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Ok. It is now possible to look for the concrete modality of communication by EQS. EQS cannot express by themselves a character; they require something with which to make an expression: an “expressing”. The expressing can be a single quality (shape, size, weight, color, timbre, flavor, etc.), an object globally considered (a Gestalt) or relationships between objects (including relationships between objects and their contexts). The specific character of an object, which a single object externalized, is not an EQ only for one object. For example, because of a determinate shape, a weeping willow expresses sadness; but the same expressive quality, the sadness, can also be expressed by the posture of a human being (depressed) or by a minor chord. At the same time, the same objects can share many expressive characters. In this case, objects are expressively “plurivocal”. It is a common experience that the same musical chord, for instance, may express together sadness, bitterness, and also solemnity; the table top may express together hardness, solidity, and also levelness. Different and coexistent EQS can appear more or less salient. This is the degree of plurivocity. With a low value of plurivocity, a single expressive character prevails over the others and focuses on itself all the global expressivity (for example, chord structure, temporal organization, and sound amplitude may together express sadness). In general, with low plurivocity, objects show a single and clear expressive identity and they are perceptively more intelligible. When objects have a high value of plurivocity, multiple expressive characters may be equivalent, and it is impossible to separate one prevalent expressive character (for example, chord structure may express sadness, the temporal organization may express agitation, and sound amplitude may express solemnity, all in the same musical passage). Objects with high plurivocity, in general, have the advantage of avoiding aesthetic glut. Plurivocal objects can also include cases of contrasting expressive characters that generate perceptual incoherence. A good example of this is given by the face makeup of clowns, in which – typically – the eyes are sad and the mouth is smiling. In this case, the contrast of two opposite and robust expressive characters prevents the normal perception of the expressive unity of the face, and for this reason it appears disquieting. All these objective determinations do not exclude subjective differences regarding sensitivity in the perception of EQS. The differences do not demonstrate the relativity of the actual world, as claimed by radical subjectivists, but only the necessity of a critical approach. In fact, different subjects perceive the same EQS if they have the same perceptual goal and are put in the same observational conditions and if they. And these conditions are a challenge for the designers. Finally, the EQ of a plurivocal object also emerges in relation to assimilation and contrast with the context. This is an example of visual assimilation. The gray target is darker. Assimilation is the process by which an old object in Venice, a city with a widespread decadent aesthetic value, appears romantic, whereas, in Mestre, the nearby new city, the same object appears dilapidated. Or a mole on a young face adds plurivocity, on an old face is ugly. Speaking of context, the last issue I would like to deal with is the atmosphere. The atmosphere is an useful concept for design. There is a huge speculative literature on the atmosphere which, however, has never led to a satisfactory operational definition. The difficulty in defining atmosphere lies in the fact that it is not an abstract concept. It is an obvious immediate experience, but it lacks a material empirical counterpart or at least a possible reduction in terms of a physical description. I have proposed a definition based on TEQS. The atmosphere is a resultant property, it is structured by the multiplicity of EQS conveyed by lower-order objects (EQ1, EQ2, EQ3, and so on). If, for example, a landscape is made up of trees, houses, fields, hills, and sky, the atmosphere of the landscape is the result of the multiplicity of EQS of each tree, house, field, hill, and sky. Therefore, I define atmosphere as an expressive property, resulting from the set of EQS carried by lower-order objects, which assimilates the latter qualities into a structure but does not unify them. The atmosphere has an assimilative function. I prefer not to adopt the traditional Gestalt locution “perceptual totalization” (see Metzger, 1936) because the result of assimilation is not a Gestalt unit. Rather, the atmosphere vertigo is given by its being clearly perceptible, without its being possibly grasped as a unitary entity. As consciousness tries to fix it in a distinct unitary form, the atmosphere slips away because its contact with the lower-order EQS that structure it gets lost. The assimilative function consists in giving perceptual salience to the lower-order EQS that contribute to the same atmospheric value. It is worth mentioning that the literature often confuses the consequence with the cause of assimilation. In fact, some perceptual properties do have an assimilative function, such as fog, a chromatic filter, or musical background. Music, for example, enhances the visual landscape, highlighting EQS consistent with the expressive musical tone. Thus, the atmosphere of a photographic landscape can be identified with fog. In fact, the fog homogenizes colors and assimilates the EQS of the landscape. Fog assimilates and facilitates the emergence of an atmosphere but fog is not the atmosphere. Let me then move to the conclusion. The experimental phenomenological perspective allows us to study the qualities of immediate experience that a physicalistic approach does not allow. This knowledge concerning the sharing of immediate data is a crucial cognitive content for planning the experience. In design, this theory allows us to use the qualities of experience to communicate immediately and to understand some phenomena such as the plurivocity of objects and the atmosphere. Maybe there is time for a couple of questions. I am sleepy, because of the jet leg, and I am not sure if I have the mental resource to grasp the questions. But we can try.