- display faces towards to the center and use the center as a seat for the kid
- describing some vocabulary of feeling words and faces are not clear for kid to perceive
- Using other techniques to build the play mat. digital printing system for faces
Sanie’s feedbacks from Artisan Tech in Paris
your process is really well illustrated, detailed, and executed from start to finish. As a product, it works well aesthetically and catches the attention of children and adults alike. The pattern in the center is especially well done, and your care and handling of technique really comes through. Even your considerations for the childrens’ safety is spot on.
My only question is how did you come up with the sounds and the emotions for the faces (did you record/create them or take them from somewhere)? It seems that the voice recordings are a bit too detailed and might not be relatable to all children – is there any variation in the phrases?
Overall amazing and beautiful work!
Jane, Charles and Wes
We loved your concept and where you were at in terms of progress. Our main comments wereon the underbelly of the project, the wiring and mechanics. It looked like you were using copper tape which we had mentioned you need to just double check the wiring with every circuit. The other comment is using material on the bottom of the pad. Maybe carpeting or a foam?
Love the progress so far!
Max – I think your documentation is great. and the concept behind it is strong. and the aesthetic of the project is great. The only thing i would recommend you do is to keep your presentation short and sweet.
Their feedbacks were all sweet and supportive. I focused on possible issue with making the circuit that will be set up under the top layer. I took an action to make the circuit to see how reliable the connectivity and sturdiness of circuit are. Also, I prepared foam layer so as to insert a cushion between the top and bottom layers for kid’s safety.
I contemplated in terms of audio, how to make the voice more relevant to the context where kids will be asked as well as who will be the users helping kids to talk. As I name my work emotional vocabulary play mat, this could play a role of therapeutic tool that assists to arouse their emotions they feel through the day and let children share their feelings with parents, therapists, and teachers.
Domains: Positive psychology, Education, Product Design, Cognitive Development, Emotional Vocabulary, Soft Circuit
My project, called I Feel Many Things During the Day, started from positive psychology, the scientific study of understanding optimal living that helps people thrive and live to their full potential as individuals and communities. 
I Feel Many Things During the Day is a product that aims to educate kids ages between 3 and 7 to identify and express their feelings by listening to each story of feeling faces. Learning about emotions is in part an introspective activity, but most of it comes from social interaction.
In my project, kids who are ages between 3 and 7, learn about 12 emotional vocabularies, including sad, happy, fear, angry, surprise, disgusted etc., that stimulate their cognitive development with therapists guiding kids to various emotional vocabulary experiences and to deeper conversations. In order for children to read social cues better with those around them, it is crucial for children to learn emotional vocabulary. It is first fundamental for children to read the affective cues of others and of themselves. Differentiating among moods, for example, angry, sad, frustrating, and happy requires emotional vocabulary. When children have more abundant vocabulary, they experience more rewarding connections. So as to accurately grasp emotions in themselves and others, kids need to have vocabularies for those feelings, a feeling usage. In order not to miss all the different degrees of emotions in-between they have to practice a vocabulary of feeling words which sometimes kids do not have labels and definitions for those emotions. Children will tap and improve their verbal skills, learn what emotions are and how to behave when they feel certain emotions, further sharing their deeper feelings.
Processes of sharing their deepest feelings are therapeutic communication, an interactive activity through the face-to-face process that focuses on improving the physical and emotional well-being of individuals. Using this emotional vocabulary play mat enables therapists to induce kids to talk about their feelings easier. Kids at the second stage of cognitive development, significantly expand the use of language through internal representational systems to describe people, his feelings and his environment. Symbolic play likewise evolves at this stage, allowing the child to engage in pretend play using available objects to represent something else. The preoperational child is so engrossed in egocentric thought which limits the child’s view of the world to his own perspective, believing that this view is shared by everyone else. The child cannot comprehend that there are other ways of looking at situations and interpreting information. 
