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Affective design

From Wikipedia, the free encyclopedia

Affective design describes the design of products, services, and user interfaces that aim to evoke intended emotional responses from consumers, ultimately improving customer satisfaction.[1] It is often regarded within the domain of technology interaction and computing, in which emotional information is communicated to the computer from the user in a natural and comfortable way. The computer processes the emotional information and adapts or responds to try to improve the interaction in some way.[2] The notion of affective design emerged from the field of human–computer interaction (HCI),[3] specifically from the developing area of affective computing.[2] Affective design serves an important role in user experience (UX) as it contributes to the improvement of the user's personal condition in relation to the computing system.[4] Decision-making, brand loyalty, and consumer connections have all been associated with the integration of affective design.[5][6] The goals of affective design focus on providing users with an optimal, proactive experience. Amongst overlap with several fields, applications of affective design include ambient intelligence, human–robot interaction, and video games.

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  • Introduction to Affective Computing and Affective Interaction (Affective Computing) - Video 1
  • Designing Affective Interaction Products Dealing With Stress (Affective Computing) - Video 3
  • Affective Computing in the Classroom

Transcription

bjbjq Rikke: Today we're meeting Kristina Hook. Kristina Hook is a professor in Human-Machine Interaction at Stockholm University. For many years Kristina has been researching Affective Computing with her colleagues at her lab. Of course, she's the ideal person to ask about Affective Computing. So Kristina, what is Affective Computing? Kristina: The original vision for Affective Computing was that it would be interesting to try and recognize what our users are experiencing when they're interacting with systems, their emotional responses to the interaction. Then make a model of that and use that to modify the interaction perhaps to create new and emotional experiences or to fix problems, like if the user's really frustrated or something done that maybe the interaction needs to be adapted and changed. So it really came out of artificial intelligence, a very strong idea of the possibility to understand people and to bring in emotion as one of those things that wshould understand in the system. But since then -- this is a while ago. It's really a book by Rosalind Picard in 1998 that really established the term. There was work going on before that as well but that really established the term and since then, of course, a lot of things have happened and there are like several branches within this and perhaps modification to the original vision. Rikke: Could you describe those different branches? Kristina: Yes. There's one branch that takes perhaps a critical view on whether it's possible to know what somebody else's emotion is just by looking at their face, their bodily gestures, or putting sensors on your body to recognize your physical reactions to emotion. People are interesting and complex beings and maybe we can't reduce what we experience to a few variables that we can measure. Rikke: Is that your direction or your branch? Kristina: Yes. I think for me and some of the people I've been working with, it's interesting to think about emotion more in terms of something that you can add to an interaction but you don't necessarily model it and represent it in the system, and you don't necessarily adapt the interaction in such a way that users become exceedingly frustrated because the system does things based on perhaps like now I smile though maybe I'm not that happy. Maybe I'm a little bit nervous because I'm in an interview situation. If the system would, because I am smiling, start to interact with me in a new way, not recognizing the complexity of the situation, then I would hate that system. Rikke: Yes. Kristina: In my direction, people have been saying, "We should not reduce people to a few variables and emotion is just really at the core of what we are and how we experience the world and so reducing that to a facial expression, or gestures, or whatever, is not only very difficult and that is also a stupid thing to do." Rikke: Could you put a name on this direction? Do you have a name yet? Kristina: Yes. Phoebe Sengers and I, and some other people talk about this as affective interaction, rather than affective computing. Sort of putting more emphasis on that it's not the system, the computer, that thinks that it knows what your emotion is, that it has this model inside that is computing your emotion. But instead, it's an interaction where emotion is constructed and interpreted and given meaning as in a dialogue between the user and the system, or between users through a system. After a while, instead of working in opposition against Affective Computing, I think we just discovered there's so many interesting applications that we can build and we can use some of the same technologies and some of the same insights perhaps on what emotion is, but build other kinds of systems. So now, I wouldn't say that it's working in opposition. It's more of working in a constructive way, finding other kinds of applications. On the one hand, we have the Affective Computing Group, the AI people who are really interested in modeling emotion both for recognizing user's emotions and for generating interaction. Then we have this effective interaction group where we are looking more at emotion as a constructed process, something where we create meaning between ourselves and where probably the system does not, definitely not know more about you than you do yourself. But then in general, I would say it's stupid to say that this is a new thing because of course we've always been designing with emotion in mind. Musicians, poets, writers and filmmakers have always been working with the interaction between what they produce and how people react to that emotionally. Of course, when you're trying to computerize an interaction with computers that interaction happens over time when you can explicitly work with what the user does and how the system responds and so on. That is new and different but a lot of people have been doing beautiful IT designs for a long time. And I think people like Don Norman [sp] picked up on that one. He talks about emotional design so I guess that's to put a bit of a perspective on it and not to say, "Oh suddenly in 1998 we discovered emotion." Rikke: Yes. Rikke: Could you tell us about the theoretical background for your school and the other schools as well? Kristina: I think Affective Computing as it was envisioned by Roz Picard at MIT, was very much built on cognitivism of a certain kind and on neurological a biologism, while the perspective that Phoebe Sengers and I and others have had is more of constructivism, phenomenology, looking at people as being in the world and that the tools are part of us and part of our expression rather than, "This is me and the system is looking at me, recognizing stuff in me and doing stuff on behalf of me. That's simplifying of course but perhaps are the two paradigms and the backgrounds they have. Rikke: Can you name some different products which we can see coming from the different directions? Kristina: In Affective Computing, they worked