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ArtfulDesignforPositiveDesign:ACaseStudyinVR

JackATHERTONa*

aCCRMA,StanfordUniversity*Correspondingauthore-mail:lja@ccrma.stanford.edudoi:10.21606/drs.2020.117

Abstract: This article presents the philosophy of artful design as a viable lens forachieving the aims of subjectivewell-being set forth by the framework of positivedesign. Artful design is a design philosophy that presents both theoretical andpragmatic guidance to designers, offered via design principles intended to addresshuman flourishing and humanistic values. First, we present several artful designprinciples,organizingtheseintoafewcategories.Next,weprovideacasestudyofavirtualrealityexperience.Wefirstcommentonhowitsdesignwasmotivatedbytheaforementioned artful design principles. Then, we show how the virtual realityexperiencealignswiththegoalsofpositivedesign.Wefinishbydiscussinghowartfuldesignisalignedwithpositivedesign.Thisincludesdiscussiononhowartfuldesign'smethods can inform positive design where the two are already aligned. We alsodiscusshowartfuldesignmightaddnuancetosomeofthecomponentsofpositivedesign, followedby a brief discussionof the tentative term folk design to describehumanflourishingthroughamateurpracticeofthedesignprocessitself.

Keywords:positivedesign;artfuldesign;designphilosophy;aesthetics

1.IntroductionPositivedesignisanemergingdesignphilosophyonhowtodesignforsubjectivewell-being.DesmetandPohlmeyerhaveprovidedapromisingframeworkforguidingdesignpracticeatahighlevel,buthavenotedthattheirdesignphilosophyneedstodevelopmethodologyinordertobemorepragmaticallyusefultodesignpractitioners(2013).Thisarticlepresentsthephilosophyofartfuldesignasaviablelensforachievingsomeofthegoalssetforthbytheframeworkofpositivedesign.

Positivedesignisadesignphilosophyandframeworkforencouragingpeopletoexperiencehumanflourishingthroughalensofsubjectivewell-being.Here,thetermdesignphilosophyindicatesthattheframeworkmutuallyinfuseshigh-levelconceptsandvalueswithpragmaticguidanceforachievingthosevalues.Positivedesignencouragestheemphasisonandbalanceofitsthreecomponents:designforpleasure,designforpersonalsignificance,and

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designforvirtue(Pohlmeyer&Desmet,2017).Thesearedefinedinturnasexperiencingpositiveaffect(thoughconsideringthebalanceofpositiveandnegativeemotionsisalsoimportant),workingtowardpersonalgoals(here,whatconstitutesmeaningishighlyspecifictotheindividual),andactingwithmorality(amoreobjectiveapproachwithrootsinvirtueethics).Theframeworkencouragesattentiontothebalancebetweenthethreecomponents,sinceprioritizingonemaycomeattheexpenseofanother(Desmet&Pohlmeyer,2013).Italsoemphasizestheimportanceofpeoplebeingactivelyinvolvedinrealizingtheirownflourishing.Whilethephilosophyprovidesarobusttheoreticallaunchingpointfordesignprocesses,italsonotesthatmuchfutureworkisnecessarytowardthedevelopmentofmethodstohelpdesignersintheprocessofdesigning,aswellasthedevelopmentofmeasuresforempiricalassessmentofhumanflourishingoutcomes.

Figure1.Examplesofthepragmatics,aesthetics,andphilosophypresentedinArtfulDesign.

Artfuldesignisadesignphilosophythatfocusesonhowtoshapetechnologywithcraft,ethics,andaesthetics(Wang,2018).Itoriginatesinthefieldofaudiovisualmusicaldesign,butisintendedtobegenerallyapplicabletomostdesigncontexts.Thecorrespondingphoto-comicbookArtfulDesign:TechnologyinSearchoftheSublimepresentsthephilosophythroughaseriesofdesignprinciples,whichareaphorismsintendedtobeconsultedduringthedesignprocessinmomentsofambiguity.Thebookcoverssignificantground,rangingfromdiscussionofpragmaticstoaestheticstothecoreofthephilosophybehindhowtodesignartfully(Figure1).Thephilosophyofartfuldesignisnotaboutcreatingart.Instead,itisconcernedwiththemutualinterplayandradicalsynthesisoffunctionandform,ofpragmaticsandaesthetics;itsuggeststhattechnologyshouldtranscendthe"mere"functionalandbeartful.Thephilosophyisinsomewaysaresponsetotheneed-finding,"empathy"-basedapproachto"designthinking"thatiscurrentlypopularintheUnitedStates,centeredontheStanfordUniversityd.School(Balcaitis,2019;Dam&Siang,2019;Fogel,2017).Assuch,artfuldesignalsoforegroundsdesigningforthehumanvalues

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underlyingsurface-levelpracticalneedsandfocusingonbroad"invisible"needs,suchastheneedforself-actualizationandtheneedtoappreciatebeauty.Thephilosophymakesfrequentreferencetotheconceptofthesublime,adeepaestheticexperienceresultingfromanarticulationofclarity,truth,andadeepunderstandingofhumanity.Overall,thebroadgoalofthephilosophyistoencouragedesignthatimplicitlyunderstandsandsupportshumanisticaspectsoflife.EventhoughArtfulDesigninvokesmanyaspirational,abstractconcepts,theadviceitsdesignprinciplesgivesisoftenhighlypragmaticandapplicabletodesignprocesses,makingitapotentiallyusefullensfordesignersofotherpracticestoapplytotheirownprocesswhencontextuallyappropriate.

Therestofthisarticlewillattempttoshowhowthetwodesignphilosophiesarealignedandhowpositivedesignersmightmakeconstructiveuseofthephilosophyofartfuldesign.First,wewillpresentinmoredetailseveralthemesputforthinArtfulDesign.Next,wewillofferacasestudyofamusicalvirtualrealityexperience,firstdiscussinghowartfuldesignwasusedtoguidethedesignprocess,thencommentingonhowtheresultingexperiencealignswithalloftheaspectsofpositivedesign.Wewillfinishwithadiscussiononhowartfuldesignmightinformtheworkofpositivedesigners,andhowsomeofitsconceptsmightaddmorenuancetothephilosophyofpositivedesignitself.

