A set of prominent designers embarked on a research journey to explore aesthetics in movement-based design. Here we unpack one of the design sensitivities unique to our practice: a strong first person perspective—where the movements, somatics and aesthetic sensibilities of the designer, design researcher and user are at the forefront. We present an annotated portfolio of design exemplars and a brief introduction to some of the design methods and theory we use, together substantiating and explaining the first-person perspective. At the same time, we show how this felt dimension, despite its subjective nature, is what provides rigor and structure to our design research. Our aim is to assist researchers in soma-based design and designers wanting to consider the multiple facets when designing for the aesthetics of movement. The applications span a large field of designs, including slow introspective, contemplative interactions, arts, dance, health applications, games, work applications and many others.

The aging society has arrived, and more and more older adults are living in a nursing home. However, institutional care settings are often described as places where residents suffer from social isolation. Under this context, we describe the process of translating into fieldwork into interactive systems facilitating elderly residents’ social interaction and wellbeing. Comprehensive semi-structured interviews with older residents and caregivers were first conducted in a Dutch nursing home, aiming at understanding the status of their social interaction. The context of a typical elderly resident’s social interaction was then generated, and based on which three interactive systems focusing on different aspects of their social interaction were designed and deployed. The paper finally concludes with design considerations for promoting social interaction and wellbeing of older adults living in the nursing home.

Smartness in contemporary society implies the use of massive data to improve the experience of people with connected services and products. The use of big data to collect information about people’s behaviours opens a new concept of “user-centred design” where users are remotely monitored, observed and profiled. In this paradigm, users are considered as sources of information and their participation in the design process is limited to a role of data generators. There is a need to identify methodologies that actively involve people and communities at the core of ecosystems of interconnected products and services. Our contribution to designing for social innovation in ecosystems relies on developing new methods and approaches to transform data-driven design using a participatory and co-creative data-enabled design approach. To this end, we present one of the methods we have developed to design “smart” systems called Experiential Design Landscapes (EDL), and two sample projects, Social Stairs and [Y]our Perspective. Social Stairs faces the topic of behaviour change mediated by sensing technologies. [Y]our Perspective is a social platform to sustain processes of deliberative democracy. Both projects exemplify our approach to data-enabled design as a social proactive participatory design approach.

Sometimes, the way in which we interact with products implicitly communicates how we feel. Based on previous studies on how emotions can be detected and communicated via product interaction, we discuss how an interactive product could influence affect by responding and changing behaviors expressing affect. We discuss the proposal of the affective feedback loop in product interaction by its implementation in the prototype of a pen that senses two implicit behaviors related to restlessness, rock and roll. Furthermore, the pen provides inherent feedback, focusing on the perceptual motor skills, as a means to reflect on these behaviors. The pen was evaluated in an experiment, by which we explored whether this type of feedback would influence the emotional experience. Two participant groups were compared, and participants that used the pen with feedback showed a lower heart rate throughout the whole experiment. Because these participants were not aware that the pen provided any feedback, we propose the concept of unaware interaction and discuss what its implications are for design.