Sensory Cards
Fostering Empathy
and Connection within
Community Groups

Natália Gomes Franca

Sensory Cards
Fostering Empathy
and Connection within
Community Groups

Supervisor: Louise St-Pierre
A critical & process documentation paper submitted
in partial fulfillment for the degree of Master of Design
Emily Carr University of Arts + Design, 2017
© Natália Gomes Franca, 2017

Acknowledgements
I would like to thank my supervisor Louise St-Pierre for her
tireless feedback and warmth during this masters thesis. I am
deeply grateful for her guidance and support. Without her none
of this would have been possible. I would also like to thank the
Emily Carr community for providing a fruitful space for me to
develop this project and grow as a designer with a special thanks
to Hélène Day Fraser for always making my head spin in the
most unexpected ways. Thanks to my cohort for all the amazing
moments of laughter and support. This experience would not
be the same without you. Thanks to Denise for her patience in
listening to the same stories over and over again with the same
care and attention. Thanks to my parents for believing in me
and always encouraging me to pursuit my dreams. You are my
inspiration and the basis of my strength. Thanks to my sisters
Bárbara and Júlia for creating a bond of love that sees no distance.
Last but not least, thanks to Rodrigo, my partner in life and crime,
for always being by my side cherishing and supporting me. Words
could not express my gratitude for having you in my life. Te amo.

Table of contents
02
03
05

Glossary of Terms
Abstract
Preface

06
08

1. INTRODUCTION
1.1 Context and Framing
Collaboration and Community Building

10

1.2 Opportunity Space
Research Question
The Role of Communication

14
16
18

1.3 Scope and Limitations
2. RESEARCH METHODOLOGY AND PROCESS
2.1 Early Explorations
Deep listening and self-empathy
That’s Kindness: exploring with social media
T-Pauser: the challenges of a busy life

31

2.2 Participatory Research
Facilitating Conversations
Insights and Observations

40

2.3 Artifacts as Tools for Conversations
Tactile Feelings
Sensory Cards

50
51
58

3. DESIGN ITERATIONS AND OUTCOME
3.1 Iteration Process
3.2 The Sensory Cards
Scenarios of Use

62

3.3 Reflective Analysis

64

4. CONCLUSION AND FUTURE DIRECTIONS

67
70
72

References
List of Figures
Appendix

02 Glossary of Terms

Glossary of Terms
COLLABORATION
The action of working
with someone to produce
something.
COMMUNITY
A group of people who interact
with one another, share similar
interests, and have a collective
sense of unity.
CONVERSATION
The informal exchange of ideas
between two or more people.
DEEP LISTENING
A way of hearing in which we
are fully present with what
is happening in the moment
without trying to control it or
judge it.
DIALOGIC ARTIFACT
A product of human workmanship that carries the potential
to foster conversations.

EMPATHY
The ability to share someone
else’s feelings or experiences
by imagining what it would
be like to be in that person’s
situation.
PRESENCE
The state of being consciously
in the present moment.
SELF-AWARENESS
The conscious knowledge
of one’s own personality,
thoughts, beliefs and
emotions.
STATE OF MIND
A person’s mood and the effect
that mood has on the person’s
thinking and behaviour.

Abstract 03

Abstract
The ability to work and collaborate with different groups has
become an essential skill in our highly connected and complex
society. We face challenges today that cannot be fixed by a single
individual and we need to learn how to collaborate on a much
greater scale. People are starting to see the value in building
communities based on strong relationships and connections,
and yet working together is not always easy. This thesis project
navigates from the broader context of community building to
the local and personal space of relationships. It explores the
potential of dialogic artifacts as a means for building empathy
and connection within community groups. A series of reflective
and exploratory projects were conducted in order to facilitate
immersion into the topic and the access to tacit, intuitive
knowledge. Psychologists and group facilitators were engaged
through participatory design methods and brought important
insights on how artifacts can support empathy in human
interactions. This research led to the Sensory Cards, a set of visual
and tactile cards with suggested guidelines designed to facilitate
the communication—access, expression and understanding—of
feelings and emotions in community groups.

KEYWORDS
design for empathy,
community building,
collaborative design,
conversation and
dialogic artifacts.

04

“Empathy can
create the bonds that
make life worth living.”
Krznaric, 2014

Preface 05

Preface
As the child of a psychologist I was encouraged from a very
young age to dive deep into my thoughts, feelings and emotions,
yet expressing myself to others was never an easy task. The
gap between what we experience inside of us and what we are
able to express to the outside world is very familiar to me and I
clearly see how poor communication skills can create barriers of
understanding between people.
In my search for ways to express myself, I discovered the power
of stories and images to communicate unprocessed ideas and
undefined emotions. Through stories, characters and drawings I
found a vehicle to let my own feelings and emotions arise. I noticed
that my visualizations helped me not only to express myself, but
also to connect me with others in different ways. They acted as
dialogic artifacts, as tools for conversations and exchange of ideas.
In a world where empathy and collaboration are much needed, we
must be able to reach and understand each other at a deeper level.
My research is focused on the communication of feelings and
emotions as a way to facilitate connections and increase empathy
between individuals. My struggles to communicate and my own
personal interest in collaboration have motivated much of this
work. The research I have conducted has pulled on self-reflection,
intuition and lived experience. I learn as I go, and in the process of
finding my own path, I explore many.

06

1. Introduction

Introduction 07

This thesis project explores the potential of dialogic artifacts
as a means for building empathy and connection within
community groups. It has been done with an emphasis toward
improving communication and pulled on insight provided by
group facilitators, psychologists, friends and colleagues seeking
to foster strong collaborations.

HUM
AN

R

The ability to work and collaborate with different groups has
become an essential skill in our highly complex and connected
society. Globally, we face challenges that cannot be fixed by
single individuals and we need to learn to collaborate on a much
greater scale. People see the value in building communities
based on strong relationships and connections. However,
working together is not always easy. This research navigates
from the broader contexts of collaboration and community
building to the local and personal space of relationships.

COMMUNITY BU
ILD
IN
G
S
P
I
H
S
N
TIO
A
EL

Empathy and
Connection

RESEARCH SPACE

Communication

Fig 01 Diagram of research space.

08 Introduction / Context and Framing

1.1 Context and Framing
In order to better understand the context of this research and
uncover gaps and design opportunities, it was important to look
into the way we currently collaborate and relate to others. This
section investigates the topics of collaboration and community
building, and lays down the groundwork for further explorations
discussed in section 2. Research Methodology and Process.

