it can be explained and understood.
51

-

Examples for these processes are the moments of inspiration when we areconvinced of an idea – like Miho Kyoya's delay research.
The way to directly convey tacit knowledge involves, again, Kansei processes:
They express implicit information in a cognizable form that can be received from,for example, the experience of interacting with each other or the impressionof music, literature, art and design.
The 'EyeBeam'-device will function like a Kansei process of this kind. Itsvisualization of implicit information creates an expression that is experienced
and recognized by the dialog partner. In this sense, it will be a true Kansei
communication device.

9.2. Asobi
Nakamori’s Kansei device seeks to bridge the gap in communication by also
providing tacit knowledge. However, we don’t need to be afraid of this gap. On thecontrary, we should come to appreciate it. Professor Yamanaka likes to call thisgap asobi – "play". He encourages allowing the recipient to interpret our message
in another way and allowing the message to deviate from its original form. Asobi
doesn’t want to be definite, it wants to leave room for developing thoughts, and it
is curious about this process.

52

10. closInG remarKs

Kansei processes are something we have all experienced, but yet Kansei is often
difficult to explain – paraphrasing Polanyi, we understand more than we can tell.
Besides providing basic information about how to do research on Kansei, thispaper tried to sketch the relationship between Kansei Research and Design byaddressing both, the descriptive and the tacit knowledge, with simple and clear
explanations alternating with narrative passages and storytelling.
A mix of these two components is also worth considering for design. Most
products are "programmed", are explicitly defined in every detail – from practical
functions to semantic aspects. However, people will perceive and use the products
also with their tacit knowledge in an indefinable way. A challenge that many
products will fail, causing disappointment or even annoyance.
Therefore, Professor Yamanaka is certain that design offices and productdevelopment departments of companies will increasingly require experts who
understand what is going on in the hearts and minds of humans and can apply thisto design projects. Kansei Research offers inspiration as well as important scientificevidence about human behavior. Its objective data can help to explain and justify
unconventional design decisions.
As long as there are no alternatives available, we resign ourselves todisappointing products – and therein lies the opportunity: A product that canconvincingly deal with the complex inner processes of the user – Kansei – will
become more successful, because it is more valuable.

5311. bIblIoGraPhy

1. IntroductIon“cololo” is an One-bit communication device designed by M. Hoshikawa,
advised by F. Ogaki, T. Uchiyama and K. Suzuki, 2008
K. Suzuki; 1bit Signal Communication, Institute of Electronics, IEICE Technical
Report, 105(564) pp.49-50 2006
P. Levy, S. Nakamori, T. Yamanaka; Explaining Kansei Design Studies,
Proceeding of the Design and Emotion Conference, 2008
P. Levy, T. Yamanaka; Towards a definition of Kansei, proceeding of the 2006
Design Research Society International Conference, Wonderground 2006,
Lisbon, 2006
T. Yamanaka, P. Levy; Kansei Science and Kansei Value Creation throughKansei, Behavioral and Brain Sciences, Cosmetic Stage vol.4 No.3, pp.1-11,
2010

2. GettInG started: ‘Playful food’N. Mizutani, M. Okamoto, Y. Yamaguchi, I. Dan, T. Yamanaka; Package images
modulate flavor perception of fruit juices, Chemical Senses (submitted).
N. Mizutani, T. Yamanaka; Effect of drawing and seeing pictures on food on
conversation and feeling, 4th Spring Conference on Kansei Engineering, Japan
Society of Kansei Engineering, 2008

3. measurInG K anseI
H. Ogino, Y. Nagamori, T. Yamanaka; The Effects of Unconscious Intermediateon Behavior and Mind in Communication in the Case of “Tea”, Congress ofInternational Association of Societies of Design Researches, 2007
L. Shi, S. Nakamori, T. Yamanaka; Comparing Effects of User’s Kansei Excitedby Color Information of Interface, Kansei Engineering International Journal vol.
9, No.1, 200955

