Along with technology trends like extended reality, wearables, IoT, and exergames, new design approaches have emerged, focusing on full-body interactions by actively working with the lived body’s capacity to sense, feel, and create. Thus, designers are recommended to use movement as part of the design activity when designing for and of movement, regardless of the targeted application domain. However, designing for bodily experiences is challenging. We have identified a gap of no movement-based design framework available, including the moving body as the centre part and core material of the design processes. We recognise the human body is more than a physical object in the world, but a feeling, perceptualising body, that creates meaning in interaction with the environment. It thus frustrates and challenges us to reach a bodily grounded design process embracing the lived body. A common framework informed by the theoretical aspect of embodied cognition and the practical element of movement design can be a starting point for embodied design research. Recognising these challenges, we see a need for creating a bridge between practice and theory. Based on the bridging concept from Dalsgaard and Dindler, this paper presents a movement-based design framework to bridge the abstract idea of embodied cognition theory with the 4E perspectives of embodied, embedded, enactive and extended and concrete movement-based design practices. We created a movement-based design framework structuring the movement-based methods of different perspectives. The 4M model we propose contains three types of facilitator-mediated methods: 1) Mood-setters stimulating a creative body being, 2) Movement-based design methods for creating immersion in creative bodily activities, and 3) Movement concepts as knowledge and evidence for developing and validating movement artefacts. Besides the facilitator cards, the participants have access to Modifiers that can be used in conjunction with the other methods as creative inspiration for exploring, trying, or performing new movement possibilities.
Our work presented is grounded in Movement-based Design and used for creating solutions with movement as a focal point. Several researchers utilise the moving body in their design for embodied products such as ubiquitous computers and interactive prototypes. The recognition of the moving body is seen in embodied design approaches with a body-centred focused design supporting and encompassing human experience. We believe that incorporating the moving body at the centre of the design process is required to create a future of sustainable movement related to technology, e.g., exertion games, VR or general health and fitness solutions. To understand the nuances of a movement-based design process, we see a need to go beyond the specific design methods. Designers need to approach the complex problem from multiple perspectives. To nuance our movement-based design process, we use the Svanæs and Barkhuus framework to categorise the body-centred design process in two dimensions: Tenses and Point-of-view. The aim is to learn how Point-of-view and Tenses can be utilised to increase the value of the Movement-based Design Process. The empirical material generated in this project stems from two Movement-based Design workshops, each with its own scope: workshop one, the creation of outdoor fitness equipment and workshop two, the creation of technology-based motion games. Both workshops were filmed, and selected participants were interviewed subsequently. The analysis indicated how Point-of-view and Tenses have distinct qualities when interpreted through the framework combined with the empirical material. Point-of-views: 1st-person perspective is used to create insights that are to be shared. 2nd-person perspective is used when two users are designing. 3rd-person perspective creates a distance for analysis. Tenses: Past tense was utilised by watching recorded videos. Present tense creates a feel of here and now, and the future tense was aimed at looking forward in time. The workshops went through several phases, each with its distinct way of working with movement. We wrap up with recommendations for designing a movement-based design process guided by point-of-view and tenses: Start and stay in the 1st-person, let the group share insights, let the participants distance themselves, and the use of tenses should be explicit.
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