Feeling More of Yourself

Wearable vibrotactile somaesthetic technology for body awareness


  • Art and Design
  • Somatic practice
  • Embodied metacognition
  • Wearable Technologies

This practice-based research project proceeds from Richard Shusterman’s framework of somaesthetics, in which the lived body or soma is taken as a “site for aesthesis (sensory appreciation) and creative self-fashioning” (Shusterman, 2008, p. 1). Using a collaborative, design thinking methodology that incorporates first-person somatic reflection (Hanna, 1988) and third-person observation and analysis, and inspired by Sally Dean's (2014) Somatic Costumes, I use somaesthetics to guide the design of Haplós, a torso-length piece of wearable technology that applies vibratory tactile stimulation to a person’s back. A deep and practice-led immersion into one somatic practice in particular—the Feldenkrais Method (Feldenkrais, 1990; Rywerant, 2003)—is used as a particular point of departure for the initial development of the electronic and material components of Haplós. Furthermore, the values and approaches cultivated in the Feldenkrais Method—such as curiosity, play, and systematic attention to subtle differences in kinaesthetic sensations—are used to guide the design of activities that are intended to facilitate somatic learning when used with Haplós. As a tool, Haplós can also be used in novel ways. For instance, I elaborate on the aesthetics of tactile stimuli and demonstrate how Haplós can also be used as an instrument for playing tactile vibrational compositions on human skin. I also investigate the potential of deploying and controlling Haplós remotely and interactively through a personal exploration of using Haplós across a distance with loved ones. Finally, I discuss a speculative design involving Haplós as a tool for cognitive enhancement when paired with music and a brain-computer interface. Haplós exemplifies how somatic epistemologies can be systematically applied to the design of new technologies that encourage not only somatic learning (cf. Höök et al., 2015; Schiphorst, 2008), but also novel aesthetic forms. I conclude by speculating on further applications of somatic practice to other contexts and problem domains.


Kin Design, UK (Conceptual designs for tools for somatic teaching)

Project Blog (open in new window)





Research Fellow
Diego S. Maranan

Jane Grant, John Matthias, Sue Denham, Mike Phillips, Matt Wade

Further Reading
  • Dean, S. E. (2014). Somatic costumes: Traversing multi-sensorial landscapes. Scene, 2(1), 81–87. http://doi.org/10.1386/scene.2.1-2.81_1
    Feldenkrais, M. (1990). Awareness through movement: health exercises for personal growth (1st HarperCollins pbk. ed). San Francisco: HarperSanFrancisco. ISBN: 9780062503220
    Hanna, T. (1988). Somatics: reawakening the mind’s control of movement, flexibility, and health. Cambridge, MA: Da Capo Life Long. ISBN: ISBN: 9780738209579
    Höök, K., Ståhl, A., Jonsson, M., Mercurio, J., Karlsson, A., & Johnson, E.-C. B. (2015). Somaesthetic design. Interactions, 22(4), 26–33. http://doi.org/10.1145/2770888
    Rywerant, Y. (2003). The Feldenkrais method: teaching by handling. North Bergen, NJ: Basic Health Publications, in association with the K.S. Giniger Co., New York, N.Y. ISBN: 1591200229
    Schiphorst, T. (2008). The Varieties of User Experience: Bridging Embodied Methodologies From Somatics And Performance To Human Computer Interaction (Ph.D. dissertation). University of Plymouth, United Kingdom. http://hdl.handle.net/10026.1/2177
    Shusterman, R. (2008). Body consciousness: a philosophy of mindfulness and somaesthetics. Cambridge ; New York: Cambridge University Press. ISBN: 9780521858908