Collaboration and Community Building
A growing number of people are not only rediscovering
the value of collaboration, but are also learning again to
collaborate. (Manzini 2015, p. 99)
We live in a complex and highly connected society. Today, we
can be virtually anywhere at anytime. We meet people on social
media, we exchange information in real time, and we collaborate
with people from across the globe without ever having to meet
them in person. Social thinker Jeremy Rifkin (2009) observes
that “the world has shrunk and the human race finds itself nearly
face-to-face in the world of cyberspace” (p. 424). There is no
doubt that the continuous advance of technology and the Internet
allows us to come together more easily. Yet, how effective are those
encounters in developing a lasting sense of community?
For Ezio Manzini (2015), a leading thinker in design for social
innovation and sustainability, “the likelihood of [innovation]
happening depends largely on an encounter between people who
collaborate to create new values” (p. 77). In a document written

Introduction / Context and Framing 09

for the Culture of Resilience—a project from the University of
the Arts London (UAL)—Mazini (2016) says that “while digital
connections in virtual space are increasing exponentially, personal
encounters in physical spaces are dramatically decreasing in both
number and quality”. Manzini claims that traditional communities
have been progressively disappearing leaving us with a decreasing
societal resilience. The result, according to him, is a fragile
network of people incapable of adapting to change and learn from
previous experience.
Fortunately, the scenario that Manzini and others presents us
with can be turned into an opportunity. It affords the space
for designers—amongst many others—to rethink the way we
collaborate and build our communities. Grassroots movements,
such as the Transition Movement1, are emerging with the intention
of building resilient communities capable of connecting individuals
around common interests. Rob Hopkins and Michael Thomas from
Transition Network (2016) argue that a healthy group is central to
the success of any project (p. 13). These communities are creating
spaces to facilitate connections, and more and more people are rediscovering the value of building strong relationships.
While these initiatives are very positive, working with individuals
in all their complexities is not always easy. Many communities
struggle to build the connections they are seeking. According
to Elizabeth Doty (2003)— president of a consulting firm
that focuses on social processes for knowledge discovery and
learning—“communities of practice do not ‘click’ automatically. It
takes work to develop a true community, and some groups never
actually make it” (p. 16).

1 Transition is a movement
that has been growing
since 2005. It is about
communities stepping up
to address big challenges
by starting local. They seek
to nurture a culture focused
on supporting each other,
both as groups and as wider
communities. (Transition
Network, 2016)

10 Introduction / Opportunity Space

1.2 Opportunity Space
Throughout history, human beings have always established
social communities, developed rules of social exchange,
embedded their members in complex reciprocal relationships, and built social trust. (Thackara 2005, p. 133)
The need to build strong community comes with the challenge of
strengthening the social ties that hold those communities together
allowing people to engage more fully in collaboration. Laura
W. Black (2008)—PhD in Communication from the University
of Washington—states that groups have difficulties connecting
and managing differences because they “often emphasize their
differences, rather than commonalities” (p. 97). She also notes
that dialogues emphasize human connection as it “allows group
members to explore more fully the complexities of other people’s
commitments and perspectives as well as their own” (2008, p. 94).
According to Manzini (2015) every collaborative encounter is an
interaction between human beings that “calls for some degree of
personal engagement and empathy” (p. 103). Manzini proposes
four dimensions of collaborative encounters that provide criteria for
designing the conditions that make them possible. They are: active
involvement, collaborative involvement, social tie strength and
relational intensity. This thesis focuses on the latter two dimensions.
Social philosopher, Roman Krznaric (2014) notes that we are “born
to empathize and wired for social connection” (p. xvi). With this in
mind, I began to reflect on the importance of creating opportunities
for empathy and connection to happen with this project.

Introduction / Opportunity Space 11

Research Question

How can a design tool,
method and or strategy
foster empathic conversations and connections
between individuals?

FURTHER INQUIRIES
»» What are the challenges faced by
adults in connecting with others?
»» What criteria should be taken into
consideration when developing a
designed tool for groups to build
strong relationships?

12 Introduction / Opportunity Space

The Role of Communication
Conversation and empathy are intimately intertwined
[…]. The challenge is to rethink how we talk to people so
we can gain greater insights into their thoughts, feelings,
and world views and deepen our emotional bonds with
them. (Krznaric, 2014, p.98)
Communication is key to establishing a collaborative
environment. The quality and nature of any discussion is deeply
dependent on the connections established between individuals.
Krznaric (2014) identifies conversation as “one of the essential
ways in which we come to understand the inner emotional life and
ideas of others.” (p. 97). Thus, the ability to listen to the other and
take in another perspective becomes essential in building those
connections. “Only by listening can one respect the complexity of
reality and navigate among the multiplicity of possible visions and
ideas.“ (Bertolotti, et al., 2016).
During my one-on-one interviews with group facilitators, I was
made aware of existing methods used to help individuals engage
with each other in group settings. Ross Moster, Executive Director
at Village Vancouver Transition Society, shared a method/activity
called Good and plenty. “We go around the room and each person
quickly reflects on the meeting or on anything they want to talk
about. People don’t have to defend what they are saying and
it’s intended to be a non-judgmental space” (Moster, personal
communication, February 2, 2017). In his community based work
Moster has developed the habit of running the Good and plenty
activity as a means of facilitating society members being able to
express themselves and listen to others.

Introduction / Opportunity Space 13

“Sometimes we need to slow-down
and talk to people in order to make
progress. There is information inside of
us that is important to acknowledge and
incorporate into our collaboration.”
Wilson, personal communication,
January 19, 2017

“We haven’t been taught to listen.
I say something and then you
remember something and suddenly
the conversation becomes about you
and not about me anymore.”
Moster, personal communication,
February 2, 2017

14 Introduction / Scope and Limitations

1.3 Scope and Limitations
This thesis project aims to foster empathy and connection
between individuals working in collaborative groups. It does so
by focusing on the communication aspect of human interactions.
There are many factors that influence the way we relate to others.
Self-awareness, trust in the other, context of interaction, and the
individuals’ ability to deep listen are all key factors. While this
project considers these factors, it does not delve into people’s
intentions and wiliness to connect. Starting from the premise
that relationships are built through the active engagement with
others, the body of work described in this thesis project is aimed at
supporting individuals who already desire to establish connections.
The design outcome, discussed on section 3.2 The Sensory Cards,
presents opportunities to engage individuals on an emotional level.
It is important to acknowledge, however, that the project does not
intend to create a space for group therapy, conflict resolution or
to introduce mindfulness or meditation. Such practices require
particular expertise that is not within the scope of this research.

Fig 02 Research notes.

16

2. Research
Methodology
and Process

Research Methodology and Process 17

My research was based on self-reflection, intuition and lived
experience. It has involved the creation of stories and visualizations that supported my investigations and helped me access
tacit knowledge. According to humanistic psychologist Clark
Moustakas, this type of research is described as Heuristic Inquiry,
an exploratory approach to research aimed at “discovering the
nature and meaning of an experience” (Given, 2008). In addition
to the introspective quality of my process, my explorations have
also allowed me to reach out and interact with many different
people who were important to the development of my work.
In this section I discuss my early explorations in the topic of
empathy and connection, the participatory research conducted
to engage psychologists in the design process and my research
on artifacts as tools for communication.

Fig 03 Diagram of research
methodology and process.

Y

That’s

workshop with

Tactile

Interviews

Kindness

psychologists

Feelings

with facilitators

AR

ATIONS
LOR
P
EX

UNICATION
MM
CO

PA
R

Deep listening
and self-empathy

T IF
AC
TS
R
FO

EA
RL

Co-creation

T-Pauser

TIC

I PA
TO R Y

RESEARCH
Sensory
Cards

18 Research Methodology and Process / Early Explorations

2.1 Early Explorations
My goals for this research phase were to facilitate an immersion in
the topic of empathy and connection, and to access tacit, intuitive
knowledge through a series of reflective experiments. Three
projects are described in this section: Deep listening and selfempathy, That’s Kindness, and the T-Pauser (for more exploratory
projects go to Appendix A and B). Each project generated new
insights and was integral to my creative research trajectory.