This is a product design for kids. Hence, I had to think carefully about what materials I will use for my project, understanding of the kids’ tendency. I researched kid’s development stages.
After the research I decided to use soft circuit. Using soft circuit and conductive materials allowed me to step closer to a toy design as a product. I found kids like emotional vocabulary play mat when documenting them. Because of felt’s vivid colors of face and rugs like texture above soft circuit built with conductive inks and wires, my project gives a sense of comfort, familiarity and safety.
 Maslow, hierarchy of Needs
 Pamela Pavliscak https://www.changesciences.com/a-positive-design-manifesto
 Dr. Michael W.
 Dieter Rams
 Clive Dilnot, “Design As Future-Making: Reasons To Be Cheerful
 Gail E. Joseph, Ph.D. & Phillip S. Strain, Ph.D. Center on Evidence Based Practices for Early
 Piaget’s Theory of Cognitive Development
In order for children to read social cues better with those around them, it is crucial for children to learn emotional vocabulary. It is first necessary for children to read the affective cues of others and of themselves. Discriminating among affective states such as anger, sadness, frustration, and happiness requires a vocabulary of feeling words. Like other forms of literacy the richer the vocabulary, the more rewarding the experiences. In order to correctly perceive feelings in yourself and others, children first have to have words for those feelings, a feeling lexicon. So as not to miss all the subtle gradations of feelings in-between they need to practice emotional vocabulary which sometimes they do not have labels and definitions for those emotions. After associating and articulating feeling words, children can make finer discriminations between feelings with a large and more complex feeling vocabulary; to better communicate with others about their internal affective states; and to engage in discussions about their personal experiences with the world. In other way, children can develop self-confidence, self-awareness, empathy, and social skills better. (Daniel Goldman “Emotional Intelligence”)
In my project “I Feel Many Things During the Day” children will concentrate on building a basic, but meaningful lexicon of feeling words. This instructional emphasis bears, not coincidentally, a close resemblance to cognitive behavior modification. It is because children will be asked when they feel a certain feeling after touching and listening each emotion. A parent or a caregiver will be there with a child supporting he or she to keep associating the feelings while playing “I Feel Many Things During the Day.”
Emotional Vocabulrary Emoticons
I've sought places for my iterative prototyping, but it's hard to get a permission from institutions to test my work. Today, I gave a shot to ask a preschool, called Upper Valley Preschool, when passing by it. The director said "send me your work." YAY!!
uvp@brighthorisons,con / 212-257-4749
Narrative emotional vocabulary
I selected 12 emotions out of 15, which Daniel J Edwards, a musical and voice actor in Pokemon(XY), Yu-Gi-Oh(Zexal Arc V) and Psychic School Wars (TBA 2016), recorded to add to the sound.
I Feel Many Different Things During the Day
- When I tickle my daddy (daddy laughing) in the morning, I feel SILLY. When do you feel SILLY?
- Before I eat breakfast (growling/rumbling), I feel HUNGRY. When do you feel HUNGRY
- When I hear a loud noise, (door banging) I feel SURPRISED. When do you feel SURPRISED?
- I feel HAPPY, (music playing) when I hear music. When do you feel HAPPY?
- When someone takes away my bucket(/toy) (“GIVE THAT BACK!!”) I feel MAD! When do you feel MAD?
- When a dog comes running after me (dog barking), I feel SCARED! When do you feel SCARED?
- When my friend cries (sob sob), I feel SAD. When you do feel SAD?
- When I help put my toys away (toy sounds), I feel GREAT. When do you feel GREAT?
- When my mommy is on the phone (phone ringing “uhum, uhmm”) I feel LONELY. What do you feel LONELY?
- When I think about what I want to be (“Oh oh oh!!” (something find)), I feel EXCITED. When do you feel EXCITED?
- When grandpa visits (muack muack), I feel SPECIAL. When do you feel SPECIAL?
