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Comment by 就是冷門 on February 13, 2024 at 8:03pm

Ultimately, therefore, while the congruency of atmos pheric/environmental cues can be defined in various ways, and while incongruency is normally negatively valenced (because it is hard to process),17 issues of (in)congruency may often simply not be an issue for the occupants of specific environments. This may either be because the latter simply do not pay attention to the at
mospheric/environmental cues (and hence do not register their incongruency) and/or because they have no reason to believe that the stimuli should be combined in the first place.16

The value of connecting with nature in architectural design practice was stressed by an advertorial for an arctic hideaway that suggests that: “True luxury today is connecting with nature and feeling that your senses work again” as appeared in an article in Blue Wings magazine (December 2019, p. 38). 17

It should, though, be remembered, that sometimes incongruency may be precisely what is wanted. Just take the following quote regarding the crossmodal contrast of thermal heat combined with
visual coolness from Japan as but one example: “In the summer the householder likes to hang a picture of a waterfall, a mountain stream, or similar view in the Tokonama and enjoy in its contemplation a feeling of coolness.” (Tetsuro, 1955, p. 16).

Sensory dominance

One common feature of configurations of multisensory stimuli that are in some sense incongruent is sensory dominance. And very often, under laboratory conditions, this tends to be vision that dominates (e.g., Hutmacher, 2019; Meijer et al., 2019; Posner et al., 1976). Under conditions of multisensory conflict, the normally more reliable sense sometimes completely dominates the
experience of the other senses, as when wine experts can be tricked into thinking that they are drinking red or rosé wine simply by adding some red food dye to white wine (Wang & Spence, 2019). Similarly, people’s assess ment of building materials has also been shown to be dominated by the visual rather than by the feel (Wastiels, Schifferstein, Wouters, & Heylighen, 2013; see also Karana, 2010).

At the same time, however, while we are largely visually dominant, the other senses can also sometimes drive our behaviour. For instance, according to an article that appeared in the Wall Street Journal, many people will apparently refuse to check in to a hotel if there is funny smell in the lobby (Pacelle, 1992). Such admittedly anecdotal observations, were they to be backed up by robust empirical data, would then support the notion that olfactory atmospheric cues can, at least under
certain conditions, also dominate in terms of determining our approach-avoidance behaviour. Mean
while, a growing number of diners have also reported how they will sometimes leave a restaurant if the noise is too loud (see Spence, 2014, for a review; Wagner, 2018), resonating with the quote from Blesser and Salter (2007) that we came across a little earlier.

One other potentially important issue to bear in mind here concerns the “assumption of unity”, or
coupling/binding priors that constitute an important factor modulating the extent of crossmodal binding in the case of multisensory object/event perception, according to the literature on the currently popular Bayesian causal inference (see Chen & Spence, 2017; Rohe, Ehlis,&Noppeney, 2019, for reviews). Coupling priors can be thought of as the internalized long-term statistics of the environment (e.g., Girshick, Landy, & Simoncelli, 2011).

Comment by 就是冷門 on February 12, 2024 at 5:10pm

Does it, I wonder, make sense to suggest that we have such priors concerning the unification of environmental/atmospheric cues? Or might it be, perhaps, that in a context in which we are regularly exposed to incongruent environmental/atmospheric multisensory cues- just think of how music is played from loudspeakers without any associated visual referent- that out priors concerning whether to integrate what we see, hear, smell, and feel will necessarily be related, in any meaningful sense, may well be reduced substantially.

See Badde Navarro, and Landy (2020) and Gau and Noppeney  (2016) on the role of context in the strength of the  common-source priors multisensory binding.

Hence, no matter whether one wants to create a tranquil space (Pheasant, Horoshenkov, Watts, & Barret, 2008)or one that arouses (Mattila & Wirtz, 2001), the senses interact as they do in various other configurations and situations (e.g., Jahncke, Eriksson, & Naula, 2015; Jiang,  Masullo, & Maffei, 2016). There are, in fact, numerous examples where the senses have been shown to interact in  the experience and rating of urban environments (e.g., Ba &Kang,2019; Van Renterghem & Botteldooren, 2016).

