Previous research in infant cognitive development has helped psychologists better understand visual looking patterns in infants exposed to various facial expressions and emotions. There has been significantly less research, however, on gaze sequences in relation to emotional body expressions. The aim of this study was to address this gap in the literature by using eye-tracking software to analyze infants’ gaze patterns of different areas of interest (AOIs) on emotional body expressions. Forty 6.5-month-old infants (Mean age in days = 193.9; SD = 8.00; 18 males) were shown four emotional body expressions (happy, sad, angry, fearful) with either a blurred face condition or a present face condition. Each expression was viewed twice by each infant for a total of 8-8 second trials. To examine whether infants’ first fixation location differed across emotion and area of interest (AOI), a mixed analysis of variance was conducted on the number of first fixations to each AOI across emotion with emotion (anger, fear, happy, sad) and AOI (upper body, face/head, legs, arms/hands) as a within-subjects factor and condition (face present, blurred) as a between-participant factor. There was a significant main effect of AOI, F(3, 342) = 36.40, p < .001, h2 = .49. However, this main effect is “explained” by a significant interaction between AOI and emotion, F(9, 342) = 2.07, p = .031, h2 = .05. There was no evidence of difference in performance across conditions, therefore subsequent analyses were collapsed across this variable. Follow-up analyses probing the interaction between AOI and emotion indicate that the number of first looks to the legs and arms/hands AOIs varies across emotion. For example, infants’ first fixation was more often directed towards the arms/hands AOI when the emotion of the body expression was sad. Additionally, infants’ first fixation location was more often directed toward the legs AOI when the body expression was happy. In contrast, there was insufficient evidence to suggest differences across emotion nor AOI when analyzing the time it took infants to make their first fixation or with the duration of the first fixation. In summary, the location of infants’ first fixation on static images of emotional body expressions varied as a function of emotion. Moreover, infants’ performance was not affected by the presence/absence of facial emotional information. These findings suggest that socially relevant features within bodies are differentially attended to by at least 6.5 months of age. This kind of systematic scanning may lay the groundwork for mature knowledge of emotions and appropriate behavioral responses to other people’s emotion later in life.

<p>The purpose of this thesis is to deepen the understanding of grown-up blind people’s non-verbal communication, including body expressions and paralinguistic (voice) expressions. More specifically, the thesis includes the following three studies: Blind people’s different forms of body expressions, blind people’s non-verbal conversation regulation and blind people’s experience of their own non-verbal expressions. The focus has been on the blind participants’ competence and on their subjective perspectives. I have also compared congenitally and adventitiously blind in all of the studies. The approach is mainly phenomenological and the qualitative empirical phenomenological psychological method is the primary methodological source of inspiration. Fourteen blind persons (and also some sigthed persons) participated. They have no other obvious disability than the blindness and their ages vary between 18 and 54. Data in the first two studies consisted of video recordings and data in the last study consisted of interviews. The overall results can be summarized in the following three points: 1. There are (almost) only similarities between the congenitally blind and adventitiously blind persons concerning their paralinguistic expressions. 2. There are mainly similarities between the two groups with respect to the occurrences of different body expressive forms. 3. There are also some differences between the groups. For example, the congenitally blind persons seem to have a limited ability to use the body in an abstract and symbolic way and they often mentioned that they have been told that their body expressions deviate from sighted people’s norms. But the persons in both groups also struggle to see themselves as unique persons who express themselves on the basis of their conditions and their previous experiences.</p>

The purpose of this thesis is to deepen the understanding of grown-up blind people’s non-verbal communication, including body expressions and paralinguistic (voice) expressions. More specifically, the thesis includes the following three studies: Blind people’s different forms of body expressions, blind people’s non-verbal conversation regulation and blind people’s experience of their own non-verbal expressions. The focus has been on the blind participants’ competence and on their subjective perspectives. I have also compared congenitally and adventitiously blind in all of the studies. The approach is mainly phenomenological and the qualitative empirical phenomenological psychological method is the primary methodological source of inspiration. Fourteen blind persons (and also some sigthed persons) participated. They have no other obvious disability than the blindness and their ages vary between 18 and 54. Data in the first two studies consisted of video recordings and data in the last study consisted of interviews. The overall results can be summarized in the following three points: 1. There are (almost) only similarities between the congenitally blind and adventitiously blind persons concerning their paralinguistic expressions. 2. There are mainly similarities between the two groups with respect to the occurrences of different body expressive forms. 3. There are also some differences between the groups. For example, the congenitally blind persons seem to have a limited ability to use the body in an abstract and symbolic way and they often mentioned that they have been told that their body expressions deviate from sighted people’s norms. But the persons in both groups also struggle to see themselves as unique persons who express themselves on the basis of their conditions and their previous experiences.

The human body has been considered to be an active element and is a common starting point of fashion design processes. However, during these processes, understanding of the body and how it is used to design is often confined by the body’s standard spatial and structural characteristics. The research presented in this thesis aimed to examine body alternatives in fashion design processes in order to explore and open up for alternative body expressions for developing silhouettes for clothing.  Alternative aesthetic approaches and understandings of the body as a design tool were researched through experimental explorations, reflections, dialogue, and discussions. These created an embodied dialogue between thought and execution which was further developed and informed by the EDI (Embodied Design Ideation) framework for analysing and refining understandings of the interactions between the body, materials, and movement. These explorations and their outcomes bridge the theory of research for the art and research for art and design.   The explorations were based on the varied ways in which the body is perceived during body-material interactions, and were explored through movement, human-technology interfaces, and an exploratory workshop conducted at the Swedish School of Textiles. These explorations expanded our understanding of the body’s aesthetics in relation to material interactions and embodied experiences. The explorations questioned our preconceived conceptions of the body and facilitated a process of re-learning these through fashion design.  The results of the explorations were alternative methods and tools that use the body as a central variable in fashion design. The research culminated in the development of conceptions of the body in design processes that increase the design possibilities by introducing new concepts, tools, and methods. The body alternatives developed provide an openness in terms of design thinking and introduce conceptions of the body that can facilitate or improve design practice. The results have implications for design methods and contribute to methods in general and fashion design education programmes in terms of how they facilitate design processes.