2.PrinciplesfromArtfulDesignHere,wepresentseveralofthemanythemesfromArtfulDesign(Wang,2018),insofarastheyarerelevanttopositivedesignandthecasestudypresentedbelow.Throughouttherestofthisarticle,designprinciplesfromArtfulDesignarereferencedbynumber(e.g.AD2.6).ThetextofeachmentionedprincipleispresentedintheAppendixforreference.

2.1.WhatisDesign?

Artfuldesignhesitatestoprovideanexactdefinitionofwhatitmeanstodesign(AD1.1),sinceitmaintainsthatdesigniswhatyoudowhenthereisnoknown,directwayofmeetingsomegoal(AD1.8).Therefore,ratherthanspecifyingmethodsfordesign,artfuldesignoffersdesignprinciplesthatactaslensesto(re)directthinkingduringaperson'scontextualdesignprocess.Nevertheless,itmaintainsthattheprocessofdesigningisoftencreativeandexploratory,thatdesignshouldoriginatefromafoundationalunderstandingofwhatitmeanstobehuman,andthatdesignshouldbeperformedwithasenseofaestheticsthatenablesustoapproachthesublime(AD1.2).

2.2.Ends-in-Themselves

Artfuldesignmakesextensiveuseoftheconceptofmeansvs.ends,orthedualityandspectrumbetweenmeanstoanend,"thatwhichservesanexternalpurpose,use,orfunction,"andendsinthemselves,"somethinggoodinitself,whosevalueliesprimarilyinitsintrinsicworth(AD1.5,p.34).Thephilosophyarticulatesthatgreatdesignshouldapproachthesublimebyachievingaradicalsynthesisofthesetwomodes(AD1.16).

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Figure2.Left:ArtfulDesign,Principle2.6:Technologyshouldcreatecalm.Right:ArtfulDesign,Principle8.19:Wedesigntopromoteeudaimonics.

2.3.NeedsandValues

Artfuldesignresiststhenotion(popularintheU.S.DesignThinkingmovement)thatdesignisfundamentallyaprocessoffindingandaddressinghuman"needs"(Balcaitis,2019;Dam&Siang,2019;Fogel,2017).Itadvocatesthatwemustspeaktoneeds,yetgobeyondthem,addressingdeeperhumanvalues.Throughitsmanycasestudies,itpresentsexamplesofsuchhumanvaluesthatcanmotivatedesignprocesses(AD1.15).Examplesincludecalm(AD2.6,Figure2),playand(amateur)musicalexpression(AD8.9),and"invisible"needssuchasappreciationofaesthetics,self-actualization,andtranscendence(AD8.10).

2.4.Aesthetic-drivenDesign

Artfullydesigningoftenmeansfollowingaprocessofaesthetic-drivendesign:payingcarefulattentiontoauthenticity,intentionality,howsomeoneshouldfeel,andhowtheyshouldlivewithtechnologythroughoutallaspectsofthedesignprocess(AD4.7,5.2),atalllevels:material,structural,interactive,emotional/psychological,social,andmoral-ethical(AD1.3).Itsuggeststhatanuanced,fundamentalfocusonaestheticsnotonlyfacilitatesdesigndecision-makinginuncertainty,butalsohelpsuseensurethatourworkisbroadlyhumanisticinthewaythatitshapestechnology(AD6.5,8.6).

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2.5.Play

Artfuldesignassertstheimportanceofplayasan"integralpartofhumanlife,havingeverythingtodowithpurposeandadeepcommitmenttoactivitiesthathavenoextrinsicpurpose"(Wang,2018,p.307),i.e.ends-in-themselves.Itsuggestsweshoulddesignnotonlysothatpeoplecanwork,butalsosothattheycanplay,andindoingso,befree(AD6.1).Designforplaymusthelppeoplecreatea"separatespace,isolatedandprotectedfromlife"(AD6.9,p.330).Onepowerfulwaytoaccessthemodeofplayisthroughencouraginguserstobecreativeandartfullyexpressive(AD6.12).

2.6.InteractionandParticipation

Withitsattentiontodesignformusicalperformanceandcreativity,artfuldesignpaysspecialattentiontotheinvisibledimensionofinteraction(AD7.6,6.7).Itremindsthedesignerthatthereisa"humanintheloop"(Wang,2018,p.218),thatparticipationandsocialprocessesarevaluable,andthatloweringpeople'sinhibitionsandenablingevenamateurstoparticipateinaprocessinstantlycanbeavirtue(AD2.7,5.7).

2.7.Embodiment "Bodiesmatter!"(Wang,2018,p.210).Withinitsfocusoninteraction,artfuldesignstressestheimportanceofembodiment:consideringhowthedesignrelatestoitsuserthroughtheirbody(AD5.4)andhowdesignsthatpaycarefulattentiontothebodycanfeelmorelikeapartoftheuser(AD5.17).Oursenseofembodimentshapeshowweprocessandmovethroughlife.

2.8.WhyWeDesign

Finally,artfuldesignoffersperspectivesnotonlyonhowweshoulddesign,butwhywe,thedesigners,engageinthisact,howitshapesus,andhowweuseittopromotehumanflourishing.Wedesigntocelebrateallthebeautifulandimperfectaspectsoflife(AD8.22).Wedesigntopromotehumanflourishing(AD8.19,Figure2).Wedesigntoplayandtoexpressourhumanity(AD8.17,8.21).And,perhapsmostimportantly,wedesigntoreachforthesublimeandtotranscend(AD8.25).

3.CaseStudy:12SentimentsforVR12SentimentsforVRisanextendedvirtualreality(VR)experienceinwhichusersexploretheemotionallifecycleofaplantbymakingmusic.12Sentimentswasdesignedusingaprocessofartfuldesign,buttheendresultalignswellwithmanyofthegoalsofpositivedesign.First,wewillexplainthemotivatingdesignprinciples,whichshapedhowtheexperiencewasbuilt.Then,wewilldrawconnectionsbetweentheresultandthepositivedesignframework.

