This thesis is a design study of how everyday objects with embedded digital emotionality can be expected to be accepted into peoples lives. Through the design and evaluation of a chair and a stool with digital emotional features, the project explores the way these objects are given presence, and let into peoples lives. By placing them in the homes of volunteers for a shorter time, the project zooms in on the initial meeting with more emotional everyday objects. The project defines the creation of personality and narratives around the objects as being good design assets in designing for emotional relations. Further it states, and discusses, how balancing detailing and open/ended design features are important in both a general design perspective and when creating personality and narratives.

Digitalisierung generiert ‚hybride‘ Objekte, die zwar als digitale Datei lesbar und manipulierbar sind, das zugrundeliegende kulturhistorische Objekt jedoch weiterhin ‚enthalten‘. Eine Bibliothek, die Objekte aus ihren Beständen digitalisiert, begründet also eigentlich keine sog. digitale Bibliothek, sondern eine hybride Bibliothek. Im Falle musikalischer Überlieferung ist die Sachlage aufgrund der medienhistorischen Komplexität musikalischer Artefakte besonders unübersichtlich. Verschärft wird die heutige Situation noch durch die Erzeugnisse der Digital Humanities, die keineswegs bloß ‚Informationen‘ sind, sondern ihrerseits komplexe und in der Regel hybride Textgebilde, die häufig komplette digitalisierte Re-Publikationen von Kulturobjekten einbinden, die digital ‚beschriftet‘ und vernetzt werden. Das digitale ‚Dickicht‘ erfordert einen gleichsam genetischen und relationalen Katalog, in dem die konkreten kulturhistorischen Objekte in ihren konkreten Sammlungskontexten – also als Unikate – Ankerfunktion haben. / Digitization produces ‚hybrid‘ objects that are readable as digital data files but at the same time still ‚contain‘ the original cultural-historical object. In this perspective, ‚digital collections‘, ‚digital libraries‘, etc. are in fact hybrid collections, or libraries. For musical artefacts, the range of historical media is especially complex, which again concerns the digital world. Digital Humanities publications also contribute to the complex and confusing situation as they themselves are not only ‚information‘, but as a rule, complex and hybrid textual systems that often contain complete digitized re-publications of cultural objects, providing them with digital ‚inscriptions‘, and interlinking them. So the hybridity of ‚digital libraries‘ increases as soon as Digital Humanities publications are integrated. Therefore, metadata should mirror precisely the hybrid nature of the digitized/digital objects catalogued.