- When I hide behind the couch (shh~~~), I feel SNEAKY. When do you feel SNEAKY?
- When I hit my sister (“Hey stop it!” (annoyed)), I feel SORRY. When do you feel SORRY?
- At the end of the day (YAAAWN), I feel TIRED. When do you feel TIRED?
- When I see garbage on the floor, I feel DISGUSTED. When do you feel DISGUSTED?
Perception can be split into two processes  Firstly processing sensory input which transforms these low-level information to higher-level information (e.g., extracts shapes for object recognition). Secondly processing which is connected with person's concept and expectations (knowledge), and selective mechanisms (attention) that influence perception.
Perception depends on complex functions of the nervous system, but subjectively seems mostly effortless because this processing happens outside conscious awareness.
A. What are the specific questions you are attempting to answer in your prototype?
- Do participants find the texture of conductive inks good enough to experience my project?
- Considering age 4 to 7, isn’t black color of conductive inks too plain for them to play with it?
- Do participants receive instant feedback when they touch and step your prototype?
- What input/output would make children curious and keep them engaged in it?
B. What are the five strengths of your project?
- An educational purpose that facilitates children to learn their emotional vocabulary and express their feelings and emotions clear.
- Immediate response that participants will experience with responsive interaction through tactile and auditory senses when exploring images on my project, which keeps them engaged in.
- Sensory experience that helps children build and understand emotional vocabulary better.
- Physical activity that kids’ mobility in the context of experience assists to learn emotional vocabulary.
C. What are the five most critical issues for your project?
- Monotonous conductive ink and a flat surface – boring and exciting
- Durability of conductive ink – illustrations on the surface would not last long because of frequent touching and stepping of them.
- Safety - Sharp edges and hard surface causes children get injured.
- Lack of opportunity to experiment my prototype on children.
D. What can you do to address these issues, and to solidify the strengths?
- Using thermo-chromic pigments and acrylic color will make installation more vibrant.
- I will stuff wool under each face in order to make faces bulging so that children will experience various heights of them.
- Instead of a hard paper, I will apply fabric onto the surface of my project to print illustrations. As bumpy faces with thermo-chromic pigments will be on the top of fabric, kids will experience different colors changing according to their body temperature.
- Conductive ink will be used to paint circuit.
- Foam sheets will be laid between the fabric and hard wooden floor, letting children touch and step on my project without harm.
- I will visit preschools in New York City and ask instructors for help.
D. Can you intuitively ask some new questions?
F. What questions need to be answered in order to create a proof of concept prototype?
- Are you able to explain the target for your project?
- What are the physical characteristics (height, weight) of them?
- Do you try to make a mini prototype in order to develop the interface and design and understand how you are going to produce the results?
G. Are you on the right path or do you need to change direction, and if so, how will you do that?
- I am on the right track. I believe that the best way to reinforce my prototype are user testing and by trial and error.
In my experience design is mainly used for commercial purposes in television advertisement, magazines, posters and the web which are all around us. Reaching a certain material comfort, which standards are higher and higher as time passes by, has been equated as the ultimate path to a fulfilling life. In modern society design has been utilized as a powerful tool to appeal to reason, logic, functionalism, practicality, and aesthetic, reflecting the materialistic approach to life. In other word, designers create products convincing people that there are beneficial functions in products that make their lives easier. Also, designers stress that products will aesthetically please people. If you own them, you will increase your identity higher than those how do not have them. Many designers generally believe that they have to use ‘emotional design’, which turns costumers into brand evangelists, to sell products and build trust. There it comes about the role of emotions within design:
1. deceiving people into confusing them between wanting and needing.
The author of Critical Design, Dunne and Anthony said “how electronic products becomes “role models” bring about transformations of perception (and conception) in users as a protagonist by embodying unusual psychological needs and desires in “pathological” electronic objects.” We use, for example, cellphone that have become a necessary device to socialize with others. Its functionality and application in advertisement demonstrate when we need to use the electronic product, encouraging the user to use it for socializing purpose with others in daily life, which seems essential for her or his life. However, the user can interact with others without the electronic product, yet tantalizing the user to buy it because having the electronic product seems crucial for the user’s relationship with other people.