with for example, Rosalind Picard s Group at MIT Media Lab. They have been working with both learning applications and with autistic children and they're learning of emotional communication. They also worked with health issues of various kinds. For example, for autistic children, recognizing somebody else's facial expression is difficult. They don't understand necessarily the emotional - what the emotion is, what it is that they are seeing. So their idea is that by simplifying this and by putting a recognition system on other people that the kid is interacting with, looking at their faces and then simplifying the facial expression into, This is the happy person and this is somebody who's getting angry. And so on. They can actually learn rules for, "Okay. Hang on." This person is now getting angry. I didn't see that but now I understand that when this person has this particular expression then that actually means anger. Now I need to watch out. So this one is actually putting a camera on top. So I think what they did -- I don't know what the system is looking like today but when I saw the system last, it was -- you have a hat on and there's a camera pointing to the person you're interacting with. It's doing in real time, analyzing the facial expression of that person, simplifying that into a symbol like happy, angry, whatever and so that the kid can interact with this in real time. Rikke: Are there any problems in this approach? Kristina: There are many interesting problems so I think on the one hand it's fantastic because autistic children have a lot of problems because they just don't understand what is going on. Why did that person become so angry now? They don't see the little signs and signals that things are going in the wrong direction. On the other hand, some of them feel like, Why do we always have to adapt to the normal people? I'm like this. And so I think Roz has been doing a really good and interesting argument about how do we deal with that? Should we always make people who have disabilities adjust to the normal way of being? Rikke: Their interest in you. Kristina: Yes. And also of course simplifying facial expressions like that. It's because a lot of the time we are behaving in ways that are socially acceptable so you don't show your frustration or anger or you try to hide it, to mask it. And so the question is, "What is really going on?" If you're masking a frustration or anger, on top of that, you have a happy face and then there's anger underneath. What is it that the kids should be learning from this? Rikke: So in your direction, you're trying to design something, which is not simplifying things as much, I guess? Yes, but can we see that in any products now? Kristina: In our group we built several systems where we tried to work more with emotion as an expression. It's not something for you to recognize but I'm expressing something and I'm explicitly trying to communicate something to you. We've worked with bodily expressions for example, because emotion is really interesting. It's like sitting in between our social interaction and in our bodies and in the whole interaction back and forth. So if I want to express that I'm interested in talking to you in this interview, you see I lean forward, I open my eyes, I smile. I actively construct for an interaction. Kristina: And you respond to that. You smile back at me. Rikke: I don't lean forward because then now... Kristina: It would be in front of the camera. Rikke: Like this. So that's why I am holding back. Kristina: But it's contagious isn't it? Rikke: Yes. Kristina: It's like I do this and you feel like, Oh. I should be responding to this. Rikke: Definitely. Kristina: Now between ourselves, we are constructing an experience so one of our systems we built for mobile phone was that instead of sending text messages only, you have a pen that has sensors in it so you write your text message perhaps saying, I'm so happy for you that you have this wonderful interview today, or something. And then you do a gesture. You can do like a happy gesture or you can do a sad, depressed, horrid, inwards, gesture. Or you can do angry gestures or whatever. Kristina: And that changes the background of the text message. Rikke: Automatically? Kristina: Yes. So there will be colors and shapes and animations. So if I do the happy, there will be champagne, bubbly, nice, red colors. If I do the angry, there will be ragged, little, angry things jumping around. And this is what I send to you. Okay, so it's not that I'm expressing necessarily what I'm feeling right now, or the truth of what I'm experiencing. I'm actually constructing a message for you, I want to influence you perhaps or I want to express something of my own. So if I'm saying, Good for you that you're doing the interview today, happy gestures. I might at the same time be hung-over from the conference dinner yesterday and I don't want to communicate that. So this is what we do in social communication, We construct what we want to convey. And so with this pen you actually construct. At the same time, you get into the experience. So if I do a happy gesture and I'm writing a happy message, and the colors are happy and there is champagne, bubbly things, that actually creates one experience in the moment. An affective loop if you want to perhaps, frame it like that. That makes the experience of what you're trying to express stronger. Rikke: Yes. Kristina: So that's an example of the system that we've got. Rikke: Personally, I don't know that product. Are there any products on the market, which are really popular or well known? Kristina: Not that many and perhaps that's not so strange given that the field is fairly young. But there are a lot of projects that have these kinds of insights in there anyway, without having learned from researchers so maybe that is fairly common thing. For example, the remote that you use when you play games, for some of the games, the gestures are really there and they're designed to pull you into particular experiences so I guess that's it, a good example. Rikke: Thank you so much for this first part of the interview. Kristina: Thank you. Rikke: Let's head on for the next one. Kristina: Okay. Rikke: If you want to get some direct guidelines about how you can apply it, you should watch our second video with Kristina and if you want to know even more, you could also read her chapter which you can find at www.interaction-design.org. Here you can also find more chapters and videos like this one with other thought leaders and inventors. Thank you so much for watching, hope you enjoyed it. Introduction to Affective Computing and http://www.youtube.com/watch?v=JMzilFvwNXE Affective Interaction (Affective Computing) PAGE PAGE zvlflfvlfl[lf &`#$ [Content_Types].xml Iw}, $yi} _rels/.rels theme/theme/themeManager.xml sQ}# theme/theme/theme1.xml w toc'v )I`n 3Vq%'#q :\TZaG L+M2 e\O* $*c? )6-r IqbJ#x ,AGm T[XF64 E)`# R>QD =(K& =al- 4vfa 0%M0 theme/theme/_rels/themeManager.xml.rels 6?$Q K(M&$R(.1 [Content_Types].xmlPK _rels/.relsPK theme/theme/themeManager.xmlPK theme/theme/theme1.xmlPK theme/theme/_rels/themeManager.xml.relsPK <?xml version="1.0" encoding="UTF-8" standalone="yes"?> <a:clrMap xmlns:a="http://schemas.openxmlformats.org/drawingml/2006/main" bg1="lt1" tx1="dk1" bg2="lt2" tx2="dk2" accent1="accent1" accent2="accent2" accent3="accent3" accent4="accent4" accent5="accent5" accent6="accent6" hlink="hlink" folHlink="folHlink"/> Jared Normal Jared Microsoft Office Word Title Microsoft Office Word 97-2003 Document MSWordDoc Word.Document.8

