We theoretically develop the ethical positions implicit in somaesthetic interaction design and, using the case study of a water faucet, illustrate our conceptual understanding of ethical sensibilities in design. We apply four lenses – the felt self, intercorporeal self, socio-cultural and political self, and entangled self – to show how our selves and ethical sensibilities are fundamentally constituted by a socially, materially, and technologically entwined world. Further, we show how ethical sensibilities are cultivated in the practice of somaesthetic interaction design. We contribute felt ethics as an approach to cultivating ethical sensibilities in design practice. The felt ethics approach is comprised of (i) a processual cultivation of ethical sensibility through analytical, pragmatic, and practical engagement, (ii) an ongoing critical attentiveness to the limits of our own bodies and lived experiences, and (iii) the rendering visible of our ethical practices as a matter of care.

There is a need to reframe our relationship to energy, particularly in Western energy contexts, where we have plentiful access and no meaningful barriers to use. This paper outlines a first-person engagement with energy systems and shows how somaesthetic design is one possible means to cultivate and design for new ways of ethical being with energy systems. Early autobiographical design work focused on designing for 'sustainability' revealed a trajectory of fatalism and restriction. A turn towards enacting material relations, co-performed with others, opened into a more holistic relationship with energy. Reflecting on how this process unfolded, we argue that sustainability is not, in itself, a somaesthetic sensibility, and remains constrained within rational framings. We develop this argument to contribute to a new understanding of how we somatically relate to energy and how relational ethics in interaction design research and practice can encourage a felt sense for the materiality of energy.

This article presents an investigation into the perceptual vibrotactile thresholds for a range of frequencies on both the inside and outside areas of the wrist when exciting the skin with parallel vibrations, realized using the L5 actuator made by Lofelt GmbH. The vibrotactile threshold of 30 participants was measured using a modified audiometry test for the frequency range of 25-1,000 Hz. The average threshold across the respective frequencies was then ultimately determined from acceleration minima. The results show that maximum sensitivity lies in the range of 100-275 Hz (peaking at 200 Hz) for the inside and 75-250 Hz (peaking at 125 Hz) for the outside of the wrist and that thresholds are overall higher for the hairy skin on the outside of the wrist than for the glabrous skin on the inside. The results also show that the vibrotactile thresholds varied highly between individuals. Hence, personalized threshold measurements at the actuator locations will be required to fine-tune a device for the user. This study is a part of an ongoing research and development project where the aim is to develop a tactile display device and a music encoding scheme with the purpose of augmenting the musical enjoyment of cochlear implant recipients. These results, along with results from planned follow-up experiments, will be used to determine the appropriate frequency range and to cast light on the dynamic range on offer for the tactile device.