Affective computing
interactions
Interaction relabelling and extreme characters: methods for exploring aesthetic interactions
DIS '00 Proceedings of the 3rd conference on Designing interactive systems: processes, practices, methods, and techniques
Augmenting fun and beauty: a pamphlet
DARE '00 Proceedings of DARE 2000 on Designing augmented reality environments
Proceedings of HCI International (the 8th International Conference on Human-Computer Interaction) on Human-Computer Interaction: Ergonomics and User Interfaces-Volume I - Volume I
Graspable user interfaces
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DPPI '03 Proceedings of the 2003 international conference on Designing pleasurable products and interfaces
DIS '04 Proceedings of the 5th conference on Designing interactive systems: processes, practices, methods, and techniques
The sensual evaluation instrument: developing an affective evaluation tool
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
DIS '06 Proceedings of the 6th conference on Designing Interactive systems
Reverse alarm clock: a research through design example of designing for the self
DPPI '07 Proceedings of the 2007 conference on Designing pleasurable products and interfaces
Designing for the self: making products that help people become the person they desire to be
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
TEMo-chine: tangible emotion machine
INTERACT'07 Proceedings of the 11th IFIP TC 13 international conference on Human-computer interaction
Tactile hand gesture recognition through haptic feedback for affective online communication
UAHCI'11 Proceedings of the 6th international conference on Universal access in human-computer interaction: users diversity - Volume Part II
Proceedings of the International Symposium on Computational Aesthetics in Graphics, Visualization, and Imaging
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In this paper we propose a 3-step method for designing emotionally rich interactions, illustrated by the design of an alarm clock. By emotionally rich interaction we understand interaction that heavily relies on emotion expressed through action. The method addresses three questions: What are the relevant emotional aspects for a context for experience? How can a product recognise and express these aspects? How should the product adapt its behaviour to the user on the basis of this information? The essence of our approach is that a product not only elicits emotionally expressive actions, but that the feedback is inextricably linked to these actions. The feedback should be inherent to the design, and not gratuitously added.