Deep Listening and Self-Empathy
Communication is the basis of all human interaction. According
to PhD psychologist, Marshall B. Rosenberg (2003) most of us
need to learn how to communicate in a way that doesn’t lead
to judgment, conflict and violence. In his book Nonviolent
Communication, Rosenberg presents specific techniques for
describing observations, feelings, needs and requests. He claims
that these forms of communication can help us become more
compassionate and therefore better at connecting with others.
According to Rosenberg (2003) “nonviolent communication
fosters deep listening, respect and empathy, and engenders a
mutual desire to give from the heart” (p. 12). One of the premises
of Rosenberg’s model for communication is that we “need
empathy to give empathy” (Rosenberg, 2003).
With this in mind, I decided to test Rosenberg’s model through
an intentional act of deep listening and self-empathy. I set aside
time in order to connect with myself, and paid close attention

Research Methodology and Process / Early Explorations 19

to my own observations, feelings, needs and internal requests.
Embarking on this experiment led me on a journey of selfdiscovery. I found myself judging myself, feeling anger towards
others, and in turn ashamed for having those feelings. This
process led me to self-empathy, but at the end of my experiment
I was completely exhausted.

Fig 04 Deep listening and self-empathy exploration.

20 Research Methodology and Process / Early Explorations

I realized that even though I was highly motivated it took me
a lot of effort and energy to be fully present. I had to set a time
and a place free of distraction in order to be able to connect
with myself. Identifying and communicating my feelings was
not easy either. I used the Feelings Inventory from the Center
for Nonviolent Communication (CNVC) to check that I was
expressing myself properly. According to the CNVC, this list
is “meant as a starting place to support anyone who wishes to
engage in a process of deepening self-discovery and to facilitate
greater understanding and connection between people” (CNVC,
2005). Although helpful, the list was overwhelming and the words
seemed to be quite precise while my feelings were confused and
messy. This exploration brought me to understand that empathy
and connection are highly dependent on the ability to access and
communicate emotions.

Research Methodology and Process / Early Explorations 21

FEELINGS INVENTORY FROM THE CENTER OF NONVIOLENT COMMUNICATION (CNVC)
FEELINGS WHEN YOUR

FEELINGS WHEN YOUR

NEEDS ARE SATISFIED

NEEDS ARE NOT SATISFIED

AFFECTIONATE, compassionate,

AFRAID, apprehensive, dread,

mortified, self-conscious //

friendly, loving, open hearted,

foreboding, frightened,

FATIGUE, beat, burnt out,

sympathetic, tender, warm //

mistrustful, panicked, petrified,

depleted, exhausted, lethargic,

ENGAGED, absorbed, alert, curious,

scared, suspicious, terrified, wary,

listless, sleepy, tired, weary,

engrossed, enchanted, entranced,

worried // ANNOYED, aggravated,

worn out, // PAIN, agony,

fascinated, interested, intrigued,

dismayed, disgruntled,

anguished, bereaved, devastated,

involved, spellbound, stimulated //

displeased, exasperated,

grief, heartbroken, hurt,

HOPEFUL, expectant, encouraged,

frustrated, impatient, irritated,

lonely, miserable, regretful,

optimistic // CONFIDENT,

irked // ANGRY, enraged, furious,

remorseful // SAD, depressed,

empowered, open, proud, safe,

incensed, indignant, irate, livid,

dejected, despair, despondent,

secure // EXCITED, amazed,

outraged, resentful // AVERSION,

disappointed, discouraged,

animated, ardent, aroused,

animosity, appalled, contempt,

disheartened, forlorn, gloomy,

astonished, dazzled, eager,

disgusted, dislike, hate, horrified,

heavy hearted, hopeless,

energetic, enthusiastic, giddy,

hostile, repulsed //CONFUSED,

melancholy, unhappy, wretched

invigorated, lively, passionate,

ambivalent, baffled, bewildered,

// TENSE, anxious, cranky,

surprised, vibrant // GRATEFUL,

dazed, hesitant, lost, mystified,

distressed, distraught, edgy,

appreciative, moved, thankful,

perplexed, puzzled, torn //

fidgety, frazzled, irritable, jittery,

touched // INSPIRED, amazed,

DISCONNECTED, alienated,

nervous, overwhelmed, restless,

awed, wonder // JOYFUL, amused,

aloof, apathetic, bored, cold,

stressed out // VULNERABLE,

delighted, glad, happy, jubilant,

detached, distant, distracted,

fragile, guarded, helpless,

pleased, tickled // EXHILARATED,

indifferent, numb, removed,

insecure, leery, reserved,

blissful, ecstatic, elated, enthralled,

uninterested, withdrawn //

sensitive, shaky // YEARNING,

exuberant, radiant, rapturous,

DISQUIET, agitated, alarmed,

envious, jealous, longing,

thrilled // PEACEFUL, calm, clear

discombobulated, disconcerted,

nostalgic, pining, wistful

headed, comfortable, centered,

disturbed, perturbed, rattled,

content, equanimous, fulfilled,

restless, shocked, startled,

mellow, quiet, relaxed, relieved,

surprised, troubled, turbulent,

satisfied, serene, still, tranquil,

turmoil, uncomfortable, uneasy,

trusting // REFRESHED, enlivened,

unnerved, unsettled, upset

rejuvenated, renewed, rested,

// EMBARRASSED, ashamed,

restored, revived

chagrined, flustered, guilty,

22 Research Methodology and Process / Early Explorations

That’s Kindness: Exploring
with Social Media
Wondering how the insights from my self-empathy exploration
connected to the social space, I decided to explore the use of
social media and build an online community. That’s Kindness
was a project intended to encourage people to share stories,
inspire others and generate conversations around random acts of
kindness. I was particularly interested in social media’s capacity to
connect/or not connect people around common topics of interest.
Could a sense of community be created through social media?

Fig 05 That’s Kindness
social media platforms.

The planning phase of this project involved defining goals,
identifying what social media to use and setting the tone for the
message. Two weeks after launching the community it became
clear that social media was not ideal for the level of connection I
intended. Although very effective in creating visibility, the social
platforms fostered a unidirectional communication format. I

Research Methodology and Process / Early Explorations 23

quickly realized that meaningful discussions were not taking place
and the interactions were reduced to basic actions of following,
liking, commenting and sharing. In an article written for the
Roots of Action, PhD psychologist Marilyn Price-Mitchell (2014)
states that, among other disadvantages, social networking lacks
emotional connection, conveys inauthentic expression of feelings,
and diminishes understanding and thoughtfulness.
I also noticed that being present in social networks has a different
dynamic than being physically present. In social media platforms
such as Facebook and Instagram people are expected to constantly
make appearances, but are not required to be fully present. It
became a space where the quality of the communication is often
measured by the number of likes and not by the depth of the
reflections generated.

PLANNING PHASE OF THAT’S KINDNESS
GOALS
1. Create a community of interest
2. Share and collect stories
3. Encourage people to participate
SOCIAL MEDIA PLATFORMS
Facebook and Instagram
TONE OF THE MESSAGE
Simple, clear, fluid, accessible, positive, empathetic, powerful.
VIDEO
What is important to you? Who is important to you? Listen.
What do you hear? Warmth. Care. Laughter. Joy. Gratefulness.
Love. Kindness. Share your story. #thatskindness

24 Research Methodology and Process / Early Explorations

T-Pauser: The Challenge of a Busy Life
The cognitive dimension of empathy is born by mentally
evoking an experience lived by another person, either by
imagining what the other person is feeling or the way the
experience affects the person, or by imagining what we
would feel in the same situation. (Ricard 2013, p. 40)
Realizing how difficult it was to connect with people through
social media, I decided to further investigate the challenges most
people face when trying to establish deep connections with others.
Having stories as a familiar method for immersion and reflection,
I decided to create a fictional story about Jane, a middle class
woman from Vancouver. I imagined this character as a divorced
mother of two, who owned a small catering business with her best
friend. I considered a series of questions: What would Jane’s daily
routines be? What things might she do? Who would she meet up
with on a daily basis? What would be her joys and frustrations?
I thought about the challenges Jane would face in connecting with
others and developed a visual journey map about a typical day in
her life. This visual map allowed me to create an overview of her
daily experiences, pinpoint every time she would interacted with
people, and identify why she might have difficulties connecting
with those people in a meaningful way.

