Biosensing technologies are increasingly available as off-the-shelf products, yet for many designers, artists and non-engineers, these technologies remain difficult to design with. Through a soma design stance, we devised a novel approach for exploring qualities in biodata. Our explorative process culminated in the design of three artefacts, coupling biosignals to tangible actuation formats. By making biodata perceivable as sound, in tangible form or directly on the skin, it became possible to link qualities of the measurements to our own somatics - our felt experience of our bodily bioprocesses - as they dynamically unfold, spurring somatically-grounded design discoveries of novel possible interactions. We show that making biodata attainable for a felt experience - or as we frame it: turning biodata into somadata - enables not only first-person encounters, but also supports collaborative design processes as the somadata can be shared and experienced dynamically, right at the moment when we explore design ideas.

We report on a workshop bringing together researchers working in soma design and sensory misalignment. Creating experiences that make use of sensory misalignment has become increasingly common, often associated with virtual reality research. However, little attention has been paid to how to design such experiences. We argue that the practice of soma design is a relevant candidate method for designing misalignment experiences, since soma design brings with it concepts such as estrangement and disrupting the habitual as a path to design. We further argue that sensory misalignment may in turn extend soma design methods, adding methods for explicitly disrupting sensory perception using technology interventions. Finally, we draw on the findings of that workshop to discuss the ideas of: pluralism in experience; orchestration of overall experience; as well as the broader intersection of soma design and sensory misalignment approaches.

Much research has shown the potential of affective interfaces for reflection on, and understanding of bodily responses. Yet, people find it difficult to engage with, and understand their biodata which they have limited prior experience with. Building on affective interfaces and material-centered design, we developed ThermoPixels, a toolkit including thermochromic and heating materials, as well as galvanic skin response sensors for creating representations of physiological arousal. Within 10 workshops, 20 users with no expertise in biosensors or thermochromic materials created personalized representations of physiological arousal and its real-time changes using the toolkit. We report on participants' material exploration, their experience of creating shapes and the use of colors for emotional awareness and regulation. We discuss embodied exploration and creative expression, the value of technology in emotion regulation and its social context, and the importance of understanding material limitations for affective sense-making.

Research in physiology and sports science has shown that fatigue, a complex psychophysiological phenomenon, has a relevant impact in performance and in the correct functioning of our motricity system, potentially being a cause of damage to the human organism. Fatigue can be seen as a subjective or objective phenomenon. Subjective fatigue corresponds to a mental and cognitive event, while fatigue referred as objective is a physical phenomenon. Despite the fact that subjective fatigue is often undervalued, only a physically and mentally healthy athlete is able to achieve top performance in a discipline. Therefore, we argue that physical training programs should address the preventive assessment of both subjective and objective fatigue mechanisms in order to minimize the risk of injuries. In this context, our paper presents a machine-learning system capable of extracting individual fatigue descriptors (IFDs) from electromyographic (EMG) and heart rate variability (HRV) measurements. Our novel approach, using two types of biosignals so that a global (mental and physical) fatigue assessment is taken into account, reflects the onset of fatigue by implementing a combination of a dimensionless (0-1) global fatigue descriptor (GFD) and a support vector machine (SVM) classifier. The system, based on 9 main combined features, achieves fatigue regime classification performances of0.82±0.24, ensuring a successful preventive assessment when dangerous fatigue levels are reached. Training data were acquired in a constant work rate test (executed by 14 subjects using a cycloergometry device), where the variable under study (fatigue) gradually increased until the volunteer reached an objective exhaustion state.

Research in the use of ubiquitous technologies, tracking systems and wearables within mental health domains is on the rise. In recent years, affective technologies have gained traction and garnered the interest of interdisciplinary fields as the research on such technologies matured. However, while the role of movement and bodily experience to affective experience is well-established, how to best address movement and engagement beyond measuring cues and signals in technology-driven interactions has been unclear. In a joint industry-academia effort, we aim to remodel how affective technologies can help address body and emotional self-awareness. We present an overview of biosignals that have become standard in low-cost physiological monitoring and show how these can be matched with methods and engagements used by interaction designers skilled in designing for bodily engagement and aesthetic experiences. Taking both strands of work together offers unprecedented design opportunities that inspire further research. Through first-person soma design, an approach that draws upon the designer’s felt experience and puts the sentient body at the forefront, we outline a comprehensive work for the creation of novel interactions in the form of couplings that combine biosensing and body feedback modalities of relevance to affective health. These couplings lie within the creation of design toolkits that have the potential to render rich embodied interactions to the designer/user. As a result we introduce the concept of “orchestration”. By orchestration, we refer to the design of the overall interaction: coupling sensors to actuation of relevance to the affective experience; initiating and closing the interaction; habituating; helping improve on the users’ body awareness and engagement with emotional experiences; soothing, calming, or energising, depending on the affective health condition and the intentions of the designer. Through the creation of a range of prototypes and couplings we elicited requirements on broader orchestration mechanisms. First-person soma design lets researchers look afresh at biosignals that, when experienced through the body, are called to reshape affective technologies with novel ways to interpret biodata, feel it, understand it and reflect upon our bodies.