Crossmodal correspondences in architectural design practice The field of synaesthetic design has grown rapidly in  recent years (e.g., Haverkamp, 2014; Merter, 2017;  Spence, 2012b). According to architectural historian, Alberto Pérez-Gómez, mentioned earlier, the Philips Pavilion designed by Le Corbusier for the 1958 Brussels world’s fair (Fig. 10) attempted to deliver a multisensory experience, or atmosphere by means of “forced” synaesthesia (Pérez-Gómez, 2016,p.19).18

The interior audiovisual environment was mostly designed by Le Corbusier and Iannis Xenakis (see Sterken, 2007). From those descriptions that have survived there were many  coloured lights and projections and a looping soundscape that was responsive to people’s  ovement through the  space (Lootsma, 1998; Muecke & Zach, 2007). 

18 Though Pérez-Gómez (2016, p. 65) seems to be using a rather unconventional definition of synaesthesia, as a little later in his otherwise excellent work, he defines perceptual synaesthesia as “the integrated sensory modalities”, Pérez-Gómez (2016, p. 65). The  majority of cognitive neuroscientists would, I presume, take this as a  definition of multisensory perception, rather than synaesthesia. Synaesthesia, note, is typically defined as the automatic elicitation  of an idiosyncratic concurrent, not normally experienced, in response  to the presence of an inducing stimulus (Grossenbacher & Lovelace,  2001).

True to his oculocentric approach, mentioned at the start of this piece, Le Corbusier apparently concentrated  on the visual aspects of the “Poème Electronique”, the multimedia show that was projected inside the pavilion.

Meanwhile, his site manager, Iannis Xenakis created “Concret PH”- the soundscape, broadcast over 300 loudspeakers, that accompanied it. It is, though, unclear how much connection there actually was between the auditory and visual components of this multimedia presentation. The notion of parallel, but unconnected, stimulation to eye and ear comes through in Xenakis’ quote that: “we are capable of speaking two languages at the same time.

Comment by 就是冷門 on February 11, 2024 at 3:25pm

One is addressed to the eyes, the other to the ears.” (Varga,  1996,p.114).Moreover, inhis laterwork(e.g.,Polytopes),  Xenakis pursued the idea of creating a total dissociation be tween visual and aural perception in large abstract sound and light installations (Sterken, 2007, p. 33).

 At several points throughout his book Pérez-Gómez (2016), stresses the importance of “synaesthesia” to architecture, without, unfortunately, ever really quite defining what he means by the term. All one finds are quotes such as the following: “primordial synesthetic perception”,  p. 11;  “perception is primordially  synesthetic”, p. 20; “synaesthesia as the primary modality  of human perception”, p. 71. Pérez-Gómez (2016, p.  149) draws heavily on Merleau-Ponty’s (1962, p. 235) Phenomenology of Perception, quoting lines such as:

 “The senses translate each other without any need of an interpreter, they are mutually comprehensible without the intervention of any idea.” A few pages later he cites Heidegger “truths as correspondence” (Pérez-Gómez,  2016, p. 162). This does, though, sound more like a de scription of the ubiquitous crossmodal correspondences  (Marks, 1978; Spence, 2011) than necessarily fitting with  contemporary definitions of synaesthesia, though the distinction between the two phenomena admittedly remains fiercely contested (e.g., Deroy & Spence, 2013; Sathian & Ramachandran, 2020). Abath (2017) has done a great job of highlighting the confusion linked to Merleau-Ponty’s incoherent use of the term synaesthesia, that has, in turn, gone on to “infect” the writings of other architectural theorists, such as Pérez-Gómez (2016).