3.1.DesignProcess12SentimentsforVRwasdesignedbytheauthoroveraperiodofmonths,duringwhichtimetheproject'sprogressreceivedbi-weeklycritiquefrommembersoftheCCRMAVR/AR

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DesignLab.Theproject'smethodswereseededinaesthetic-drivendesign(explainedfurtherbelow),withactiveattentiontothefollowinghigh-levelgoalsandguidingconcepts.

Activeamateurparticipation.Theoverarchinggoalfor12Sentimentswastocreatealongnarrativethatmovesthroughaseriesofenvironments(eachoriginatingfromanemotionalaesthetic)andenablesitsuserstocreatemusicactivelyineachenvironment(calleda"movement,"asinamovementofanorchestralpiece).Thisgoalderivedfromaconsiderationofthevalueofencouragingamateurstoengagewithmusic(AD1.15,8.9),andspecificallyofhowactiveuserparticipationinmusicalexperiencespromoteshumanflourishing(AD7.6,8.19,8.21).

Becausetheexperienceisdesignedwithamateursinmind,eachofthemovementsgivestheuserhigh-levelexpressivecontroloverthemusic,butthecontrolsthattheuserhastomasterarerelativelysimple,onlyinvolvingmovetheirhandsandpushingonebutton(AD5.7,2.7).Importantly,neitherthemusicnorthenarrativecanunfoldwithouttheusertakingactionswithinthevirtualenvironment(AD6.7).Forexample,inthesecondmovement,theplayeractsasayoungvineplant,andplacestheirhands(renderedasvirtualleaves)intobeamsofsunlight.Theactionofcapturingsunlightcausesslowchordswellstoplayinthemovement'smusic,whichalsogrowsincomplexityastheusercapturesmoresunlight.Themovementcannotenduntiltheusercapturesacertainamountofsunlight.

Figure3.Descriptionsofthedrivingemotionalaestheticsandnarrativeof12SentimentsforVR.

Aesthetic-drivendesignprocess.Eachofthetwelvemovementswasdesignedfromaparticularemotionalaesthetic,followingaprocessofaesthetic-drivendesign(AD1.3:emotional/psychologicallevel,8.10:aestheticneeds).Thatistosay,attheverystartofthe

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designprocess,twelveaestheticswerechosenasguidingmetaphorsfortherestofthedesigndecisionsmadeinthecraftingofeachofthemovements(AD4.7).TheaestheticschosenarepresentedinFigure3.Theywerechosentorepresentabroadspectrumofhumanemotionalexperiences,sothatuserscouldmakemusicencompassingavarietyofemotionalfeelingsandspendmoretimeinthemovementsthattheyfeelalignedwith(AD8.22).Oncethelistofaestheticswasfinalized,wecraftedanarrativethatwouldfitthisemotionalpath,decidingondepictingthelifecycleofaplant.Then,foreachindividualmovement,thecolorscheme,themusic,theinteractiondesign(AD5.2),virtualmovement,andevenvibrationalhapticfeedbackwerealldesignedwiththemovement'sintendedemotionalaestheticasastartingpointandasaguidingmetaphorforanyambiguousdesigndecisions.Thisprocessresultedinaseriesofvirtualenvironmentsthateachstronglyenforceasingleemotionalaesthetic(orsowehope),allowingtheusertoengagewithitastheymakemusicbyexistingandtakingactionsinthespace.

Doingvs.being.Anotherdrivingdesigngoalforthemovementswasthattheyshouldenableuserstoengageinbeing,orawayofexistingintheworldwhereonetakesthetimeandspaceforintentionalandengagedstillness,reflection,andcalm(AD2.6,6.5).Invirtualrealityexperiencedesign,bothdoing(takingintentionalandpurposefulactions)andbeingcanbeconsideredessentialforthecreationofwell-roundedexperiences(Atherton&Wang,2020).Thisemphasiswasappliedparticularlyintheinteractiondesignof12Sentiments.Tonameafewexamples:thebeamsofsuninmovement2fadeinandoutveryslowly,meaningthatauserwhowantstoabsorbasmuchsunlightaspossiblewillspendalotoftimestandingstill1.Inmovement5,whensomeseedlingsandtheuserarecaughtinagustofwind,thevirtualmovementinteractionallowsuserstocontroltheirdirectiononlyslightly,leavingspacefortheusertoreflectontheirenvironmentastheyaremovedthroughit.And,inmovement8,whentheseedlingshavebecometooheavytobeblownbytheuser'sgustsofwind,weslowvirtualtimetoastandstillwhiletheseedlingsareintheair,allowingtheusertocontemplatethesituationbeforetimeresumesitsnormalpaceandtheseedlingstumblebacktotheearth2.

Embodiment.ApowerfulpropertyofthemediumofVRitselfisembodiment,whichinthecontextofVRmeanstheabilityforausertofeelandactasthoughavirtualavataristheirownbody.12Sentimentsseesusersembodyawidevarietyofvirtualbeingsastheyexplorethecourseofaplantcommunity'slifecyclefromonegenerationtothenext:sprouts,vines,flowers,seedlings,thewind,andtheearth.Eachembodimentfundamentallyaffectsnotonlyhowtheuserexistsinthespace,butalsohowtheusermakesmusicinthespace(AD5.4,5.17,6.7).Forexample,asasprout,theuserlooksuptofeelthe(musical)sunontheirface;asthewind,theuserwhirlstheirarmsaroundtocreate(sonic)guststhatmovevirtualseedlings(andcausethemtoplayamusicalarpeggio);andastheearth,theuseropenstheirarmswidetocatch(musical)rain.

1https://ccrma.stanford.edu/~lja/doing-vs-being/leaf-hands/2https://ccrma.stanford.edu/~lja/doing-vs-being/slowing/

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Play.Onefinallensthat12Sentimentsengagesheavilywithisthatofplay.SinceindividualVRexperiencesinvolveisolatingtheuserfromthephysicalworld,theycanbeconducivetoplaywhenusersfeelprotectedandsafe(AD6.9).Anumberofaspectsareintendedtoencourageplay(AD2.1):brightcolors,virtualphysicsthatletsseedlingsfloatandspinaroundinplace,andhigh-pitched,tinklingmusic,tonameafew.However,themostfundamentalplayexperiencesin12Sentimentsarisebecausetheuserisabletoexpressthemselfmusically(AD6.12),promotingtheirflourishing(AD6.1).