Jane wakes up, drinks coffee, prepares breakfast for the girls and drives
them to school. Traffic is terrible this time of the day but she manages
to get to work on time. She cooks and manages any ongoing situations
with clients, layers and suppliers. In the afternoon she delivers her food
to events, gatherings or business meetings. She usually has to work late,
so she asks her ex-husband to pick the girls up from school. After all the
Fig 06 Jane and
her two daughters.

paperwork she makes sure everything is in place and goes back home.

Research Methodology and Process / Early Explorations 25

Fig 07 Jane’s journey map.

26 Research Methodology and Process / Early Explorations

As with most people living in a big city, I realized that Jane would
always be busy, rushing through life. In a book called In Praise
of Slow Canadian journalist and writer Carl Honoré (2004, p. 9)
reflects that “a life of hurry can become superficial. When we rush,
we skim the surface, and fail to make real connections with the
world or other people”. Constantly thinking about lists of tasks
and to do’s takes most people away from the present moment and
causes them to miss out on important moments of connection
with themselves and the people around them.
2 According to Dunne &
Raby (2013), “conceptual
designs are not conceptual
because they haven’t yet
been realized or are waiting
to be realized but out of
choice. They celebrate
their unreality and take full

The process of developing Jane’s story allowed me to reflect on the
conflicting relationship we have with time and on our inability to
be present in the moment. Thinking about ways to help Jane stay
connected with herself and the people around her, I asked myself:
how could I, as a designer, change the way she deals with time?
What if she could pause time whenever she needed? This led me
to the use of Conceptual design2 and fiction.

advantage of being made
from ideas”.

The T-Pauser is a speculative artefact, an iWatch app capable of
pausing time whenever we feel we need to bring our awareness of
the present moment. While drafting a storyboard to represent the
scenario of use of the T-Pauser, I realized that Jane would not need
to use the app for pausing long periods of time. Simple laughs,
a kiss, or a relaxed conversation do not take up a lot of time and
suffice to establish connection. The speculative app would only be
required to pause time for one minute.

Research Methodology and Process / Early Explorations 27

Fig 08 Storyboard
with scenario of use

SCENARIO OF USE
»» Jane downloads T-Pauser to her iWatch.
»» As usual, she takes the girls to
school and...
»» “Oh no, I’m late for work!”
»» She pushes the T-Pauser button.
»» The time pauses and the watch
starts counting down one minute.
»» Hugs, kisses and a proper goodbye!

for the T-Pauser.
»» At work, Jane remembers
something funny.
»» She pushes a button.
»» Laughter and joy without worrying
the food will get burnt!
»» Hard call?
»» T-Pause it!
»» Take a loooong, deep breath! :)

28 Research Methodology and Process / Early Explorations

“The first act we have to accomplish in
learning to see is the stop. Without this stop,
we cannot achieve enough inner silence, that
is, freedom from the fracturing commotion
of the discursive mind, to undertake a
sustained attending to the other.”
Bai, 2001

“Self-awareness is about understanding
your own needs, desires, failings, habits,
and everything else that makes you tick.
The more you know about yourself, the
better you are at adapting life changes
that suit your needs.”
Klosowski, 2014

Research Methodology and Process / Early Explorations 29

The idea of pausing time seems impossible, but when I reflected on
the concept as an inspiration, I realized that the notion of time could
vary enormously according to a person’s state of mind. My work on
the T-Pauser inspired further exploration of different ways to slow
down and connect with the present moment. It also led me to a
series of one-minute video explorations around things that invites
me to connect with myself, with the environment and with others.
(See Appendix A for more information on the Slow videos project).

LOW-TECH PROTOTYPE
I created a low-tech prototype of the T-Pauser in order
to test it. Every time I felt that I need a break I would
move the dots from the straps to the centerpiece
and bring my awareness to the present moment. This
activity allowed me to take the time to reflect on what
triggered the need to pause and connect with myself.

Fig 09 T-Pauser prototype.

30 Research Methodology and Process / Early Explorations

Through my explorations I was able to better understand the
context of my research and identify some of the challenges faced
in connecting with others. I realized that empathy and connection
are highly dependent on the ability to access our feelings and
emotions—self-awareness—and communicate them effectively to
others. Being physically and mentally present, and deeply listening
to the other also plays an important role in fostering dialogues and
building strong connections.
According to social analyst Richard Sennett (2012), dialogic—
unlike dialectic—is a conversation that does not attempt to find
common ground. Sennett (2012) explains that “thought no shared
agreement may be reached, through the process of exchange people
may become more aware of their own views and expand their
understanding of one another” (p. 19). The insights acquired during
this exploratory research phase made me start thinking about the
importance of a shared language for deep conversations to happen.

ATION AND

CON
NE
CT
N
IO

E
AC
SP

NVERS
R CO
O
F

Fig 10 Diagram of
deep conversation.

GENUINE
EXPRESSION
self-awareness

DEEP
LISTENING
presence

How effective is our
communication? How well
do we understand each
other? How do we deal with
communication barriers and
communicate things that

Shared
language

are only experienced inside
of us?

Research Methodology and Process / Participatory Research 31

2.2 Participatory Research
Looking for more insights, and the opportunity to deepen my
knowledge on human relationships and empathy-building
mechanisms, I reached out to the psychology community. In
Summer 2016 I brought together a group of nine psychologists
for co-creation workshops. The following section discusses the
importance of communication in a social environment and the
use of different modes of conversations.

Facilitating Conversations
Sensory stimulation enriches life for everyone and
sensory stories are a beautifully simple way of facilitating
that stimulation. (Grace, 2015)
During a preliminary conversation with a psychologist, I perceived
a communication barrier between us. We didn’t share the same
professional vocabulary, cultural background, life experience
and native language. Communication was challenging. In an
attempt to better express my design process, I showed Jane’s
journey map (section 2.1 Early Explorations). Looking at Jane’s
story, the psychologist immediately understood what I was saying
and we were able to develop a conversation about the theory and
implications of empathy in her professional practice.

32 Research Methodology and Process / Participatory Research

DESIGN

BEACH

BRAZIL

ME

PSYCHOLOGY
MOUNTAIN

HER

CANADA

WINTER

SUMMER

PORTUGUESE

ENGLISH

Fig 11 Barriers of communication between me and the psychologist.

I realized that the visual created to consider Jane’s everyday
life experience acted as a dialogic artifact. It helped both the
psychologist and myself to stop relying solely on words to
communicate and was very successful in translating ideas. This
experience led me to start contemplating the potential benefits of
working with all of the senses in order to facilitate the expression
and understanding of ideas, feelings and emotions (Fig 12). Could
a sensory dialogic experience—one that could be experienced
with our whole body—help individuals access their thoughts and
feelings and better communicate with others?