Talking of synaesthetic design may then be something  of a misnomer (Spence, 2015), the fundamental idea here is to base one’s design decisions on the sometimes surprising connections between the senses that we all share, such as, for example, between high-pitched sounds and small, light, fast-moving objects (e.g.,  Spence, 2011, 2012a). It is important to highlight the fact  that while these crossmodal correspondences are often confused with synaesthesia, they actually constitute a superficially similar, but fundamentally quite different empirical phenomenon (see Deroy & Spence, 2013).

We have already come across a number of examples of crossmodal correspondences being incorporated,  knowingly or otherwise, in design decisions. Just think about the use of temperature-hue correspondences  (Tsushima et al., 2020; see Spence, 2020a, for a review).

The lightness-elevation mapping (crossmodal correspondence) might also prove useful from a design perspective (Sunaga, Park, & Spence, 2016). And colour taste and sound-taste correspondences have already been incorporated into the design of multisensory experiential spaces (e.g., Spence et al., 2014; see also Adams &  Doucé, 2017; Adams & Vanrie, 2018). Once one accepts  the importance of crossmodal correspondences to environmental design, then this represents an additional level  at which sensory atmospheric cues may be judged as  congruent (e.g., see Spence et al., 2014). One of the important questions that remains for future research,  though, is to determine whether there may be a priority of one kind of cross modal congruency over others when they are manipulated simultaneously.

Comment by 就是冷門 on February 8, 2024 at 5:51pm

Conclusions

While it would seem unrealistic that the dominance, or hegemony (Levin, 1993), of the visual will be overturned any time soon, that does not mean that we should not do our best to challenge it. As critic David Michael Levin puts it: “I think it is appropriate to challenge the hegemony of vision– the ocular-centrism of our culture.

And I think we need to examine very critically the character of vision that predominates today in our world. We urgently need a diagnosis of the psychosocial path ology of everyday seeing– and a critical understanding of ourselves as visionary beings.” (Levin, 1993, p. 205).

While not specifically talking about architecture, what we can all do is to adopt a more multisensory perspective and be more sensitive to the way in which the senses interact, be it in architecture or in any other as pect of our everyday experiences.

By designing experiences that congruently engage more of the senses we may be better able to enhance the quality of life while at the same time also creating more immersive, engaging, and memorable multisensory experiences (Bloomer & Moore, 1977; Gallace & Spence, 2014; Garg, 2019; Spence, 2021; Ward, 2014). Stein and Meredith (1993, p. xi), two of the foremost multisensory
neuroscientists of the last quarter century, summarized this idea when they suggesting in the preface to their in fluential volume The merging of the senses that: “The in tegration of inputs from different sensory modalities not only transforms some of their individual characteristics, but does so in ways that can enhance the quality of life.

Integrated sensory inputs produce far richer experiences than would be predicted from their simple coexistence or the linear sum of their individual products.” There is growing interest across many fields of endeavour in design that moves beyond this one dominant, or perhaps even overpowering, sense (Lupton & Lipps, 2018). The aim is increasingly to design for experience rather than merely for appearance. At the same time, however, it is also important to note that progress has been slow in translating the insights from the academic field of multisensory research to the world of architec
tural design practice, as noted by licensed architect Joy Monice Malnar when writing about her disappointment with the entries at the 2015 Chicago Architecture Biennial.

Comment by 就是冷門 on February 8, 2024 at 5:50pm

There, she writes: “So, where are we? What is the current state of the art? Sadly, the current research on multisensory environments appearing in journals such as The Senses & Society does not appear to be impacting artists and architects participating in the Chicago Biennial. Nor are the discoveries in neuroscience offering new information about how the brain relates to the physical environment.” (Malnar, 2017, p. 153).19 At the same time, however, the adverts for at least one new residential development in Barcelona promising residents the benefits of “Sensory living” (The New York Times International Edition in 2019, August 31–Septem ber 1, p. 13), suggests that at least some architects/de signers are starting to realize the benefits of engaging their clients’/customers’ senses. The advert promised that the newly purchased apartment would “provoke their senses”.