3.2.AlignmenttoPositiveDesignAlthoughpositivedesignwasnotusedasamotivatingframeworkduringthedesignof12Sentiments,theresultingexperiencealignswellwithmanyofitscoretenets.

Pleasurableandmeaningfulexperiences.Inpositivedesign,thecentraldesignchallengeis"tocreateopportunitiesforpeopletohavepleasurableaswellasmeaningfulexperiencessupportedbydesign"(Pohlmeyer&Desmet,2017).12Sentimentsisdesignedforamateurstoparticipateinmusicalexperiencesthatenablemeditativebeinginavarietyofemotional-aesthetically-motivatedenvironments.Thisprocess(should)allowforuserstohavepleasurable,meaningfulexperiences,especiallyinmovementswithapositiveaffectsuchasmovement4.

Activeparticipation.DesmetandPohlmeyerhaveproposedthatapersonmustplayanactiveroleinfosteringtheirownflourishing(2013);theylaterwrotethat"designforwell-beingisdesignthatprimarilyfocusesonactivitiesandexperiences"sothatpeoplecanbeactive"creatorsoftheirown'good'life"(Pohlmeyer&Desmet,2017).Themovementsof12Sentimentsallowuserstocontinuallyaffectthecreationofthemusicandthestatusoftheworldwithdecisiveactions.Inaddition,thenarrativeoftheworkdoesnotprogresswithoutactiveinvolvementfromtheuser.Finally,designforbeingpromotesactive,intentionalreflection—thisiswhatpromotestheusertoastateofbeinginsteadofpassivelylettingthevirtualworldwashoverthem.

Designforpleasure.Thefirstofthethreecomponentsofthepositivedesignframeworkisdesignforpleasure,orenablinguserstoexperiencepositiveaffect(Pohlmeyer&Desmet,2017).Duetotheimportanceofaffectbalance(Fredrickson&Losada,2005),however,itmayalsobeimportanttotakea"holisticapproachbyacceptingthatnegativeexperiencesarepartoflifeandshouldnotbeabandonedperse"(Pohlmeyer&Desmet,2017).Themorepositivemovementsof12Sentiments(suchasmovement4,"lightness,flowing")cancertainlyactasaresourceforuserslookingtoexperiencepositiveaffect.But,12Sentimentsdoesnotfocussolelyonemotionalaestheticswithpositiveaffects.Thewanderingpathbetweenmovementsfrom"bleak"through"resolved,""melancholy,""calm,""frenetic,"and"sublime"toendat"joyful,fulfilled"makestheexperiencemoreheightenedandhumanisticallymeaningfulthaniftheuserweretoonlyexperiencemovementsinvolvingvariousshadesofpositiveaffect.

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Therecanbeapositivefeedbackloopwhenpleasureisderivedfromcreativeactivities.Whileexperiencingpositiveemotionscanhaveadirectimpactonaperson'ssubjectivewell-being,itcanalsohaveindirecteffectsonenhancing"creativity,open-mindedness,flexibility,andresilience"(Pohlmeyer&Desmet,2017,citingFredrickson,2001;Isen,Daubman&Nowicki,1987).12Sentimentsallowsuserstoexperiencepleasurederivedfromparticipatinginacreativeactivity:makingmusic.Thepleasurefrombeingcreativemayinturnincreaseusers'willingnesstoopenlyparticipateintheactivity,resultinginacycleofincreasedpleasureandengagement.

Designforpersonalsignificance.Thesecondofthethreecomponentsofthepositivedesignframeworkisdesignforpersonalsignificance.Thiscomponentismostcommonlydiscussedintermsofsettingandachievingpersonalgoals(Pohlmeyer&Desmet,2017).Whilepersonalgoalsareusefultodiscussandsomewhateasytoobserve,theyarebynomeanstheonlymethodbywhichpeoplecanstrive"towardsactualisingourpersonalpotentials"via"seek[ing]outnoveltyandchallenge,explor[ing]andlearn[ing],[and]exercis[ing]anddevelop[ing]ourcapacities."Wecanfindotherapproachesthatreinforcesomeorallofthesebehaviorswhilestillbeingactivity-drivenandintrinsicallymotivatedthroughpersonallymeaningfulvalues.Specifically,activeparticipationinmusic-makingin12Sentimentsallowsuserstoexperiencenovelty,toexplore,andtodeveloptheircapacityforthinkingaboutandmakingmusic.Additionally,individual,ephemeralmusic-makingisoneofthemostwidespreadandimpactfulformsofmusic-making(seetheconceptsofholicipation(Killick,2006)andfolkart(Gold,2007)).Thus,music-makingmayalsoresonatewithpossibly-heldpersonalvaluessuchascreativity,self-expression,theprocessingofemotions,andenjoyinglife,amongmanyothers.Meanwhile,theembodimentthatusersof12Sentimentsexperienceinavarietyofvirtualbeingsandcircumstancesallowsthemtoexplorenewenvironments.Italsoallowsthemtogrowthroughthinkingabouttheworldfromnewperspectivesandondifferenttimescales.Allthistosay:whileusersareunlikelytosetandmeetpersonalgoalswhileexperiencing12Sentiments,manywillstilllikelyhavemeaningfulexperiences.Somemayevengrowinpersonallysignificantways.

Designforvirtue.Thefinalcomponentofthepositivedesignframeworkisdesignforvirtue,orhowdesignsenableuserstobemoralpeopleandcontributingmembersofsociety(Pohlmeyer&Desmet,2017).PohlmeyerandDesmetnotethatwhileaperson'scharactercannotbedesigned,theyare"alwayssituatedinaphysicalandsocialcontext,whichinturncanbedesigned"(2017).Designingvirtualrealityexperiencesallowsthedesignertotemporarilycontrolmuchoftheuser'scontext,whichmightmakesuchexperiencesidealfordesigningforvirtue;seeforexampleRosenbergetal.(2013).PohlmeyerandDesmetcitePetersonandSeligman'slistofsixcorevirtuesandtheirlower-levelcharacterstrengths(2004)asapotentialsourceforthiscomponent.Wewillconsidercharacterstrengthsfromthatsourceinourdiscussionbelow:

Curiosity(wisdom).In12Sentiments,usersareabletoexplorenewworlds(virtualenvironments)andexplorewhatitmeanstoembodynewvirtualbeings.