Background

Emotions are an integral part of the human experience, and thus, play a role in how users and consumers interact with interfaces and products.[7] Donald Norman, an academic in the field of human-centered design, explored the importance of emotion in design, coining the concept of user-centered design in the 1980s.[8] He discussed design heuristics and advocated for providing users with a pleasurable experience through the application of emotional design.[8] According to Norman, there are three levels of emotional processing that influence the user’s affective experience: visceral design, behavioural design, and reflective design.[9]

  • Visceral design relates to the immediate, subconscious responses to a product.[9] It is triggered by an object’s perceptual properties and sensory experiences, such as the use of specific shapes or colours.[10] Visceral level responses are rooted in biological and evolutionary processes that facilitate rapid assessment of encountered objects, including evaluations of their safety and the scope for further exploration.[9] Product designers utilise visceral level responses to create positive user experiences by incorporating elements such as specific imagery, colour,[11] typography, or branding to convey the desired emotional state or association to the user.[9]
  • Behavioural design is related to the joy and effectiveness of use of a given product, particularly in terms of functionality and understandability.[9] It is also affected by the physical feel of an object, such as its weight or texture.[9] Effective behavioural design is intuitive and meets the user’s expectations and goals,[9] as well as instils a sense of control over the product in the consumer.[10] Behavioural design, while subconscious,[9] is closely related to the users’ past experiences, where the expectations for a given product originate.[10]
  • Reflective design is considered the highest level of emotional design, where the affective response stems from conscious mental processing. At this level, users reflect upon their experience with the product and how it affects their self-image.[9] Reflective design is largely embedded within a social and cultural context, as consumers assess the social role or status communicated by using the product, particularly in light of cultural norms and preferences.[9] Reflective design is also linked to customer retention, marking the stage where the decision to reuse the product in the future is made.[9]

