Body maps are visual documents, where somatic experiences can be drawn onto a graphical representation of an outline of the human body. They hold the ability to capture complex and non-explicit emotions and somatic felt sensations, elaborating narratives that cannot be simply spoken. We present an illustrative example of “how-to” complete a body map, together with four case studies that provide examples of using body maps in design research. We identify five uses of body maps as generative tools for soma-based design, ranging from sampling bodily experience, heightening bodily self-awareness, understanding changing bodily experience over time, identifying patterns of bodily experience, and transferring somatic experiential qualities into physical designs. The different requirements for scaffolding the use of body maps in user-centred design versus first-person autobiographical design research are discussed. We provide this Pictorial as a resource for designers and researchers who wish to integrate body maps into their practice.

We theoretically develop the ethical positions implicit in somaesthetic interaction design and, using the case study of a water faucet, illustrate our conceptual understanding of ethical sensibilities in design. We apply four lenses – the felt self, intercorporeal self, socio-cultural and political self, and entangled self – to show how our selves and ethical sensibilities are fundamentally constituted by a socially, materially, and technologically entwined world. Further, we show how ethical sensibilities are cultivated in the practice of somaesthetic interaction design. We contribute felt ethics as an approach to cultivating ethical sensibilities in design practice. The felt ethics approach is comprised of (i) a processual cultivation of ethical sensibility through analytical, pragmatic, and practical engagement, (ii) an ongoing critical attentiveness to the limits of our own bodies and lived experiences, and (iii) the rendering visible of our ethical practices as a matter of care.

We articulate vulnerability as an ethical stance in soma design processes and discuss the conditions of its emergence. We argue that purposeful vulnerability – an act of taking risk, exposing oneself, and resigning part of one’s autonomy – is a necessary although often neglected part of design, and specifically soma design, which builds on felt experience and stimulates designers to engage with the non-habitual by challenging norms, habitual movements, and social interactions. With the help of ethnography, video analysis, and micro-phenomenological interviews, we document an early design exploration around drones, describing how vulnerability is accomplished in collaboration between members of the design team and the design materials. We (1) define vulnerability as an active ethical stance; (2) make vulnerability visible as a necessary but often neglected part of an exploratory design process; and (3) discuss the conditions of its emergence, demonstrating the importance of deliberating ethics within the design process.

To rigorously approach the more-than-human world in design research, we need to become more receptive and better equipped to describe the complexities of relationality. In response, this paper advocates for the articulation of the felt sense -or tacit knowledge residing in our bodies- as a viewpoint for noticing. Assisted by micro-phenomenological interviews, we carefully described our felt senses from our experiences with a telepresence robot and smartphone photography. We illustrate how this viewpoint allowed us to access our pre-judgemental dimension, the vivid liveliness in our experiences with technologies, and the porosity of our sense of self. We contribute the felt sense as a viewpoint for noticing to design researchers interested in integrating their somatic sensibilities into their work with the more-than-human, allowing them to attune to, describe and share with other researchers the normally unattended dimension of our experiences, including aspects concerning the felt dimension of ethics.

We present a novel intercorporeal experience – an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based ‘fourth voice’ to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that ‘intersubjective haptics’ can be a generative medium not only for singing performances, but other possible intersubjective experiences.

Wearable technology brings computation in intimate proximity to the body, raising questions about the role of the body in interacting with tools. The disappearance of self and technology in achieving transparent and skilful action -- the ideal aspiration of ubiquitous and context-aware computing -- overlooks the potential of self-awareness as a critical resource for interactive experiences grounded in the body. We propose a body-centred perspective on wearable technology informed by phenomenological theories on the body-tool relationship and pragmatist Somaesthetics prioritising the cultivation of the self through somatic awareness for improved life quality. We extend Heidegger's concept of present-at-hand with a new concept of present-at-body, defined as the reflective use of tools for developing bodily self-awareness. In our body-centred approach to wearable technology, we emphasise the dynamic interplay between visibility and transparency of body and tool as a fundamental resource for learning and self-development.