Ultimately, it is to be hoped that as the growing awareness of the multisensory nature of human perception continues to spread beyond the academic community, those working in the field of architectural design practice will increasingly start to incorporate the multisensory perspective into their work; and, by so doing, promote the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional well-being.

(Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)

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Comment by 就是冷門 on February 7, 2024 at 3:20pm

Senses of place: architectural design for the multisensory mind

Abstract: Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is
only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously. (Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)

Comment by 就是冷門 on July 19, 2023 at 9:04pm

後旅遊者：體驗的文創

一個14歲的女孩，暑假裡父母帶她遊玩了北疆和敦煌，回來後問她，好不好玩？出乎我的意料，她的回答是，感覺一般。

她説，這些地方看起來也還可以，但是比較起來，還是以前在電視裡看到的一些景點更加神奇；另外，光是看來看去，沒意思，不能互動就沒意思。

我問什麼是互動？她説的互動就是在那拉提騎馬，在喀納斯漂流，在鳴沙山滑沙。在她的行程中，最好玩的就是這些。可惜，父母擔心安全問題，沒允許在喀納斯漂流，爲此她耿耿於懷。

自然景觀如此，人文景觀的莫高窟又如何呢？她説，老師在課堂上講過敦煌莫高窟，沒想到親眼看到就是這個樣子。在她看來，莫高窟一個個的洞窟也顯得單調，比較起來，還是在鳴沙山爬沙山讓她印象更深。

女孩不知道什麼是消費文化，什麼是媒體時代，什麼是身體哲學；但是她對於旅遊的直觀感受處處都直指這個時代最基本的思想和文化問題。

這一代人對景物的觀看態度和方式變了。

過去中國文人遊山玩水講靜觀，講領悟。“萬物靜觀皆自得”；那個時候的觀景，與其説是一種身體活動，不如説是一種思想活動。“獨坐幽篁裡”，“花間一壺酒”，是古人的樂趣所在。

這種樂趣對女孩這代人不復存在。傳統的觀景是人的肉眼對風景的直觀，而依賴電視成長起來的新一代人，以對電視圖像的觀看替代了肉眼對風景的“眼見爲實”。她們看第二手現實，看圖像的圖像，看風景的風景；儘管這二者是有根本區別的，但是她們寧願相信電視，相信電視畫麵中那些更加神奇的，或是虛擬的，加工過的風景。這使得任何眼前之景在這一代人麵前降低了魅力值。

於是，她們把興奮點轉向了身體，也就是這個女孩説的“互動”。既然靜觀的活動不好玩，思想的活動也不好玩，那麼就把自己身體投入到風景中，讓自己的身體參與在對風景觀看和遊覽中。這個時候，所謂風景不過是爲身體的活動提供了一個場所，而感性的，富於刺激性的身體活動，讓女孩在參與中感到了旅遊的價值，感到了眼前風景的意義。

當代文化並不是一種抽象的存在，隻有如此具體的和一個孩子討論問題的時候，才讓人感覺到兩代人的距離感和差異性。就旅遊而言，也許我們將要面臨的，是一個“後旅遊的時代”。 （後旅遊者）

Comment by 就是冷門 on July 5, 2023 at 11:26am

What is learning experience design?

Learning experience design (LX design) is the process of creating learning experiences that enable the learner to achieve the desired learning outcome in a human centered and goal oriented way.

Learning experience design is rooted in a combination of several design disciplines with the field of learning. Key design principles used in LXD come from interaction design, user experience design, experience design, graphic design and game design. These design principles are combined with elements of education, training and development,

, cognitive psychology, experiential learning, educational sciences and neuroscience.

To gain a deeper understanding of LX design it's easiest to break things down into smaller parts: experience, design and learning. These parts are quite self-explanatory and together they tell a lot about what LX design really is about.