N. Kang, T. Yamanaka; Behavioral Characteristics while Searching Information
thanks to Tangible Media - Kansei Evaluation and Behavioral Analysis on
E-Paper, Paper and Touch-panel -, proceedings of the 2006 Design ResearchSociety International Conference, Wonderground 2006, Lisbon, 2006
O. Tomico, E. Karapanos, P. Levy, N. Mizutani, T. Yamanaka; The Repertory
Grid Technique as a Method for the Study of Cultural Differences,
International Journal of Design, Vol 3, No 3, pp.55-63, 2009
P. Levy, T. Yamanaka; Kansei Studies Description and Mapping through Kansei
Study Keywords, Kansei Engineering International Journal vol.8, No. 2, 2009
T. Yamanaka , O. Tomico b, N. Mizutani, T. Yokoi, Y. Cho and and P.
Levy; Combining Kansei-Physiological Measurements and ConstructivistPsychological Explorations through the Repertory Grid technique,International Symposium on Emotion and Sensibility, 2008
T. Yamanaka, K. Tamura; The relationship of environment to communicationin case of ‘Tea-friend’, Journal of the Asian Design International Conference
Vol.1, G-03, 2003

4. usInG near-Infrared s PectroscoPy
Y. Nagamori, M. Nakajima, T. Yokoi, T. Yamanaka; Analysis of the Brain
Activity at the Chair Design Task with Lego Blocks,
Journal of Japan Society of Kansei Engineering vol.9 No.1, pp.51-60, 2009
Y. Nagamori, S. Nakamori, N. Mizutani, T. Uchiyama, T. Yamanaka; The
Analysis of Brain Activity in Creative Tasks -A Case Study of Color
Arrangement Task-, 3rd Spring Symposium of Japan Society of Kansei
Engineering B12, 2007
Y. Nagamori, S. Nakamori, N. Mizutani, T. Uchiyama, T. Yamanaka;
Measurement of Cerebral Blood Flow at Creative Activities, PROCEEDINGSOF THE 54TH ANNUAL CONFERENCE OF JSSD, Japanese Society for the
Science of Design, 2007
Y. Nagamori, K. Kakiyama, A. Harada, “A Trial of Interface Evaluation byKansei Information Extraction Using Face Recognition System”, Proceedings of56

International Design Congress 2005 CD-ROM (8 pages) 2006

5. s urPrIsInG results: mIho Kyoya’s fIndInG that ‘delay Is notnecessarIly faulty ’T. Uchiyama, M. Kyoya, S. Nakamori; EFFECT OF TIMING OF SOUNDFEEDBACK ON OPERATION PERFORMANCE, Journal of Japan Society ofKansei Engineering vol.8 No.2, pp.749-758, 2009

6. e nhance K anseI value
P. Levy, T. Yamanaka; Interdisciplinary Workgroup Methodology Based on
Intuition -Application to a Communication Tool Design Based on Kansei
Information Approach-, Journal of Japan Society of Kansei Engineering Vol. 5
No. 4, pp31-40, 2006

7. ‘beacon’ – an Interface for socIo - musIcal InteractIon“beacon” is an Embodied Sound Media Environment for Socio-MusicalInteraction, Designed by M. Kyoya, advised by T. Kamatani, T. Uchiyama and K.
Suzuki, 2008
K. Suzuki, M. Kyoya, T. Kamatani, T. Uchiyama; “beacon: Embodied SoundMedia Environment for Socio-Musical Interaction,” Proc. of 8th Intl. Conf. on
New Interfaces for Musical Expression (NIME2008) pp.360-361, Genoa, Italy,
2008

8. s hIho naKamorI’s eye - beam Project: from an analysIs devIce to
a communIcatIon devIce

F. Shuto, T. Horaguchi, N. Ohshima, S. Inoue, S. Nakamori, T. Omuka, T.
Yamanaka, S. Hisano; Intuitive Prefrontal Brain Activity while Appreciation
Application of Representative and Abstract Paintings, Third Spring Conferenceof Japan Society of Kansei Engineering E45, 200757