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Creativity(wisdom).In12Sentiments,usersactivelyparticipateinconstructingandshapingtheeventsoftheworldandthemusicitself,creatingapersonalsongandnarrative.

Perspective(wisdom).12Sentimentsoffersuserstheabilitytoseeaworldfromtheperspectiveofmanykindsofbeings(e.g.plants,wind,earth).Intermsoftimeandcommunity,itofferstheperspectiveofseeingaworldthroughtheeyesofaplant'slifespan;italsoofferstheperspectiveoflifeasacommunitythatcontinuesonbeyondthelifeofasingleplant.Thebeingsthatusersareencouragedtoempathizewithand"become"arevirtualanddon'tbehavequiteliketheywouldintherealworld,butthenewperspectivesmaytransfersomewhatintousers'dailylives.

Vitality:zest,enthusiasm,vigor,energy(courage).Ininformalobservations,usersof12Sentimentsareoftenfilledwithasenseofenergyandexcitementaftertheirexperience.Weproposethatthisisrelatedtoengagingwithsomeoftheothervirtues:curiosity,creativity,perspective,andplayfulness.(Andindeed,PetersonandSeligmanremarkthatvitalityisnotnecessarilyadistinctivetrait(2004,p.211).)

Humor,playfulness(transcendence).Asdiscussedabove,12Sentimentsoffersmanysituationsthatencourageuserstobeplayful,especiallyinthemorepositiveandactivemovements3,4,7,and10.

Appreciationofbeautyandexcellence(transcendence).Severalofthemovementsof12Sentimentspresentmassivelylargelandscapeswhosescalecanonlybeunderstoodthroughavirtualrealityheadset;thesensationofpresenceinsuchaworldcancombinewiththefusionofvisualsandmusictocreateasenseofaweandwonder,andattimesofthesublime.Movement11wasdesignedspecificallytoattempttoconveyasenseofthesublimethroughasuddenchangeincolorsandmusicandthemeaningfulnessofthenarrativeofsprouting.Beyondthis,allofthemovementsprovideadifferentemotionallensthatcanallowuserstoappreciatethebeautyofthejourneyoflifeinanembodied,subtle,personalway.

Spirituality(transcendence).Theapproach12Sentimentstakestodesigningforbeingmakesspaceforuserstoengageinintentionalcontemplativereflectionandstillness,astatethatissimilarinmanywaystothemeditativepracticesofspirituality.

4.ArtfulDesignforPositiveDesignAbove,wehavediscussedasubsetoftheprinciplesofartfuldesign,shownhowtheyimpactedthedesignofaVRexperience,andshownhowthatexperiencealignedwiththegoalsofthepositivedesignframework.Now,wewillprovidesomeabbreviatedcommentsonhowartfuldesignmightdirectlyinformdesignerslookingtopracticepositivedesign.First,wewillpointouthowthetwodesignphilosophiesalreadyalign.Then,wewillofferafewwaysinwhichartfuldesignmightaddnuancetothepositivedesignframework.

Thoughtheconnectionmayseemobvious,bothphilosophiesargueforthedesignprocesstobefundamentallybasedonhumanflourishing.ArtfulDesign8.19arguesthathuman

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flourishingshouldbecentraltoallprocessesofartfuldesign:"wedesignartfullywhenwedesignwitheudaimonicsasacorevalue,onethataskssimply,authentically,'doesthedesignedproduct,experience,orpolicymakelifemoreflourishing?'"(Wang,2018,p.435).

Bothphilosophiesagreeonatop-downapproachtodesignthatkeepsguidinghumanisticvaluesinmindthroughoutthedesignprocess.Onstructuringthedesignprocess,PohlmeyerandDesmetwritethatthe"highergoalofpleasurableand/ormeaningfulexperiences[guides]thedesignprocessfromthestart"ratherthanitstartingfromlow-leveltechnicalrequirements(2017).Whileartfuldesigndoesattimesencouragethecontextualvalueofbottom-updesign(e.g.whenexploringanewmediumasinPrinciple2.2:"Designinside-out"(Wang,2018)),itsfocusesonaestheticsandinvisiblehumanneedscanprovidethetop-downguidingforcesthatpositivedesignersrelyonduringthedesignprocess.

Bothphilosophiesagreeonthevalueofdirect,activeuserparticipation.Artfuldesign'sprinciplesoninteractiondesign,inhibition,andthesocialdimensioncanhelppositivedesignersnavigateambiguitywhenplanningforuserstobeactivecreatorsoftheirownhumanflourishing.

Artfuldesign'sfocusonaesthetic-drivendesignandarticulationofmeans-to-endsandends-in-themselvescaninformthepositivedesigndimensionsofdesignforpleasureanddesignforvirtue.Especiallywhenthedrivingaestheticsareinteractive,(positively)emotional,andsocialinnature,aesthetic-drivendesigncanbeusedasaguidingforcewhendesigningforpleasure.Moral-ethicalaesthetics,inturn,caninformdesignforvirtue.Meanwhile,artfuldesign'sextendedtreatmentofthebalanceandinterplaybetweenmeans-to-endsandends-in-themselvescanguidedesignersgrapplingwithhowtobalancehigh-leveldesigngoalswiththepragmaticrealityofdesigninganartifactthatmust,attheendofthedesignprocess,function.