2. creating a false sense of identity.
We often measure others’ identity through certain brands of product that others own. Designers have created identities of products to sell products and build trust by manipulating emotions. Designers sell a feeling or an idea that modifies consumers’ perception to crave a product, letting consumers achieve the faulty identity created by products. People often compare themselves to those who own better or less value of products, feeling satisfied or disappointed themselves.
I call design that has these characteristics ‘negative design.’ Negative design misdirects and perpetuates a cycle of elusive shallow wellbeing in order to maintain a social and economical dysfunctional system that determines people by materials in place. Individuals that are trapped and influenced by such negative design may experience a different range of needs, stressors, and feelings, namely coldness, anxiety, and emptiness. It cannot be said that such negative design is purposely utilized to bring illness into society. Reason and material comfort are embraced and well used, however, it is time for a new healthy and effective approach that can harness the most essential and powerful motivator of human nature: emotions that lead to positive behaviors. An approach that focuses on the satisfaction of higher human needs.
I advocate the concept of ‘positive design’ that can and must be used to facilitate individuals to tap their inner potential first. Positive design does not neglect the deepest of all human needs: the drive to flourish. A well-lived life occurs in a material context utilizing logic to achieve the highest pleasure and meaning that one can experience emotionally. Design does not function in a vacuum. As a product designer, I believe that design has to consider social, cultural, and economical circumstances, but above all new design and technology have to take the mind factor into account. “The artificial is by no means confined to technology. Today, it means the combination of technical systems, the symbolic realm, including mind and the realm of our transformations and transmutations of nature.” Humans are beings that not only adapt to new environments and circumstances, but they are also transform by them. “There is such a strong connection between body and soul that thoughts that accompanied certain movements of our body at the beginning of our lives, go on accompanying them later.”  In other words, humans are easily influenced by their environment. Positive design is not just a medium to reorganize existence elements, but a method and an efficacious device to create reality. We mold ourselves to the spirit emanates form the objects around us to become a little as they are, even if we are not always able to see quite how objects make us feel. By designing new technologies and environments, behavior can be shaped, thinking regulated, therefore, reaching the core component of the individual, his or her emotional world.
Positive design, like any other complex unit, has different components that together are greater than the sum of its parts. In order for positive design to flourish and to enhance the well-being of individuals and communities, designers should first channel, develop, and promote ethics, virtues, emotional intelligence, and positive habits.
Bruno Latour states that “the concept of design is that it necessarily involves an ethical dimension which is tied into the obvious question of good versus bad design.” Ethical dimension maximizes design to spread goodness and badness. As technology has rapidly advanced, we are under the condition that has possibilities that could direct us either a right or wrong way for our future and that changes how we think about ourselves. As a designer and educator, I take my job very serious because what I make and teach people could result in bad or good effects. Thus, I pursue the goals toward that I should endeavor and that enable the full development of people’s humanity.
Highly moral beings are expected to have good quality traits, called virtues. There are many virtues that promote collective and individual greatness by exercising self-discipline and avoiding self-indulgence. I develop virtues through learning and practice like running a marathon, so do my capacity to be fair, to be courageous, or to be compassionate.
Emotional intelligence is a set of skills that a person uses in order to recognize, understand, label, express, and regulate his or her and others’ emotions. Doing so, a person attains higher self-esteem, self-confidence, has empathy toward those around his/her, better social skills.
Positive habits are behaviors that have a certain level of consistency overtime and their practice usually generates pleasure in the moment and an essence of meaning in the future.
The Principles of Positive Design
Positive design gives users spaces to create their own design. It creates productivity that people feel motivated to learn and create.