To cater to all three levels of emotional responses, designers should consider both a product’s appearance and its usability.[10]

Bødker, Christensen, and Jørgensen presented a definition of affective design that emphasizes the importance of considering current social and cultural influences when relating to human emotions.[12]

Along with the growth of human-computer interaction, the past few decades have seen an increase in the discussion of emotions in relation to design.[8] Research in recent years has looked at what affects our emotions as well as how emotions affect our mental and physical states.[7] Additionally, designers and researchers have explored how to elicit and map people’s emotions, ranging from positive to negative.[7] Affective design encompasses more than the functionality of a product as it emphasizes user experience and is concerned with the dynamics of how humans interact with the world.[7]

Affective design includes utilizing users’ emotions as data to guide technologies’ responses in addition to designing with predetermined elements intended to influence users’ emotions.[8] The growth in the number and diversity of users carries with it the challenge to tailor interfaces and products to each individual. Affective design offers the potential to provide a unique, adaptive response to each user’s emotion.[2] It has emerged as an intersection of functionality and pleasure, illustrating the significant influence of emotional components in technology and user experiences.[7]

Aims

Affective computing aims to construct affective interfaces[2] which are capable of providing certain emotional experiences for users.[13] Affective design attempts to understand the emotional relationships between users and products as well as how products communicate affectively through their physical features.[14] It aims to create artefacts capable of eliciting the most pleasurable experience possible for users, across all of their senses. Affective design works to create the optimal user experience by tailoring human-interactions to individual users in response to their emotional input. It promotes affective interaction through communication, positioning itself as a mediator between human input and the computer's output.[15] The effectiveness of affective design is measured with reference to feeling discrepancy, which defines the disparity between the target customer's emotional response and the actual emotions experienced by the user.[16] Design that generates low feeling discrepancy is regarded as impactful affective design.[16]

Another aim of affective design is increasing customer retention by creating memorable user experiences and ensuring brand loyalty.[1] The integration of affective design and the subsequent emotional response elicited in customers has been shown to positively impact attachment, loyalty, and long-term commitment to the brand.[17][5] This aim of affective design is grounded in the experience economy theory, suggesting that consumer engagement should occur at the emotional level.[18] By creating positive affective responses, brands generate memorable experiences for product users, improving commercial success.[19] This leads to positive sale-driving behaviours in consumers, such as spreading positive word-of-mouth, price insensitivity, and repurchasing.[20]

Challenges

The key challenge for affective design involves accurately identifying the user's affective needs, and, subsequently, the design of products that would address those needs.[21] Current research focuses on the measurement and analysis of human interactions towards affective design and the assessment of the corresponding affective design features.[21]

Another challenge for affective design is balancing the emotional and utilitarian aspects of product design.[22] Prioritising emotional value over usability can affect users’ satisfaction with a given product if it fails to meet their functional expectations.[9] Conversely, the overemphasis on product functionality can detract from an emotionally positive experience, leading to decreased memorability of use and brand loyalty. [9] Therefore, effective design should encompass both product functionality and generate positive affective responses to create an optimal user experience.

Notably, while striking a balance between usability and affective design is important, generating strong emotional responses has been found to mitigate some negative experiences stemming from a lack of functionality. According to Norman, customer satisfaction at the emotional level often transcends functional inconveniences, and positive reflective memories can mitigate the negative effect of the initial experience.[9] Emotion-centered design has also been found to have a more significant impact on a product’s success than its functionality.[9] One example is the introduction of the colourful casing to Apple’s iMac, which, by appealing to the visceral level of emotional processing, improved the product’s sales despite the hardware components remaining mostly unchanged.[23]

Direct measures of users’ emotional states present another challenge for affective design. Products and interfaces that incorporate affective computing into their design, specifically to create user experiences that adapt to the emotional state of the user, often rely on indirect measures, such as physiological arousal.[9] However, the use of biological markers, such as heart rate, blood pressure, or respiratory rate, only provides an indirect measure of affective states, which can be influenced by various external factors.[9]