N. Mizutani, S. Nakamori, Y. Nagamori, Y. Mihaji, N. Saito, T. Yamanaka;
Fundamental Funermental Research on Application to the UnconsciousInterest of Users -2-, 54th Conference of Japanese Society for the Science of
Design G06, 2007
S. Nakamori, S. Lee, T. Yamanaka; The trial research in physiology Index toobjectively evaluate the activity of KANSEI about impression, Third Spring
Conference of Japan Society of Kansei Engineering C21, 2007
S. Nakamori, N. Mizutani, Y. Nagamori, Y. Mihaji, N. Saito, T. Yamanaka;
Fundamental Funermental Research on Application to the UnconsciousInterest of Users -1-, 54th Conference of Japanese Society for the Science of
Design G06, 2007
T. Horaguchi, F. Shuto, N. Oshima, S. Inoue, S. Nakamori, T. Omuka, T.
Yamanaka, S. Hisano; Prefrontal activity while appreciating abstract andrepresentational paintings: A NIRS study, Neuroscience Research(0168-0102)
vol.55 Suppl.1 PageS134(2006.07)

9. K anseI and tacIt KnowledGe , and others
I. Park, S. Lee and T. Yamanaka; The possibility of ‘Kansei’ evaluation on
preference through a human face, Congress of International Association ofSocieties of Design Researches, 2007
J. Zhang, L. Shi, T. Yamanaka, A. Harada; Driver`s Comfortableness andVehicle’s Characteristics in Linear Movement, Kansei Engineering International
Journal, Vol.6, No.1, pp.61-68, 2006
J. C. Sanabria, K. Kakiyama, T. Yamanaka, A. Harada; CYBER-RATES - aplatform for understanding designer’s kansei, proceeding of DRS Conference
Future Ground, 2004
K. Miyazawa, T. Yamanaka; Relationship between the simplicity and reaction inchildren, Bulletin of the 5th Asian Design Symposium, P-06, 2001
K. Miyazawa, Y. Komamiya, P.J. Stappers, T. Yamanaka; GUI Usability
Development Tool with Dynamic Kansei Labeling –Kansei Evaluation Method58

for Understanding the UI Process-, Journal of the Asian Design International
Conference Vol.1 G-46, 2003
L. Shi, J. Zhang, T. Yamanaka, A. Harada; Evaluating Driver Comfortablenessvia Frontal Alpha Waves -A Study of Driver’s Moods in Curvilinear Motion,
Bulletin of Japanese Society for Science of Design 53(5) pp.21-28 2007
N. Kang, T. Yamanaka; Research on Product and Preference by Kansei
information, Bulletin of the International Design Congress - IASDR2005, 2005
N. Kang, T. Yamanaka; Research on the method of measuring a user’s TasteKANSEI --Consideration through the classification of a bench, Journal of the
Asian Design International Conference Vol.1, E-22 (8p), 2003
P. Levy, T. Yamanaka; Kansei information approach for an interdisciplinary
design method proposal based on intuition, in proceeding of International
Design Conference 2006, Dubrovnik, 2006
P. Levy, T. Yamanaka; Introducing Matik Service - Proposition For A New It
Communication System Through An Approach In Kansei, proceeding of DRS
Conference Future Ground2004, 2004
S. Kim, S.Lee, T. Yamanaka; Relationship between evocation and choiceusing dairy objects, Proceedings of International Symposium of emotion andSensibility, 2008
S. NAKAMORI, T. Uchiyama, T. Yamanaka; The Baseline Study for theDevelopment of Information-Devices That Use Physiological Information (1)The Results of a Current Situation Survey, The International Conference on
Kansei Engineering and Emotion Research 2007, 2007
T. Sakurai, B. Park, T. Yamanaka; Analysis of terms used by occupational
therapists and physical therapists in medical charts to provide a comprehensive
understanding of the overall picture in palliative care rehabilitation: analysis
using text mining software, Journal of Japan Society of Kansei Engineering 8(2)(22) pp.347-353, 2009
T. SONDA, T. Yamanaka; Development of a hypothesis exploration application
by Kansei Information approach, Bulletin of the International Design Congress- IASDR2005, 2005
59

