Kensho Miyoshi

The physical movements of designed objects not only have utilitarian purposes but also make us experience the diverse sensations of motion. A look at a curtain waving in the calm wind can make viewers feel light and relaxed as if they themselves are waving in the air. By seeing ticket barriers creaking and moving at an awkward speed, one can somewhat imagine how it would feel like if their bodies moved in such a manner despite them never being barriers. Such imaginative projection of one’s own embodied sensation to observed movements is called ‘kinesthetic empathy’, which has recently been studied in relation to human movement, i.e. audience’s experience of dance and theatre performances. However, the question of how kinesthetic empathy works with the movements of designed objects that are usually non-anthropomorphic and functional is yet unexplored. Nevertheless, it has the potential to open up new opportunities for designers to explore the aesthetics of products’ physical behaviour. By addressing this question, this research investigates the nature of kinesthetic empathy in the context of design and develops a framework that supports designers’ aesthetic consideration of the element of movement. Inspired by multiple fields of knowledge such as embodied cognition, ecological theory of perception, tacit knowledge and mirror neuron theory, the practical research applies methods of reflective practice, phenomenological research and participatory design research.