Research Methodology and Process / Participatory Research 33

Intent on facilitating a creative space for conversations to emerge,
I conducted three co-creation workshops with psychologists at
the CPPL – Centro de Pesquisa em Psicanálise e Linguagem, in
Recife-Brazil. Participants were asked to take part in a series of
activities designed to help them express their knowledge in a
way that was easy to understand and process. The goals were to
gather information about the challenges individuals face when
trying to connect with one another, and begin to imagine ways to
build empathy and connection. Storytelling techniques based on
generative research3 and existing methods of sensory stimulation
were used during the workshops.

SIGHT

TOUCH

SOUND
DIALOGIC
EXPERIENCE

TASTE

SMELL

Fig 12 Sensory dialogic experience.

3 Sanders and Stappers
(2012) describe generative
research as a method that
“gives people a language
with which they can
imagine and express their
ideas and dreams for future
experience.”

34 Research Methodology and Process / Participatory Research

WORKSHOP ACTIVITIES:
1. The first activity the participants took on was the creation of
personas4 who had difficulties relating to others. They were asked
to create the personas using only visual and tactile materials.
2. Once these personas had been created the participants were
asked to describe each other’s personas and imagine what kind
of relationships and interactions the personas would develop in
a twenty-day car trip.
3. For the final part of the workshop, participants were encouraged
to imagine in which ways the personas could strengthen their
relationship during that journey. This activity was supported by
a collection of objects that participants could use to physically
represent their ideas.

4 According to Hanington
& Martin (2012) a persona is
the archetypal description
of an individual’s behavior
that humanizes design
focus and facilitates
communication (p. 132).

Fig 13 Objects offered at the workshop.

Research Methodology and Process / Participatory Research 35

Fig 14 Participants developing personas during co-creation workshops.

36 Research Methodology and Process / Participatory Research

Insights and Observations

Fig 15 Personas
developed by
psychologists.

The persona activity was very effective in helping participants
communicate abstract information. Since they were asked to
create personas using only visual and tactile materials, they
were forced to abstract what it means to have relationship
issues and not use specific—sometimes restrictive—words.
When asked to describe each other’s personas participants
were able to interpret the abstracted representations created by
others and add new layers of complexity to the description of
their personalities.

Research Methodology and Process / Participatory Research 37

Steel sponges on the
arms and shoulders of this
persona along with red
scribbles on its chest evoke
aggression. Taking a closer
look, however, the sand
paper and rubber squares
create a protection shield
and give the impression
of fear. The use of wound
up yarns in its head space
point to confusion and
the silicon circles under
its feet suggests fear and
uncertainty. Looking at
these features made me
consider the role of visuals
as a means to express
character complexity and
give voice to things that
are perhaps difficult to put
into words.

38 Research Methodology and Process / Participatory Research

Fig 16 Objects chosen
by participants during
co-creation workshop.

Following the persona activity I asked the participants to consider
how the personas might interact if they were on a twenty-day car
trip. The time to create the personas, and imagine a car-trip together
was quite important for the success of the workshop. When asked
to express with objects what could help the personas improve their
relationships, participants were already aware of the relationship
issues and personalities they were dealing with. They were able, in
a very short period of time, to use their expertize as psychologists
and make important suggestions. After analyzing and categorizing
the objects chosen by the psychologists (fig 16), I identify three
main sets of objects that were seen as important when dealing with
relationship challenges: objects that evoke relaxation, objects that
initiate group activities and objects that start conversations.
The psychologists emphasized, in different ways, the importance
of conversations to foster connection, understanding and
acceptance between individuals. They also expressed the value of
an environment that helps people release their tensions and share
moments of joy. Through this participatory research it became even
more evident that in order to help individuals to connect at a deeper
level, we need to create opportunities for meaningful conversations
to happen. In addition, it also affirmed the value of visuals and
artifacts to help putting thoughts, feelings and emotions into words.

OBJECTS INSPIRATIONS
»» A little cushion was used to suggest physical comfort.
»» A squeeze ball inspired collective play.
»» A piece of lace could start and set the tone of a conversation by bringing up memories from the past and
encouraging people to share their stories.

»» Wine cork, cinnamon and cloves inspired conversations
around collaborative cooking and shared meals.

Research Methodology and Process / Participatory Research 39

“By stimulating the senses
we were able to facilitate
communication, interpretation of
abstract data, and understanding
of complex human descriptions.”
Gomes Franca & St-Pierre, 2016

40 Research Methodology and Process / Artifact as Tool for Conversations

2.3 Artifact as Tool for
Conversations
Good communication is key for the development of empathy
between individuals and according to Michael Brian Schiffer
(1999)—Professor of Anthropology at the University of Arizona—
artifacts play a major role in interpersonal communication.
Schiffer (1999) states that “there can be no such thing as pure
‘interpersonal’ communication because of the involvement of
artifacts in all person–person interactions” (p. 31). Artifacts
are everywhere and they deeply influence the way we think and
communicate.
I was particularly interested in understanding the potential
role that physical objects might play in facilitating the access,
expression and understanding of feelings and emotions. Esther
Pasztory (2005)—Professor in Pre-Columbian Art History and
Archaeology at Columbia University—asserts that “we make
things so we can understand them” (p. 21). Inspired by my prior
explorations, as well as the relational objects described by Julia
Suwalski (2014) as “objects that establish relationships”, I set about
developing a series of dialogic artifacts.
My goal was to explore communication and materiality in a way
that could inspire multiple interpretations and create a generative
space for the expression of unprocessed feelings and emotions.
What if we could communicate how we feel through material
artifacts? How would that change the way we interact with one
another? My design explorations followed a natural progression.
They helped me to translate and incorporate insights from the
previous phases and created an ongoing space for conversations
with others that directly influenced my work.

Research Methodology and Process / Artifact as Tool for Conversations 41

Fig 17 Storyboard of artifact being used

ARTIFACT AS TOOL FOR
CONVERSATION AND EMPATHY
Two friends, Bob and Alex, meet and begin to talk.
Bob says something that Alex doesn’t understand. Bob
reaches out to his belly, opens it and gets something to
show to Alex. Alex looks at it, reaches to his own belly
and begins to search for the same thing. He finally finds
it, and now, he is able to understand his friend.

as tool for conversation and empathy.

42 Research Methodology and Process / Artifact as Tool for Conversations

“Empathy is a choice, and it’s a
vulnerable choice because in order
to connect with you I need to
connect with something in myself
that knows that feeling.”
Brené Brown, 2013

Research Methodology and Process / Artifact as Tool for Conversations 43

Tactile Feelings
Tactile Feelings are a series of abstract and ambiguous forms that
were created using easily accessible materials and processes. In the
act of creating these artifacts, I realized that I intuitively attributed
particular meanings to them. As a communication designer,
stepping into work that was 3-dimentional was challenging.
I quickly became aware of my unfamiliarity with material
exploration. I was frequently frustrated at not being able to translate
simple ideas in a 3-dimentional form. This feeling of inadequacy
encouraged and pushed me to go out of my way to talk to designers
and technicians who were more comfortable and proficient at
working in this space. During these conversations I noticed that
people would associate different meanings to the artifacts I had
created. More significantly, the meaning of an artifact would change
radically depending on the people I was having a conversation with
and the context in which the conversation was taking place.

Fig 18 Tactile Feelings.

44 Research Methodology and Process / Artifact as Tool for Conversations

Fig 19 Ensemble of Tactile Feelings.