Applications

Emotion Stimulating Robot
Emotion Stimulating Robot

Ambient intelligence (AmI) involves a variety of processes, including aspects of affective design, to construct systems that proactively interact with the user.[24] It incorporates areas from computer science and engineering, including sensors, human-computer interfaces, and artificial intelligence, to construct an adaptive, intelligent user environment. Collecting information from the environment and calculating the user’s anticipated needs, AmI lies at the intersection of the Internet of things and artificial intelligence .[25] Applying affective design, AmI considers human desires and emotional responses. One way AmI processes human emotions is through facial expressions, which allows the technology to recognize user emotions and respond accordingly. These electronic environments provide the users with an aesthetic and pleasurable experience by enhancing human-product interactions.[26]

Human–robot interaction is another area in which affective design is applied, specifically with emotional robots. Recognizing human emotions, emotional robots are aware of the user’s emotions and engage in an emotional interaction with the user.[27] Emotional robots are designed to mimic human emotions and cognition. They analyze the user’s emotions by gathering data through various methods, including facial recognition, body language, and physiological signals, and then they exhibit a behavioral response.[27] One example of an emotional robot is Erica, developed by Hiroshi Ishiguro and his team at Osaka University. Erica is an intelligent robot capable of carrying out a conversation with people and expressing emotions.[28]

Video games serve as an immersive form of entertainment that can apply affective design in their development. Emotions impact the user’s engagement and relationship with the video game, prompting designers to consider affective design in their creation of video games.[29] Affective gaming, for example, explores how video games can analyze the player's emotions and change game features accordingly.[29] This has the potential to increase the personalization and adaptability of the games with the intention to increase user interest and commitment.[15] It has been recognised as a potential solution to the issue of games providing an unbalanced player experience, often oscillating between excessively difficult and overly simplistic gameplay.[30] Researchers suggest that game adaptability can also play a crucial role in facilitating a state of flow in players, which has been considered an integral part of enjoyable gaming experiences.[30] Biofeedback and physiological arousal measures have been suggested as tools for games to adapt the gameplay, thus increasing player satisfaction by minimising frustration and maintaining an optimal level of challenge.[31]