Artfuldesigncanalsoconnectwiththebroaderpositivedesigncommunity.LetusconsidertwotheoreticalperspectivesarticulatedintheDesignforSubjectiveWellbeingtrackofthepreviousDesignResearchSocietyConference(Cainetal.,2018).Theperspectiveofsoma-wearabledesignsuggeststhatSomaestheticpracticecaninformfashionandwearabledesigntoaddresssomaticwellbeing(Jung&Ståhl,2018).Whilethisperspectivealreadyhasastrongtheoreticalunderpinning,artfuldesign'sprinciplesregardingembodimentmaybeusefulduringthepracticeofthedesignprocessitself.Similarly,thePlayBlueprintisaframeworkthatidentifiesmanyofthecorecomponentsofplayinordertohelpdesignmeaningfulplayexperiences(Legaard,2018).Heretoo,artfuldesign'sprinciplesonsupportingandencouragingplay,especiallythroughcreativeself-expression,canbeinformativetodesignersinthemidstofthedesignprocess.

Now,weturntoafewareasinwhichthecarefulconsiderationofartfuldesign'sphilosophymightbeusedtoextendapproachestothepracticeandtheoryofpositivedesign.

Onmethodology:DesmetandPohlmeyeridentifiedthatthe"developmentofappropriatehands-onmethodsthatequipdesigners…[in]strategicplanning,taskclarification,problem

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framing,andconceptualdesign"wouldbenecessary,movingforward(2013).Artfuldesigntakesasomewhatoppositeapproachinitsfirmassertionthat"thereisnospecificplaybookfordesign,"that"designisintentionalityexceedingmethodology"(Wang,2018,p.39).Whilewewouldnotsuggestthatthedevelopmentofmethodologyisfruitless,wemightsuggestanunderstandingthatappropriatemethodologyisalwayshighlycontextual,andthatinsomesituationsitisreasonabletoproceedinanexploratoryfashion,guidedbyhigher-leveldesigngoalsandprinciplesbutnotbyspecifichands-onprocedures.Nevertheless,thetwophilosophiesagreethat"intentionalityandprocess"arewherethemostcrucialdesignpracticeinterventionslie(Desmet&Pohlmeyer,2013).

Ondesignforpersonalsignificance:thepositivedesignframeworkheavilyemphasizesdesignforpersonalgoals,whichallowuserstostriveforgrowthandself-actualization(Pohlmeyer&Desmet,2017).Asmentionedabove,itispossibleforpeopletogrowwithoutthescaffoldingofsettingandmeetingpersonalgoals.Artfuldesignpresentsabroadernotionofhowtohelppeoplegrow:byaddressing"invisible"needssuchasesteem,cognitive,aesthetic,self-actualization,andtranscendenceneeds(Wang,2018,p.415).Thisbroaderframeworkmightguidepositivedesignersinsituationswherepersonalgoalsarenotrelevantorpossible,suchasinthecontextofamateurcreativityandself-expression.

Amateurcreativityandself-expressionitselfistreatedthoroughlyasahumanisticvaluebyartfuldesign(Wang,2018,pp.89-101).Especiallywhendesignersareconcernedwithbuildingexperiencesandactivitiesratherthanpossessions(Pohlmeyer&Desmet,2017),thispracticemightbecomethefocusofdesignprocessesbothwhenitisheldasapersonallymeaningfulvaluebytheintendedusers,andalsoasavirtueinitsownright.

Wehaveidentifiedpossiblelimitationstotheapplicationofartfuldesigntopositivedesignpractice.Specificallyregardingevaluation:DesmetandPohlmeyeridentifythisasaparticularlychallengingproblemduetotheficklenatureofuserself-reportingonsubjectivewell-being(2013).Quantitativeevaluationisanissuethatartfuldesigndoesnotaddressbyanymeans.Instead,itarguesthatdesignedworkoughttobeevaluatedqualitativelyandcritically.Also,someofthemorepragmaticadviceinArtfulDesignisspecializedtothemediumofinteractiveaudiovisualsoftwareorforthecreationofmusicalinstruments.Nevertheless,itsprinciplesonphilosophyandaestheticsareclearlyapplicabletobroadercontexts,asevidencedabove.

4.1.FutureDirection:"FolkDesign"(FlourishingviaAmateurDesignPractice) Lookingtowardthefuture,the2018DesignResearchSocietyEditorialonDesignforSubjectiveWellbeingwritesthatacademicfocusisshiftingtoincludeexperiences"whereitistheactofdesigningwhichcanalsocontributetoameaningfulexperienceandimprovedsubjectivewellbeing"(Cainetal.,2018).Artfuldesignalsohassomethingtosayonthesubject:Principle8.17,"Wedesignasanactofplay",andPrinciple8.21:"Aestheticsasself-emancipation!"cometomind.Nevertheless,inourownongoingstudiesofthis

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phenomenon(whichareunfortunatelyoutsidethescopeofthisarticle),wearestillsearchingforamorerigorousformalization.

Sofar,wehavetentativelyformalizedtheterm"folkdesign"tomean"designpracticedbyamateursinthecontextofandforthebenefitoftheirownlocalsocialcontext."ThetermisaparallelofRichGold'stermfolkart,describingthepracticeofpeoplewho"makeartforthemselvesandfortheirfriends;[who]engageinartmakingnotbecauseitwilllastforever,orbecauseitwillpleaseamillionpeople,butbecauseitisfun,enjoyable,andsatisfying;becauseitisawayofinteractingwithandstrengtheningthebondsbetweenfriendsandfamily"(Gold,2007).Then,folkdesignwoulddescribethepracticeofpeoplewhododesignforallthesamereasons.Theformalizationisnotideal,however,duetotheseverelyoverloadednatureofthemeaningoftheterm"folk"incontemporarydiscourse.Weareactivelyseekingperspectivesonbetterwaystodiscussthisphenomenonandanyexistingacademicscholarshipalreadydevotedtoit.

5.ConclusionThisarticleproposesthatthedesignphilosophyofartfuldesigniswell-alignedtotheintentionsofdesignpractitionersofpositivedesign.Throughthepresentationofacasestudy,avirtualrealitymusic-makingexperience,wehaveconsideredhowfollowingadesignprocessinformedbythedesignprinciplesofartfuldesignresultedinanactiveexperiencethatalignedwithallcomponentsofthepositivedesignframework.Specifically,weadvocatethatartfuldesign'stop-downfocusonhumanisticvaluesandaesthetic-drivendesigncanhelpreinforcepositivedesigners'focusesondesignforpleasureanddesignforvirtue,andthatartfuldesigncanalsoinformrelatedapproachestodesignforsubjectivewell-beinginvolvingthebodyandplay.Wepositthatartfuldesign'sassertionthattherecannotbeonepre-ordainedprocessfordesignsuggeststhatpositivedesignersmightbenefitfromworkingwithoutarigidmethodologyinsomeexploratorycontexts.And,wesuggestthatartfuldesign'sfocusoninvisiblehumanneedsmightallowforabroadeningoftheapproachtodesignforpersonalsignificancebeyondnotionsofpersonalgoals.