Research Methodology and Process / Artifact as Tool for Conversations 45

I realized that it is through the interactive triangulation
of people, artifact and context that we are able to attribute
collective meaning to the things that surrounds us. Lambros
Malafouris (2013), a researcher in creativity, cognition
and material culture from the Institute of Archeology at
the University of Oxford, defends the idea that “meaning
does not reside in the material sign; it emerges from the
various parameters of its performance and usage as these are
actualized in the process of engagement” (p. 117). Malafouris
describes artifacts as ‘material signs’ that have no meaning
in and of themselves, but that can afford the possibility of
meaning. In other words, without engaging and generating
conversations around the artifacts, they wouldn’t carry any
social value.
Wanting to further explore the boundaries of this
triangulation, I posted curated images of the Tactile Feelings
artifacts on social media. Could visual representation of
artifacts also encourage interpretation and self-expression?
Framing the artifacts in a visual way and inserting them into
an online space allowed me to involve more people in the
conversation. I noticed that people responded to the images
by attributing meaning much the same as they had reacted
to physical artifacts. This reinforces Scott McCloud’s (1993)
claims that “a picture can evoke an emotional or sensual
response in the viewer” (p. 121). More than being the visual
representation of an artifact, the images acted as a catalyst of
multi-sensory interpretations.

PEOPLE

ARTIFACT
PEOPLE

PEOPLE

CONTEX T

Fig 20 Diagram of
triangulation: people,
artifact and context.

Fig 21 Images posted on
social media.

46 Research Methodology and Process / Artifact as Tool for Conversations

Sensory Cards
Since the goal of this project was to foster conversation in faceto-face encounters—not in virtual spaces—the images were
translated back into 3D space in the form of cards. The materiality
of the cards, although more subtle than the Tactile Feelings
artifacts, allowed me to reincorporate sensorial elements that the
images did not have, and increase the possibilities for multiple
interpretations. Each Sensory Card had its own image on one side
and a texture on the other.
The Sensory Cards were used in different contexts and with
different people. They became what Nina Simon (2010) calls a
social object—objects that have the ability to spark conversations
and facilitate exchanges among those who encounter them. Simon
(2010) says that social objects “allow people to focus their attention
on a third thing rather than on each other, making interpersonal
engagement more comfortable” (p. 127). People seemed
comfortable expressing their feelings while interpreting the images
and textures on the cards. I also noticed that people would use the
cards in ways that I had not foreseen—combining an image from
one card with the texture from another cards for example.
Fig 22 Sensory Cards in use.

Research Methodology and Process / Artifact as Tool for Conversations 47

Fig 23 Texture sides
of the Sensory Cards.

48 Research Methodology and Process / Artifact as Tool for Conversations

Although successful in fostering a casual atmosphere for
interactions, the cards still needed an invitation and a facilitation
process for engagement to happen. Three interviews with
group facilitators were conducted in order to thoughtfully
consider the role of facilitators in fostering relationships. Each
of my interviewees had a different approach to facilitation and
responded to the cards by suggesting a number of possible uses
for them. Their feedback reinforced my concept of a set of cards
designed for a wide range of possibilities of use. They might be
adaptable by the users themselves and integrate to the culture
of any given community. Based on my previous work and with
a clearer idea of the application of the cards in a community
context, I developed two scenarios for their use: expressing feelings
and emotions and connecting with the present moment. I detail
these further in section 3.2 The Sensory Cards.

Fig 24 The first set of Sensory Cards.

Research Methodology and Process / Artifact as Tool for Conversations 49

“Depending on the culture where
you put these cards, they will do things
radically different. They need to be able to
assimilate the culture of the group. You need
to go in and see how the cards can be used in
that culture and in that context.”
Wilson, personal communication,
January 19, 2017

50

3. Design
Iterations and
Outcome

Design Iterations and Outcome / Iteration Process 51

3.1 Iteration Process
Talking to facilitators and observing people interact with the cards
allowed me to see the potential of the Sensory Cards and inspired
me to take this project forward. I decided to look closely into
the cards’ functions and forms in order to identify the features
that needed to be kept, changed, or eliminated. My intent was to
reduce the cards to their essential elements without loosing their
functionalities. I identified three important elements that needed
to be addressed: the format, the photos and the textures.
The format of the cards was the first element to change. The cards
were excessively wide which made them hard to manipulate when
given to people in a stack. I began conducting research on existing
card decks and cellphone sizes for inspiration and used this to
determine a revised, new format. The number of cards in the set
was also reconsidered in this phase of the project. The cards were
reduced from fifteen to twelve based on earlier observations of the
cards in use. Intuition and my own personal preference to have an
even number also played a role in my decision-making.

Fig 25 Rethinking
the set format.

4”

3”

/2”

1

52 Design Iterations and Outcome / Iteration Process

The second element to be challenged was the photos. I began to
wonder if I could completely eliminate images and instead rely
only on the textured side of the cards. I prototyped a set of cards
that would use only materials and patterns (Fig 26). Looking at
this concept I realized that the cards had lost the organic and
spontaneous feeling of the previous set. They had becoming almost
sterile. I chose to return to my earlier use of images.
Once I had incorporated images back into the cards I began
considering an alternate elimination of stimuli. I wondered
if I could eliminate the textures and have them only visually

The idea of this set was
to have materials such
as leather, wood, metal
and acrylic cut into a card
size and laser cut them
using vector patterns that
I had created.
Fig 26 Materials and
patterns cards.

Design Iterations and Outcome / Iteration Process 53

represented in the photos. I prototyped another set of cards using
just images of textures found in the environment (Fig 27). The
visual result of this new set of cards felt almost too ethereal to me.
Lidwell, Holden & Butler (2003) describes a Gestalt principle of
perception called Figure-Ground Relationship that asserts that
human perception system separates stimuli into either figure
elements—object of focus—or background elements (p. 96). I
realized that most of the images in this set were lacking objects
of focus and I was no longer able to access visceral feelings or
unprocessed ideas through them. I decided to rework the images
and bring elements of texture back into the design.

Fig 27 Image cards.

Photos of concrete walls,
soft fabrics, metal scraps,
snow and the sky were
taken and used on this set.

54 Design Iterations and Outcome / Iteration Process

As a means to explore alternative ways to use both the photos
and textures I created a set of mood boards cards (Fig 28). I soon
realized that this iteration of cards still didn’t suit my intent.
Each of the mood board cards had been designed in a way to
evoke a specific sensation. This meant that the users would not
be triggered to use the cards as a means for creating their own
meanings, which was one of my main intentions.
Returning to my initial set of cards, I reflected on what made them
more successful than the subsequent explorations. I was able to
identify what was working and what still needed to be addressed.
The Sensory Cards were very successful at incorporating both
images and textures in a way that was open-ended and engaging.

Each mood board card
would have a different
image, shape, color and
finishing techniques such
as embossing, spot UV,
foiling or laminating.

Fig 28 Mood board cards

Design Iterations and Outcome / Iteration Process 55

While this was great, they were also limited in use in two ways.
First, by associating images and textures from different cards to
create new meaning—which I saw as a positive and spontaneous
reaction—people were also ignoring the opposite side of the card
and holding back a texture or an image that could potentially be
used by someone else. Secondly, since I would never have a deck
of cards that could represent the infinite ensemble of human’s
emotion, it was imperative to allow individuals to create their own
meanings and not be constrained by limited possibilities. I realized
that I didn’t have to make associations between images and textures
because it was important to encourage individuals to make their
own associations and create meanings for themselves. I prototyped
a set of deconstructed cards (Fig 29 and 30).