See also

References

  1. ^ a b Huimin Jiang, Y. L., C. K. Kwong, & Ip, W. H. (2015). A methodology of integrating affective design with defining engineering specifications for product design. International Journal of Production Research, 53(8), 2472–2488. doi:10.1080/00207543.2014.975372
  2. ^ a b c d Reynolds, C. and Picard, R. (2001) Designing for Affective Interactions. In Proceedings of 9th International Conference on Human-Computer Interaction, 5–10 August 2001, New Orleans, Louisiana, USA. [online], available: http://vismod.media.mit.edu/pub/tech-reports/TR-541.pdf
  3. ^ Norman, D. A. (1986). Design principles for human-computer interfaces. In D. E. Berger, K. Pezdek, & W. P. Banks (Eds.). Applications of cognitive psychology: Problem solving, education, and computing. Hillsdale, NJ: Lawrence Erlbaum Associates.
  4. ^ Stephanidis, Constantine; Margherita, Antona (2013). Universal Access in Human-Computer Interaction: Design Methods, Tools, and Interaction Techniques for e-Inclusion. Dordrecht: Springer. p. 567. ISBN 9783642391873.
  5. ^ a b Pullman, M. E., & Gross, M. A. (2004). Ability of experience design elements to elicit emotions and loyalty behaviors. Decision Sciences, 35(4), 551–578. https://doi.org/10.1111/j.0011-7315.2004.02611.x
  6. ^ Noble, C. H., & Kumar, M. (2008). Using product design strategically to create deeper consumer connections. Business Horizons, 51(5), 441–450. doi:10.1016/j.bushor.2008.03.006
  7. ^ a b c d e Emotions and affect in human factors and human-computer interaction. Myounghoon Jeon. London, United Kingdom. 2017. ISBN 978-0-12-801879-8. OCLC 982491886.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
  8. ^ a b c d Triberti, Stefano; Chirico, Alice; La Rocca, Gemma; Riva, Giuseppe (2017). "Developing Emotional Design: Emotions as Cognitive Processes and their Role in the Design of Interactive Technologies". Frontiers in Psychology. 8: 1773. doi:10.3389/fpsyg.2017.01773. ISSN 1664-1078. PMC 5640767. PMID 29062300.
  9. ^ a b c d e f g h i j k l m n o p q Norman, D. A. (2004). Emotional design: why we love (or hate) everyday things. Basic Books.
  10. ^ a b c d Norman, D. A., & Ortony, A. (2006). Designers and users: two perspectives on emotion and design. In S. Bagnara & G. Crampton Smith (Eds.), Theories and Practice in Interaction Design. CRC Press.
  11. ^ Hevner, K. (1935). Experimental studies of the affective value of colors and lines. Journal of Applied Psychology, 19(4), 385–398. https://doi.org/10.1037/h0055538
  12. ^ Bødker, Mads; Christensen, Martin S.; Jørgensen, Anker Helms (23 June 2003). "Understanding affective design in a late-modernity perspective". Proceedings of the 2003 international conference on Designing pleasurable products and interfaces. DPPI '03. New York, NY, USA: Association for Computing Machinery. pp. 136–137. doi:10.1145/782896.782931. ISBN 978-1-58113-652-4. S2CID 9911180.
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  14. ^ Carliner, S. (2000) "Physical, Cognitive, and Affective: A Three-Part Framework for Information Design” [online], available: https://web.archive.org/web/20061231230832/http://saulcarliner.home.att.net/id/newmodel.htm [accessed 10 January 2007]
  15. ^ a b Ng, Y. Y.; Khong, C. W.; Thwaites, H. (1 January 2012). "A Review of Affective Design towards Video Games". Procedia - Social and Behavioral Sciences. The World Conference on Design, Arts and Education (DAE-2012), May 1–3, 2012, Antalya, Turkey. 51: 687–691. doi:10.1016/j.sbspro.2012.08.225. ISSN 1877-0428.
  16. ^ a b Lai, H.-H., Chang, Y.-M., & Chang, H.-C. (2005). A robust design approach for enhancing the feeling quality of a product: a car profile case study. International Journal of Industrial Ergonomics, 35(5), 445–460. doi:10.1016/j.ergon.2004.10.008
  17. ^ Barsky, J., & Nash, L. (2002). Evoking Emotion: Affective Keys to Hotel Loyalty. Cornell Hotel and Restaurant Administration Quarterly, 43(1), 39-46. https://doi.org/10.1177/0010880402431004
  18. ^ Chai, Y., Na, J., Ma, T., & Tang, Y. (2022). The moderating role of authenticity between experience economy and memory? The evidence from Qiong Opera. Frontiers in Psychology, 13. doi:10.3389/fpsyg.2022.1070690
  19. ^ Ash, J. (2012). Attention, Videogames and the Retentional Economies of Affective Amplification. Theory, Culture & Society, 29(6), 3-26. https://doi.org/10.1177/0263276412438595
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  22. ^ Velloso, E., Dingler, T., Vetere, F., Horman, S., McDougall, H., & Mierzejewska, K. (2018). Challenges of emerging technologies for human-centred design: bridging the gap between inquiry and invention. Proceedings of the 30th Australian Conference on Computer-Human Interaction, 609–611. Presented at the Melbourne, Australia. doi:10.1145/3292147.3293451
  23. ^ Cheng, Q., & Tang, D. (2016, May). The Application of Emotional Design in the Web Interface. Proceedings of the 2016 2nd Workshop on Advanced Research and Technology in Industry Applications, 309–312. doi:10.2991/wartia-16.2016.60
  24. ^ Butz, Andreas (2010), "User Interfaces and HCI for Ambient Intelligence and Smart Environments", Handbook of Ambient Intelligence and Smart Environments, Boston, MA: Springer US, pp. 3–31, Bibcode:2010hais.book..535B, doi:10.1007/978-0-387-93808-0_20, ISBN 978-0-387-93807-3, retrieved 4 February 2023
  25. ^ Mukherjee, Srishti (26 January 2022). "What is Ambient Intelligence?". Analytics India Magazine. Retrieved 4 February 2023.
  26. ^ Mühlhäuser, Max; Ferscha, Alois; Aitenbichler, Erwin (2008). Constructing Ambient Intelligence. Berlin: Springer Science+Business Media. p. 301. ISBN 978-3540853787.
  27. ^ a b Chen, Luefeng; Wu, Min; Pedrycz, Witold; Hirota, Kaoru (14 November 2020), "Emotional Human-Robot Interaction Systems", Emotion Recognition and Understanding for Emotional Human-Robot Interaction Systems, Studies in Computational Intelligence, Cham: Springer International Publishing, vol. 926, pp. 215–222, doi:10.1007/978-3-030-61577-2_12, ISBN 978-3-030-61576-5, S2CID 228891315, retrieved 7 February 2023
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