Movingforward,welookforwardtoincreasedconsiderationof(amateur)creativityandself-expressionforsubjectivewell-being,boththroughprocesseslikemusic-makingaswellasthroughencouragingamateurcreatorstoflourishthroughpracticingdesignitself.Moreworkshouldbedonetowardformalizingthelatterprocess(heretermed"folkdesign"),includinganunderstandingandapproachtosupportingandevaluatingbothamateurcreativityandsocialsupport.

Acknowledgements:Thankstotheanonymousreviewersfortheirthoughtfulfeedback.ThankstothemembersoftheCCRMAVR/ARDesignLab–KunwooKim,CharlesFoster,andMarinaCottrell–fortheirvaluablecritiqueson12SentimentsforVR.ThankstoGeWangforhiscomments.ThismaterialisbaseduponworksupportedbytheNationalScienceFoundationGraduateResearchFellowshipunderGrantNo.DGE-1656518.

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5.ReferencesAtherton,J.,&Wang,G.(2020).Doingvs.Being:AphilosophyofdesignforartfulVR.JournalofNew

MusicResearch,49(1),35-59.

Balcaitis,R.(2019,June15).DesignThinkingmodels.Stanfordd.school.RetrievedNovember19,2019,fromEmpathizeITwebsite:https://empathizeit.com/design-thinking-models-stanford-d-school/

Cain,R.,Petermans,A.,Pohlmeyer,A.,Desmet,P.,&Ozkaramanli,D.(2018).Editorial:DesignforSubjectiveWellbeing.ProceedingsofDRS2018:Catalyst,Vol.6,pp.2540-2543.

Dam,R.,&Siang,T.(2019).5StagesintheDesignThinkingProcess.RetrievedNovember19,2019,fromTheInteractionDesignFoundationwebsite:https://www.interaction-design.org/literature/article/5-stages-in-the-design-thinking-process

Desmet,P.M.,&Pohlmeyer,A.E.(2013).Positivedesign:Anintroductiontodesignforsubjectivewell-being.InternationalJournalofDesign,7(3),5-19.

Fogel,D.(2017,August10).SixStepsofDesignThinking.RetrievedNovember19,2019,fromSP3website:http://www.spthree.com/2017/08/10/six-steps-of-design-thinking/

Fredrickson,B.L.(2001).Theroleofpositiveemotionsinpositivepsychology:Thebroaden-and-buildtheoryofpositiveemotions.AmericanPsychologist,56(3),pp.218-226.

Fredrickson,B.L.,&Losada,M.F.(2005).Positiveaffectandthecomplexdynamicsofhumanflourishing.AmericanPsychologist,60(7),pp.678-686.

Gold,R.(2007).ThePlenitude:Creativity,Innovation,andMakingStuff.MITPress.

Isen,A.M.,Daubman,K.A.,&Nowicki,G.P.(1987).Positiveaffectfacilitatescreativeproblemsolving.JournalofPersonalityandSocialPsychology,52(6),pp.1122-1131.

Jung,H.,&Ståhl,A.(2018,June25).Soma-WearableDesign:IntegratingSomaestheticPracticeandFashionDesignforSomaticWellbeing.ProceedingsofDRS2018:Catalyst,Vol.6,pp.2558-2571.

Killick,A.(2006).Holicipation:ProlegomenontoanEthnographyofSolitaryMusic-Making.EthnomusicologyForum,15(2),273–299.https://doi.org/10.1080/17411910600915414

Legaard,J.F.(2018,June25).Theroadtohappinessispavedwithplayfulintentions.ProceedingsofDRS2018:Catalyst,Vol.6,pp.2572-2586.

Peterson,C.,&Seligman,M.E.P.(2004).CharacterStrengthsandVirtues:AHandbookandClassification.OxfordUniversityPress.

Pohlmeyer,A.,&Desmet,P.(2017).Fromgoodtothegreatergood.InJ.Chapman(Ed.),RoutledgeHandbookofSustainableProductDesign(1sted.,pp.469-486).London,UK:Routledge–Taylor&FrancisGroup.

Rosenberg,R.S.,Baughman,S.L.,&Bailenson,J.N.(2013).Virtualsuperheroes:Usingsuperpowersinvirtualrealitytoencourageprosocialbehavior.PloSOne,8(1),1-9.

Wang,G.(2018).ArtfulDesign:TechnologyinSearchoftheSublime.StanfordUniversityPress.

AbouttheAuthor:

Jack Atherton works on design for human flourishing throughamateur creativity and folk design. His current work empowersamateurstocreatevirtualworldsandpopulatethemwithcreaturesusinginteractivemachinelearninginvirtualreality.SeealsoDoingvs.Being:APhilosophyofDesignforArtfulVR(2020).

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AppendixHerefollowsthetextofeachdesignprinciplefromArtfulDesignreferencedinthetextabove.Whereprudent,anadditionalquotationisprovidedtoaddclarity.Thepagenumberisprovidedforthequotationonlywhereitdiffersfromthepagenumberoftheprinciple.

Table1. PrinciplesfromArtfulDesignreferencedinthisarticle.

# Theme Text P.

1.1 WhatisDesign? Aworkingdefinitionofdesign.Designisashapingofourworld,aimedataddressinganintendedpurpose,carriedoutwithaestheticsandhumanity,withinamedium.

Corollary:Anythingworthdesigningisworthdesigningbeautifully.

"Designisanactofalignment.Wedesigntobringtheworldintopragmaticalignmentwithwhatweconsidertobeusefulandintoaestheticalignmentwithournotionofwhat'sgoodandbeautiful,or'thewaythingsoughttobe.'Withinthiscreativeendeavorarereal,rich,expressiveopportunitiestospeaktoourhumandimension."