Fig 29 Prototype of the
deconstructed cards.

56 Design Iterations and Outcome / Iteration Process

Fig 30 Deconstructed cards.
Instead of having the texture on one side and
the images on the other, I decided to split the
two sides apart and double the number of cards
having twelve image-cards and twelve texturecards. This would allow individuals to play with
the cards and associate them in the way the want
and not hold possibilities that other individuals
could use.

Research
Design
Methodology
Iterations and
andOutcome
Process // Design
Iteration
Iterations
Process 57

“We don’t learn to navigate a conflict
intellectually. It doesn’t matter if we understand
a feeling if we are still feeling anger. So, it’s
important to engage people in emotional and
physical levels and I think your cards might
create a bridge between the intellectual, the
emotional and the physical.”
Wilson, personal communication, January 19, 2017

58 Design Iterations and Outcome / The Sensory Cards

3.2 The Sensory Cards
The Sensory Cards is a set of visual and tactile cards with
suggested guidelines intended to facilitate the communication—
access, expression and understanding—of feelings and emotions
in community groups. Two suggestions of use are presented
here: expressing feelings and emotions and connecting with the
present moment. These suggestions should not be seen as rigid
instructions, rather as triggers for facilitators to adapt and discover new use scenarios that best suit the context of their work.

Fig 31 Prototype of
the new Sensory Cards.

Design Iterations and Outcome / The Sensory Cards 59

Fig 32 The Sensory Cards.

60 Design Iterations and Outcome / The Sensory Cards

Scenarios of use
EXPRESSING FEELINGS
AND EMOTIONS

CONNECTING WITH
THE PRESENT MOMENT

Sometimes, acknowledging our feelings and

It can be hard to lead heated discussions. This

emotions can help us move together towards the next
step. This activity can be used during a meeting or
group discussion to check-in with individuals on their
general emotional state. It can help to establish better
understanding and connection between individuals.
Research has shown that expressing emotions can
also help to bring new perspectives to the group and
broaden an otherwise limited discussion.

Guidelines:
1. Put the Sensory Cards on a table at the center
of the room.
2. Ask everyone to choose 1-2 cards that most
resonate with their present emotional state.
3. Ask individuals to show their selected cards to the
group and explain in 1-2 sentences why they chose
the cards. Keep it casual, but make sure to create
a safe, judgment-free environment. People should
not have to defend what they are saying. The intent
is not to get into deep discussions, but rather to let
colleagues, peers, friends have a visual reading of
how each individual is feeling at that instant in time.
4. Allow them to keep their cards for the duration of
the meeting, in case they are needed again.
Optional: Repeat this activity every time you feel that
the conversation is going off track. It may be that
people need to reconnect with themselves and others,
or acknowledge a change in their state of mind.

is a quick activity that can be used to help
people pause during difficult moments and
bring their awareness to the present moment.
When participants become accustomed to
this technique, they may begin to turn to the
cards spontaneously as needed.

Guidelines:
1. Have the cards on hand during the
meeting. Be sure that everyone knows
that they are there.
2. If conversations become tense or
challenging, pass the deck and ask
everyone to quickly choose a card. They
may discuss the feelings associated with
the card, or they may choose to stay silent.
3. Allow everyone to keep their cards for the
duration of the meeting, in case they are
needed again.
4. Resume the discussion.

Design Iterations and Outcome / The Sensory Cards 61

Fig 33 Instructions brochure for the Sensory Cards.

62 Design Iterations and Outcome / Reflective Analysis

3.3 Reflective Analysis
Design must become an innovative, highly creative,
across disciplinary tool responsive to the true needs
of men. (Papanek, 1985)
The Sensory Cards carry the potential to build empathy between
individuals collaborating in community groups by fostering
conversations during face-to-face encounters. It invites individuals
to interact with one another and acts as a tool for facilitating
communication and connection. Nevertheless, the effectiveness of
the Sensory Cards in facilitating strong connections and resilient
communities can only be fully assessed through time and ongoing
experimentations.
Relationships don’t happen overnight. “Trust accrues through
time and is built during encounter and interaction between
people; it cannot be digitalized, and cannot be rushed.” (Thackara
2005, p. 43). Even though the Sensory Cards present an
opportunity to help individuals engage on an emotional level, it
is important to acknowledge that it does not intent to accelerate
the natural process of building a relationship. Rather, the goal is
to help establish a solid base of empathy, trust and consideration
from which strong relationships can be built from.
The open-ended nature of the cards allows them to be adapted
in different contexts and for different purposes. A number of
possibilities of use for the cards emerged during the design
process. Wilson (personal communication, January 19, 2017),
for example, imagined the cards being used to help children
communicate their emotions. According to him this might

Design Iterations and Outcome / Reflective Analysis 63

help them develop self-awareness and also help others better
understand their needs. Another idea that emerged was to support
the work of psychologists by helping their clients to access their
feelings and communicate difficult matters in a new way. I noticed
that the cards could also support an inner search towards selfawareness and self-knowledge. This possibility becomes a venue
for future explorations.

Fig 34 Analyzing the Sensory Cards.

64

4. Conclusion
and Future
Directions

Conclusion and Future Directions 65

A success factor in research is time – time to understand
a user community, time to get to know individuals
within it, time to conduct research at a speed that does
not threaten people, and time to reflect on results.
(Thackara, 2005, p. 38)
This thesis explored the role of artifacts in developing empathy
and connection within community groups. A series of reflective
and exploratory projects were conducted in order to facilitate
immersion into the topic. Psychologists and facilitators were
engaged through participatory design methods and brought
important insights on how to design to support empathy in human
interactions. This research led to the development of the Sensory
Cards, a set of visual and tactile cards intended to facilitate the
communication of feelings and emotions in community groups.
From this research, it became clear that empathy is a behavior
that is partly developed in a social environment and partly
nurtured by an internal desire to see the other. In other words, to
develop our empathic self and improve our relationships we need
the willingness to look into ourselves and understand our own
challenges and strengths. Fortunately, one way to do that is through
our relationships. It’s in the interaction with others that we see who
we are and learn how to relate.
The result of this research was a design tool with the potential to
bridge communication barriers and foster empathic conversations
and connection in community groups. It is my hope that by fostering
genuine conversations between individuals new relationships and
collaborative efforts will emerge. The final design proposition sets the
stage for dialogue and consideration about the way we interact with
each other in valuable ways. For me, this project fits in the space of
hope and imagination. The belief that small actions can have a great
impact was present during the whole process. I intended to promote
collaboration, but above all to provoke meaningful interactions.

66 Conclusion and Future Directions

“Empathy is, in fact, an ideal that has the
power both to transform our own lives and
to bring about fundamental social change.
Empathy can create a revolution. […] a
revolution of human relationships.”
Krznaric 2014, p. ix

References 67

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70 List of Figures

List of Figures
Fig 01 Diagram of research space.
Fig 02 Research notes.
Fig 03 Diagram of research methodology and process.
Fig 04 Deep listening and self-empathy exploration.
Fig 05 That’s Kindness social media platforms.
Fig 06 Jane and her two daughters.
Fig 07 Jane’s journey map.
Fig 08 Storyboard with scenario of use for the T-Pauser.
Fig 09 T-Pauser prototype.
Fig 10 Diagram of deep conversation.
Fig 11 Barriers of communication between me
and the psychologist.
Fig 12 Sensory dialogic experience.
Fig 13 Objects offered at the workshop.
Fig 14 Participants developing personas during
co-creation workshops.
Fig 15 Personas developed by psychologists.
Fig 16 Objects chosen by participants during
co-creation workshop.
Fig 17 Storyboard of artifact being used as tool for
conversation and empathy.
Fig 18 Tactile Feelings.