Experience：Everything we learn comes from, that’s a fact. As mentioned earlier an experience is any situation you encounter that takes an amount of time and leaves an impression. These experiences don’t necessarily have to take place in an educational setting like a school. They can take place at home, outside, in the office or anywhere else.

Not every experience is as educational as the next. Some experiences can be straight out boring or annoying. Fortunately, we’ve all had experiences that were very educational and that will last a lifetime. Being able to design such powerful experiences is the main quality of a good LX designer.

Design

LX design is a creative design discipline. In essence, it is an applied form of art. Similar to other creative professions the LX design process typically includes research, experimentation, ideation, conceptualization, prototyping, iteration and testing. It is not a step by step systematic process, but a creative process with an outcome that’s uncertain at first and crystal clear in the end. LX designers use a mix of creative, conceptual, intellectual and analytical qualities to come up with elegant solutions that work. The main difference with other design disciplines is the fact that your design serves a purpose to learn.

Learning

LX design is about learning and not so much about teaching, instruction or training. The focus is where it should be: on the learner and the process that the learner goes through. You definitely have to understand why and how people learn in order to be effective. Experiential learning in particular is part of the foundation of LX design. As stated in the definition of lxd, you want to design a learning experience that enables the learner to reach the desired learning outcome. But how do you do that? By making the experience human centered and goal oriented.

Comment by 就是冷門 on July 5, 2023 at 11:25am

Human centered

Learning is a human and preferably social process. Putting the learner at the center of your design process is called human centered design. This is an important part of how and why LX design works. This means you have to get to know and understand the people you design for. You want to figure out what drives them and how you can ignite their intrinsic motivation. That’s why getting in touch with your target audience through interviews, observations and co-creation is indispensable. People are both rational and emotional beings. We all have wants, needs, hopes, fears and doubts. So a great learning experience has to connect on a personal level. To do so, being able to distinguish and act upon differences between groups of learners and even individual learners is key.

Goal oriented

A learning experience will make no sense if you don’t reach your goals. Choosing and formulating the right goals is an important part of designing a learning experience. This can be quite a challenge, depending on the scale and complexity of the experience that you are designing. Coming up with activities that enable the learner to actually reach specific goals is vital to a great design. That’s where a thorough and innovative approach, like working with the Learning Experience Canvas, can really make a difference.

One very important aspect of LX design is what form, medium or technology you choose for a learning experience which is primarily based on the goals of the learner. This means you start with formulating the desired learning outcome and every next step in the design process, including the choice of your medium or technology, is geared towards the desired learning outcome.

LX design vs instructional design

Sometimes LX design is confused with instructional design. On the surface there are similarities but when you look closer they are fundamentally different regards to their origin, perspective, methods, skills and tools. Find out more about these differences in the next chapter "" or read the blog post "
(Source: https://lxd.org)

Comment by 就是冷門 on November 12, 2022 at 5:22pm

熊本縣和水町×熊本縣立大學——鄉山再生「建設溫馨之鄉」項目

8年前，大型企業要在這裏建廠。在企業、行政、熊本縣立大學三者的合作推動下持續至今，使梯田和農田重新煥發生機。學生們種出的無農藥大米出現在大學食堂餐桌上。

插秧的景象

與當地居民進行交流

玉名郡和水町位於熊本縣北部，跟福岡縣鄰接，此處山間有一處「和睦森林」，隨著人口劇減而人跡罕至。但在這一片荒蕪的鄉裏山間，卻回蕩起了學生和地區的孩子們杵年糕的號子聲，慰勞一年農忙辛勞的杵年糕大會成了毎年慣例。