T. Yamanaka, K. Miyazawa, Y. Komamiya; Interactive Data Structuring toolwith Dynamic Kansei Labeling, Korea-Japan Joint Symposium for Kansei
Engineering, 2004
T. Sonda, T. Yamanaka; A Fundamental Study on Complementary Application
Method of Nomothetic and Idiographic Approaches on Impression Evaluation,
Journal of the Asian Design International Conference Vol.1, E-43 (11p), 2003
T. Yamanaka, T. Uchiyama, A. Hirotomi, E. Honjo, S. Hiramatsu; Design
Experience System for Customers of Tombstones, DBWeb 2003, S5-3, 2002
T. Yamanaka, T. Uchiyama, E. Honjo, S. Hiramatsu; Image Database System
based on Readers’ Kansei Character, Bulletin of the 5th Asian Design
Symposium, A-05, 2001
T. Hanazato, T. Toda, T. Yamanaka; NoNoJi house, Annual design review ofJapanese Society for the Science of Design 7(7) pp.30-33 2001
T. Uchiyama, Y. Nagano, Y. Shinohara, Y. Takamoto, H. Tosaka, K. Takahashi;
Development of Web Accessibility Diagnosis Tool, Annual design review ofJapanese Society for the Science of Design 11(11) pp.28-31 2006
T. Suzuki, T. Uchiyama, Y. Saka; A new visual-user-interface for WWW search,
Journal of the Asian Design International Conference, P-79 (CD-ROM), 2003
T. Yamanaka; Keynote Speech ‘Kansei Science and Design Process’,
International Symposium of Korean Society of Basic Design and Art, 2008
T. Yamanaka; Difference of the Vibrational Characteristics between the
Human’s arm holding and Baby Buggies’ as a reference for design based on
riding feeling: Sense for Riding in Infants in the Vibrational Environment -2-,
pp.175-185, 1999
T. Yamanaka; Vibrational Characteristics of the Baby Buggy and Subjective
Factors for the Feel of Ride: Sense for Riding in Infants in the Vibrational
Environment -1-, pp.11-18, 1998
Y. H.T. LAM, K. Lee, G. Liu, T. Yamanaka, M. Woo, Project “Chopsticks” - An
Asian Life-style Study in Domestic Culinary Habits for Design, Bulletin of the60

International Design Congress - IASDR2005, 2005
W. Yang, T. Yamanaka; Relationship between experience and color expressing
behavior, Kansei Engineering International Journal vol.8, No. 2, 2009
W. Yang, T. Yamanaka; Relationship between experience and color expressing
behavior, International Symposium of Emotion and Sensibility, 2008

For easier access, a portal page on the internet provides links to the papers
quoted in this report as well as to videos of ‘cololo’, ‘beacon’ and further
information: www.kansei.info

61

K ansei ReseaRch and design
an intRoduction by b ianca b euttel
28 Feb, 2010
ISBN: 978 - 4 -924843 - 60 - 8
Author:
Bianca Beuttel [Diplom - Designer(dipl.- des)]bbianca@gmx.net
Tel: +75 -708 -7423
150 -703, Manjuji- cho, Shimogyo - ku, Kyoto -shi, Kyoto, Japan 600 - 8104
www.bbianca.net
Research works are:Toshimasa Yamanaka, Prof., University of Tsukuba
Toshiaki Uchiyama, Assistant Prof., University of Tsukuba
Pierre D. Levy, Assistant Prof., Eindhoven University of Technology
Yusuke Nagamori, Assistant Prof., Tsukuba University of Technology
Shiho Nakamori, University of Tsukuba
Nanami Mizutani, University of Tsukuba
Miho Kyoya, University of Tsukuba(2008)
Makiko Hoshikawa, University of Tsukuba(2008)
Planning and publishing:Kansei Information Laboratory
Toshimasa Yamanaka, tyam@geijutsu.tsukuba.ac.jp
Toshiaki Uchiyama, uchi@kansei.tsukuba.ac.jp
Doctoral Program in Kansei, Behavioral and Brain Sciences,
Graduate School of Comprehensive Human Sciences
1-1-1, Tennodai, Tsukuba-shi, Ibaraki, Japan 305 - 8577
www.kansei.tsukuba.ac.jp
Editorial Design: Bianca Beuttel, Yusuke Nagamori
Cover Design: Fumika Ando (Tsukuba University of Technology)