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1.2 WhatisDesign? Problem-solvingisaprobleminsearchofasolution.Creativedesignistechnologyinsearchofaproblem.Artfuldesignistechnologyinsearchofthesublime!

31

1.3 Aesthetic-drivenDesign

AestheticsofArtfulDesign:material,structural,interactive,emotional/psychological,social,moral-ethical.

32

1.5 Ends-in-Themselves

Designismeansvs.ends! 34

1.8 WhatisDesign? Designisintentionalityexceedingmethodology."Designbeginswhenwehaveanintendedoutcomewithout

knowinghowtoachieveit,orifit'sevenpossibleasenvisioned.Thisiswhythereisnospecificplaybookfordesign."

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1.15 NeedsandValues

Designnotonlyfromneeds–butfromthevaluesbehindthem."Whileneedsindeedgiverisetodesign,themostpowerful

designsarealsogroundedinvalues,deeply-heldbeliefs,andanunderstandingofhumanbeings."

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1.16 Ends-in-Themselves

Designistheradicalsynthesisofmeans-to-endsandends-in-themselvesintoathirdtypeofthing–bothusefulandbeautiful.

49

2.1 Play Designforplayanddelight. 73

2.6 NeedsandValues

Technologyshouldcreatecalm. 86

2.7 InteractionandParticipation

Designtolowerinhibition."Designisbeingcognizantofhowweashumanstendtothink

andusingthatawarenesstoencouragecertainbehaviorsthat,hopefully,arebeneficialforus!"

99

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# Theme Text P.

4.7 Aesthetic-drivenDesign

Aestheticsisnotapassivething–butanactiveagentofdesign!"Aestheticsisnotsomethingyouaddtoanearlyfinished

product,butanactiveforceandintentionalitythatshapedesignfromthestart.Ittakestheformofcreativeconstraintsandarticulationsofpreferencethatpushadesignforwardinaseaofpetrifyingpossibilities."

196

5.2 Aesthetic-drivenDesign

Thereisanaesthetictointeraction. 208

5.4 Embodiment Bodiesmatter! 210

5.7 InteractionandParticipation

Instantmusic,subtletylater. 228

5.17 Embodiment Embody!"Wehumansareembodiedcreatures;weoperatemore

efficiently,satisfyinglywhenwe'feelasone'withtheinterfaceweareusing!"

238

6.1 Play Playiswhatwedowhenwearefree;playiswhatwedotobefree.

309

6.5 Aesthetic-drivenDesign

[Theaestheticsofgames:]Reflection.Gamesasmirrorofourhumanness.

313

6.7 InteractionandParticipation

Allgamesrequireinteractionandactiveparticipation."Likeamusicalinstrument,agamedoesnotmoveforward

withoutyouractionsanddecisions!"

317

6.9 Play Playisfree,voluntary,uncertain,unproductivebychoice;itoccursinaseparatespace,isolatedandprotectedfromtherestoflife.

330

6.12 Play Anewcategory:Tekhné(artandexpressionasplay). 331

7.6 InteractionandParticipation

Valueparticipation(anddesignforit). 361

8.6 Aesthetic-drivenDesign

Therehastobeanaestheticdimensionthatunderliesourshapingoftechnology.

"Aesthetics[…]providesahuman-orientedcontextandimpetusthatunderlieouradvancedlogicandreason."

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8.9 NeedsandValues

Technologyisaboutwhatwecando;moralityisaboutwhatweoughttodo. • "Humansarefundamentallyplayfulcreatures.Theostensibly

mundanecanbedelightful!"(p.413)• "Musicalexpressiondoesapersongood.Connecteveryday

peoplewithmusicalexpression."(p.413)"Therewasatimewhenthewordamateurconnotedsomethingwhollygood!…Amongotherthings,amateurmusicianshipisaboutpersonalenrichment."(p.91)

• "Expressiondoesn'thavetocomeattheexpenseofgamefulness!Thereisauniquejoytomusic-making;bringitbacktothemasseswithtechnology!"(p.414)

411

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# Theme Text P.

8.10 NeedsandValues

Designforinvisibleneeds.• "Esteem(confidence,achievement,respectforandby

others)"• "Cognitive(intellectualstimulationandexploration)"• "Aesthetic(needforharmony,order,andbeauty)"• "Self-actualization(needtogrowandfulfillone'sfull

potential)"

• "Transcendence(tobecomemorethanwhoweare)"

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8.17 WhyWeDesign Wedesignasanactofplay."Designmayariseoutofamixtureofneedsandvalues,butasa

creativeendeavoritisabottom-up,inside-outprocess,closelyresemblingaprolongedactofplay–anisolated,protectedspaceandtimewhereaestheticimpulses,creativecuriosities,andalotofbadideascanbegivenfreedomtoroam,triedinearnest,andfollowedtotheirlogicalorillogicalconclusions."

432

8.19 WhyWeDesign Wedesigntopromoteeudaimonics."Wedesignartfully[…]toservepeopleasends-in-themselves,

toproactivelysupportthingsthatmakelifeflourishingandmeaningful."

435

8.21 WhyWeDesign Aestheticsasself-emancipation!"Ultimately,westrivetodesignusefulthingsthatare

intrinsicallybeautiful–thatbringtheworldintoalignmentwithourideaofgood,theauthentic,andthejust–asanendinitself.Designshouldexpressourhumanity,acknowledgingthatwevalueplay,findbeautyinauthenticity,seektoconnectwithoneanother,anddesiretobefree.''

439

8.22 WhyWeDesign Designisbornoflife,incorporatesit,andisinseparablefromit."Designisallaroundus,withallthejoyandsorrow,dirt,grime,

beauty,andimperfectionsoflife."

440

8.25 WhyWeDesign Transcend…"Designcannotforsakethepracticalneedsofhumanity,butit–

nolessthanart–cantranscendthem,seekingbeautyintheauthenticityofthings,reachingforsomethingmorethanweare,whilespeakingtopreciselywhatweare.Sublimedesignisdesignthatunderstandsus."(p.453)

451