List of Figures 71

Fig 19 Ensemble of Tactile Feelings.
Fig 20 Diagram of triangulation: people, artifact and context.
Fig 21 Images posted on social media.
Fig 22 Sensory Cards in use.
Fig 23 Texture sides of the Sensory Cards.
Fig 24 The first set of Sensory Cards.
Fig 25 Rethinking the set format.
Fig 26 Materials and patterns cards.
Fig 27 Image cards.
Fig 28 Mood board cards
Fig 29 Prototype of the deconstructed cards.
Fig 30 Deconstructed cards.
Fig 31 Prototype of the new Sensory Cards.
Fig 32 The Sensory Cards.
Some of the photos in the Sensory Cards were kindly
granted by Breno César©. You can find these photos and
many more at: https://www.flickr.com/photos/brenocesar/
albums/72157623278558619
Fig 33 Instructions brochure for the Sensory Cards.
Fig 34 Analyzing the Sensory Cards.

72

Appendices

Appendices 73

APPENDIX A Slow Videos
APPENDIX B Breaking assumptions
APPENDIX C Ethics Clearance

74 Appendix A

APPENDIX A

Slow videos
After having created the T-Pauser prototype I began to think
about all the things that change my notion of time such
as meditating, walking and drawing. With that in mind I
decided to create a series of one-minute videos to capture
these moments. I consciously entered a stage of awareness
while creating the videos. The focus was not on the camera or
the video, but on the experience itself.
When I watch the Slow videos, I’m transported back to the
same head space I was at the moment they were created. They
invite me to slow down and connect with myself, with the
environment and with others. Since videos have the capacity
to be played in slow motion and be fast forward, they also
remind me how time passes differently depending on our
state of mind.

Appendix A 75

76 Appendix B

APPENDIX B

Breaking assumptions
In this project I tried to break a personal assumption and
empathize with a group of people I didn’t feel connected
to. Since I had previously worked in a social project in
Brazil—with children in situations of extreme poverty and
negligence—I thought that children considered poor in
British Columbia didn’t experience it to the same extent. I
looked at the literature and recent reports published by the
government and local NGOs to help me better understand
the context. This initial research helped me to develop a
cognitive understanding of the local context, but I didn’t feel
connect to the people living in this condition.
In an attempt to further immerse myself in this context, I
created three characters based on the information collected
and on self-inquiries. What is it like to be that child? How
does it feel to live that experience? What would be my hopes
or fears? The whole process of researching and creating
stories allowed me to step—albeit from a distance—into my
characters’ shoes and reconsider my earlier assumption. My
view of poverty shifted. I was able to shorten the cultural and
experiential distance between my characters and myself and
emotionally connect with them.

Appendix B 77

RAFAELA
Rafaela was created by drawing and mind mapping and
taught me about relationships and connections in life. She
lives in Downtown East Side with her mother and younger
sister, and she doesn’t know her father. They are immigrants
from Costa Rica and her mother works as a cashier on a
fast food chain. She is very sociable. Rafaela used to dream
about being a scuba diver, but now she thinks working on a
store is probably not a bad idea.

GLADYS
Gladys was created with cut-out paper and pop-up
technique and helped me understand a little more about
the environment she lives in. She is aboriginal and lives
with her family in north BC. Her father is an alcoholic and
gets violent sometimes. Growing up in this environment,
she developed some anger issues herself. She loves to be in
nature and has to travel long distance to go to school. The
best part of her day is at night when her grandmother tells
her stories about their ancestors.

JACK
Jack was created with modeling clay and got me in touch
with more profound feelings and emotions of a boy that
is losing his childhood to a hard life. Jack lives only with
his mother in a little apartment. His mother is bipolar
and unemployed, and he takes care of her. They receive
government assistance and rely on food bank to eat. Jack
is very serious and introspective. He doesn’t see the point
of going to school. He gets bullied and keeps everything to
himself. He loves to cook.

78 Appendix C

APPENDIX C

Ethics Clearance

Research + Industry Office
Emily Carr University of Art and Design
Research Ethics Board
April 25, 2016
MEMORANDUM TO:
Louise St. Pierre, Associate Professor, Principal Investigator, Faculty of Design + Dynamic Media
Natalia Gomes Franca, Graduate Student Co-Investigator, Faculty of Design + Dynamic Media
Re: Application for Ethics Approval (File #2016030712)

•

The research ethics application for ‘Fostering relationships’ was reviewed by delegated members of the Emily Carr

For multi-site or partnered research, researchers must adhere to the research ethics protocols or procedures

University Research Ethics Board on April 25, 2016. As a result of that review, this project has full approval to proceed

at the other sites of research, where they exist. Thus, the researcher is expected to share notice of this
with participant research.

approval with partners or sites of research that have their own research ethics protocols. If further ethics
approval is required or new partners or sites of research become part of the project, the ECU-REB should be
informed.
On behalf of the ECU-REB, I wish you much success with this research.

st

The dates for this approval are April 25, 2016 – March 1 , 2017.

Please note, the following:
•

This approval extends until March 1, 2017, after which time renewal is available. To ensure timely renewal,
you are invited to use FORM 204.1 Annual Review / Request to Amend Approved Research to
communicate the progress of the research and to request any required changes. This form is provided with
this letter.

•

If you need to make any changes to any aspect of the approved application, you are required to inform the
ECU-REB prior to the implementation of changes. FORM 204.1 Annual Review / Request to Amend
Approved Research should be used to communicate changes. This form is provided with this letter.

•

In the event of an adverse event associated with the participant research, the applicant must notify the ECUREB within five (5) days. FORM 204.2 Adverse Incident Report is available for you to use to communicate
these incidents. This form is provided with this letter.

Sincerely,
Dr. Glen Lowry, Chair ECU-REB

•

At the conclusion of the project, please complete FORM 204.3 Research Ethics Completion so that the file
can be closed in an appropriate manner. This form is provided with this letter.

This signed Approval Status Letter is an official ethics status document. Please keep it for reference purposes. If you have
not received a signed paper copy of this letter please contact me at ethics@ecuad.ca. The approval status listed above, the
date of this letter, and the ECU-REB file number should all appear on materials that are circulated to the participants in this

Cc:

Deborah Shackleton, Dean, Faculty of Design + Dynamic Media way: “This project has Full Research Ethics Approval from the Emily Carr University Research Ethics Board (April 25, 2016,
Jerri-Lynne Cameron, Director, Research Administration
Research Ethics Board Coordinator

ECU-REB #2016030712). If you have any comments or concerns about ethical issues in the research, you are invited to
contact the Emily Carr University REB Coordinator at ethics@ecuad.ca or (604) 844-3800 ext 2848.”.

Appendix C 79

A critical & process documentation paper submitted
in partial fulfillment for the degree of Master of Design
Emily Carr University of Arts + Design, 2017
© Natália Gomes Franca, 2017

Emily Carr University of Arts + Design, 2017
© Natália Gomes Franca