梯田裏整齊地擺放著秋天收割後的稻草束，一旁牛和山羊吃草的怡然風景展現在人們眼前。

鄉山再生活動「溫馨之鄉項目」開始至今快要有8年了。活動毎月舉辦１回。參加活動的有：以地區居民為主體的「溫馨之鄉協議會」以及熊本縣立大學的教職員工和學生們，毎回都有許多學生自發地參加插秧、割稻、保養鄉間道路等活動，通過各類勞動，在辛勤揮汗的同時，也加深了與地區居民的交流。

起因是征地建廠

           杵年糕大會

熊本縣立大學為了在各個領域與行政部門、企業等進行合作，制定了振興地區、調查研究等綜合協定制度，並為貫徹該大學「地區實學主義」理念的教育，在各地區開展著各種活動。

活動之一的該項目目的在於：通過大學與行政、企業合作，開展持續性活動，讓荒蕪的鄉山得以再生後，能吸引地區居民和孩子們来遊玩。

項目舞臺是約20公頃的鄉山，原本是當地人們從事農業、休養生息的傳統鄉山，可是，隨著現代化以及少子老齡化，人們不再問津鄉裏山間，被放棄的鄉山田地裏雜草灌木叢生，鄉間道路也消失了，最後變成了荒山。

活動的起因是2005年富士電機系統株式會社（現為：富士電機控股公司）在熊本縣建廠。該公司在鄰接和水町的南關町建立了太陽能電池製造廠，並決定在該地區開展奉獻社會、與環境共生的CSR活動，此地被選為該公司與熊本縣政府以及大學聯手合作的活動場所，於2007年2月啟動了該項目。

重現梯田和農田

活動初始，高過人頭的草木茂密叢生，想踏足山裏都不是件容易的事，通過采伐、開墾、放牧這種不亞於開拓時期的活動力度，逐漸恢復了原來的面貌，以山腳下的開闊地為中心重新開墾了梯田和農田，在那裏學生們種植的無農藥大米，被送到大學食堂的餐桌上。森林裏的鄉間道路也得到修繕，成了當地孩子們也能漫步的步行山路。通過持續地再生活動，許多學生因感受到不斷變化的鄉山面貌的魅力，在校期間一直都參加這項活動。

成為可持續的活動

在縣行政部門的扶持下，在當地建造了山間小屋「冠翠鳥」作為活動據點。建造接近完工的2014年2月，突然傳來一則令人震驚消息：從初始階段至今，一直為活動提供贊助的富士電機熊本工廠將要轉讓給外資企業。學生的交通費、各種勞動工具及夥食費等，該事業的大部分活動經費是來源於這家工廠的贊助，因此大家都擔心活動是否還能持續下去。

一旦人們撤離了好不容易剛剛再生的鄉山，不要多長時間就會重新變回原來的荒山。

一想到至今為止無數參與活動的學生以及地區居民開墾荒山的辛勞，無論是大學還是鄉政府都沒有後退的選擇。

為了擺脫困境，在大學向日本文部科學省2014年度公開招募的「構築地（知）據點事業（大學COC事業）」提交申請並獲得到批準的同時，和水町也向林野庁「為發揮森林山村多樣性策略提供資金援助事業」提交了申請也獲得了批准，總算擺脫了眼前的危機。

熊本縣立大學之所以積極參加這項活動並非是將活動當作一般的慈善活動，而是將它定位為培養人才活動的一個環節，為了讓該活動成為可持續的活動，本想將它作為正規課程的一部分形成學分製度，但是每回都參加活動的學生則提出了反對意見∶「我們都是憑自己的愛好參加活動的，反對以學分為目的的人加入」，所以此事需要慎重考慮。不過，學生們有這樣的反應，其本身是一件可喜的事，為了讓這類持積極態度的學生人數不斷增多，今後，我們打算跟鄉政府合作，開展以鄉山為據點的交流以及野外調查等新事業。文／髙本篤（熊本縣立大學地區合作研究推動中心參事 / 2014年12月22日 產學研合作）

延續閱讀：動漫文創·動漫+文創：揭秘日本文化IP產業鏈（下）

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