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Aesthetic Experience of a Synesthetic Dress

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Aesthetic Experience of a Synesthetic Dress Aesthetic Experience of a Synesthetic Dress by Virginia Etta Rolling A dissertation submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Auburn, Alabama December 15, 2018 Keywords: synesthesia, sensation, knowledge, emotion, aesthetic experience Copyright 2018 by Virginia Rolling Approved by Karla P. Teel, Chair, Associate Professor of Consumer and Design Sciences Veena Chattaraman, Human Sciences Professor of Consumer and Design Sciences Lindsay Tan, Associate Professor of Consumer and Design Sciences Amrut Sadachar, Assistant Professor of Consumer and Design Sciences Abstract Presently, there is a cultural phenomenon whereby technology-enabled dresses are displayed for aesthetic appraisal in museum contexts. This study was an exploratory investigation of museum visitors’ aesthetic experiences from beholding a synesthetic dress (i.e., a dress that replicates the experience of synesthesia when colors are heard and sounds are seen through the use of colored LED lights and digital music) using three distinct data elicitation approaches. As a qualitative study applying a grounded theory approach, the I-SKE model was used in conjunction with obtaining physiological measures, observational data and interview data. This study investigated how 44 millennial participants aesthetically processed a synesthetic dress during four different dress viewings (i.e., dress-only, dress with digital music, dress with colored LED lights, and dress with synchronized digital music and colored LED lights). Results support that apparel with music and colored LED lights create a much richer aesthetic experience due to participants reporting this dress to be the most interesting, the most impressed by this dress, and having an increased EDA arousal response. This research is applicable to inform such fields as apparel, performing arts, and museum research. ii Acknowledgments It is an honor to write my sincerest gratitude to Jesus Christ, my Lord and Savior, for opening many doors for me to pursue and finish my doctoral degree at Auburn University along with the encouragement of Psalms 45 to have “the pen of a skillful writer.” Many thanks to each of my committee members who have invested so much of themselves into my growth and development during the writing of this dissertation. Thanks to Dr. Teel for being my mentor and an example of Christ walking on this campus. Thanks to Dr. Chattaraman for challenging me with theory and sharing her appreciation for aesthetics. Thanks to Professor Tan for instilling in me a deeper joy for teaching and giving key insights for my dissertation. Thanks to Dr. Sadachar for working with me to pursue opportunities for professional development and helping me to be a better researcher. Thanks to Dr. McNeal and Stephanie Courtney for their assistance with the physiological measurement tools. Sincere thanks to the College of Human Sciences for awarding a dissertation grant for this research. My appreciation extends to my family and friends who have supported me throughout this process. Many thanks to my parents for all they have invested in me to reach this place in my life. Also, I would like to thank Jim and Jeaunett Schnupp for their prayers, encouragement, and support to return to graduate school as well as Jim’s help to develop electronics for the synesthetic dress. To my cohort, thank you for your friendship, advice, and encouragement. Special thanks to Dawn Michaelson, McKenzie Ogrodnik, and Shaniel Simpson for coding. In addition, I would like to thank Laura Flusche for contributing to the advancement of aesthetics knowledge and Museum of Design Atlanta for the use of their facilities. iii Table of Contents Abstract ......................................................................................................................................... ii Acknowledgments........................................................................................................................ iii List of Tables .............................................................................................................................. vii List of Figures ............................................................................................................................ xiii Chapter 1 Introduction ................................................................................................................. 1 Background ....................................................................................................................... 1 Problem Statement ............................................................................................................ 4 Significance of the Study ................................................................................................. 5 Purpose Statement ............................................................................................................. 6 Objectives ......................................................................................................................... 7 Definition of Terms........................................................................................................... 8 Chapter 2 Review of Literature ................................................................................................... 12 Theoretical Framework for I-SKE Model ....................................................................... 12 Multisensory properties of a synesthetic dress and synesthetic experience ............ …...15 Multisensory properties of a synesthetic dress and beholder’s sensation ....................... 17 Multisensory properties of a synesthetic dress and beholder’s knowledge .................... 19 Multisensory properties of a synesthetic dress and beholder’s emotion ......................... 20 Multisensory properties of a synesthetic dress and aesthetic experience ....................... 22 Beholder’s SKE and aesthetic experience ...................................................................... 23 iv Model .............................................................................................................................. 25 Chapter 3 Methodology .............................................................................................................. 26 Research Design .............................................................................................................. 26 Stimuli development ....................................................................................................... 27 Sampling ......................................................................................................................... 28 Data collection procedure ............................................................................................... 30 Data collection instruments ............................................................................................. 32 Measurement validity and reliability .............................................................................. 37 Data analysis ................................................................................................................... 38 Chapter 4 Results ........................................................................................................................ 52 Demographics ................................................................................................................. 52 Eye-Tracking Glasses ..................................................................................................... 54 Skin Sensors .................................................................................................................... 58 Observations ................................................................................................................... 66 Interviews ........................................................................................................................ 69 Triangulation ................................................................................................................. 151 Chapter 5 Discussion ................................................................................................................ 169 Fashion, Art, and Costume............................................................................................ 169 Optimum Stimulation Level ......................................................................................... 171 Color and Light Sensory Cues in Design ...................................................................... 173 Emotion and Color ........................................................................................................ 173 Cognitive Interest .......................................................................................................... 174 Emotive Cognition Connected to Impression Formation Theory ................................. 175 v Gestalt Impression ........................................................................................................ 177 Grounded Theory Model............................................................................................... 178 Chapter 6 Implication and Conclusions .................................................................................... 180 Theoretical Implications ............................................................................................... 180 Managerial Implications ..............................................................................................
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