Positive design promotes relation that is filled with people who we should care about as subject in the world.
With these fundamental elements and the principles of positive design, I am eager to further expand and introduce positive design into main areas of modern society. Curriculums in educational institutions should include emotional intelligence training which cultivate positive emotions, ethics, virtues, and nurturing positive habits so as to breed enriched human beings who will have responsibility for the future. As an educator in design, I found nourishing students with these factors has significant impact on how they relate with themselves, the arts, design, and others. Even though we live in the era of accelerated development of technology, emotional intelligence, ethics, virtues, and nurturing positive habits are constant.
Designers must embrace positive design to help people discover human well-being and sustainability, making green behavior easy. I want to facilitate individuals to connect to their inner world and dignify the self, rather make individuals depressed, lonely, addicted, trivial, and apathetic. Also, I have only the power to create products that contribute to a positive impact on the environment, but responsibility to care about designing sustainability for now and future. Designer’s role is extending, so it is the opportunity of utilizing design thinking to help the environmental problems. By using ergonomic design, I want to optimizes human well-being and creates honest design that is unobtrusive, ecofriendly for human body.
In economy, the well-being of individual will be a countable matter in policy making and standardization of wealth. This year, for instance, neuroscience of happiness has been taken as one of measurements for world happiness report 2015. I would like to see more of this in the future by enlightening people that it is necessary to learn the fundamental elements in positive design.
Positive design cannot solve all the problems in our environment but conceive possibilities. The Rising Currents exhibition at MoMA is one of examples of positive design and “part of the growing global grassroots movement to address the impact of climate change with smart, local solutions.” Local governments and civil society groups around the world found that better measures diminish ongoing and future risks and costs, making their cities better now.
I would say positive design by any means is meant to overtake and eliminate the possibility of imperfection, sadness, and even suffering. “With complexity comes a certain degree of instability and unpredictability that can be fatally destabilizing, but also drives change and innovation by making networks vulnerable, and so open to new influences and opportunities.”  Positive design doesn’t want to eradicate negative design because it is not convenient for us. Being in the middle of positive and negative design gives us great opportunities to discover the new path that brings us to the better world than we have been worried. We should take advantage of this moment to clear away of the uncanny imagination of future. Positive design should be seen as a complimentary approach rather than a replacement for common design. Individuals are the building blocks of societies, therefore, in order to generate a better outer world design has to target the inner world. Positive design helps us to be the best version of ourselves.
 Paul Jarvis, The importance of emotion in design (2014), http://thenextweb.com/dd/2014/02/25/importance-emotion-design/
 Dunne, Anthony (2008-09-26). Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design (Page 69). The MIT Press.
 Maslow, Hierarchy of Needs
 Pamela Pavliscak, Designing for Happiness: A Positive Future for Technology (2014)
 Dr. Michael W. Fordyce, The Psychological of Happiness: A Brief Version of the Fourteen Fundamentals (1993)
 Dieter Rams
 Clive Dilnot, “Design As Future-Making: Reasons To Be Cheerful,1,2,3…* (Or Why The Artificial May Yet Save Us)”
 Paul Virilio, “The Vision Machine”
 Clive Dilnot, A Cautious Prometheus? A Few Steps Toward a Philosophy of Design (with Special Attention to Peter Sloterdijk)
 Daniel Goldman, “Emotional Inteligence”, (1995)
Make a sculpture
It's to perceive moments of happiness connects and disconnect through the day. I cut two panels of depression and connect them randomly with fishing threads as a representation of invisible threads. I Painted words of happy on the threads which hit people's curiosity and let them find out what wards are on the threads (unless you try hard to read what words are on them).
Major Studio 1.
3D + Technology
Expand your connection to see your connection
This is a shlef that one sapce affects the other. Both sides are conected to each other. the user is forced to think and foresee what is going to happen on the other side when using one side. A need for expanding the user attention and perception out of the immediate self centered position.