Designing Through the Body: Embodied Ethics and Multispecies Perspectives in Design Practice

Ceren Ozgen

University of Texas at Austin, Texas, USA

Citer cet article

Ozgen, C. (2025). Designing Through the Body: Embodied Ethics and Multispecies Perspectives in Design Practice. p-e-r-f-o-r-m-a-n-c-e, 8.

Abstract

In the face of climate change and environmental injustice, contemporary design practices must expand beyond human-centered frameworks to include a multispecies ethic that acknowledges the interconnectedness of all life forms. This essay examines the role of embodied movement practices in transforming design methodologies to incorporate the sensory and cognitive experiences of non-human beings. Using the workshop “Designing Through a Dog’s Umwelt” as a focal point, the paper illustrates how immersive, movementbased exercises can foster empathy, creativity, and a more inclusive approach to design. By inviting participants to experience the world through a dog’s perspective, the workshop advocates for an expanded ethical framework that integrates care, compassion, and environmental justice into the design process. This exploration underscores the potential of artistic practice as a catalyst for ethical reflection and social change, proposing new pathways for integrating multispecies perspectives into art and design.

Keywords

Embodied design, multispecies perspectives, art and ethics, environmental justice, design methodology, empathy, umwelt

Introduction: Rethinking Design Ethics

Traditional design ethics have predominantly focused on human experiences, prioritizing user comfort, safety, and accessibility. While these are essential considerations, they often overlook the broader ecological and multispecies relationships that shape our shared environments. This narrow focus sustains an anthropocentric view that neglects the well-being and agency of nonhuman entities, ultimately limiting the scope of design to human needs alone. In his book Ways of Being, James Bridle critiques this human-centric paradigm and advocates for a more inclusive understanding of intelligence and experience across species. He argues that ethical responsibilities should extend beyond human communities to encompass all living beings, urging us to recognize the inherent value and agency of non-human life forms. (Bridle, 2023) Incorporating multispecies perspectives into design ethics challenges us to rethink the foundational assumptions of design practice. Engaging with the sensory worlds of different species—referred to as “umwelts”—encourages designers to develop more sustainable and inclusive strategies that address the pressing ecological and ethical challenges of our time. Such an approach broadens our ethical scope and compels us to integrate empathy, care, and humility into the design process, fostering a deeper connection between designers and the environments they influence. (Neely, 2021)

This expanded view of design ethics aligns with the growing recognition of the Anthropocene— a geological age marked by significant human impact on Earth’s ecosystems. As we confront the realities of climate change, biodiversity loss, and environmental injustice, it is crucial to cultivate design practices that support the well-being of the entire biosphere. By rethinking design ethics through a multispecies lens, we can create frameworks that are not only ethically responsible but also resilient and adaptive to the challenges of a rapidly changing world. (Sinclair et al., 2017)

Embodied Design as Ethical Practice

Embodied design positions the body as a critical site of knowledge and experience, enhancing the connection between designers and the subjects of their design. My research, rooted in six years of exploring movement through pole dance and other practices, has uncovered a significant gap in traditional design methods: the underutilization of the body’s full sensory and perceptual capacities. This gap not only limits creative potential but also narrows the scope of empathy in design. (Barsalou, 2008)

Redefining Design Methodologies Through Embodied Cognition

Embodied cognition suggests that our thoughts are deeply intertwined with our physical interactions with the world. Stephen Neely’s Soma Literate Design expands this concept, advocating for the inclusion of the living body, or soma, in design processes (Neely, 2021). By engaging physically with design concepts, designers can experience their work on a visceral level, making the design process more intuitive, empathetic, and responsive to users’ needs. This approach contrasts sharply with traditional design practices, which often prioritize visual aesthetics and functionality over the full spectrum of sensory engagement. Through my practice of pole dance, I’ve discovered how movement can break down internalized societal norms about how bodies should behave, liberating the creative process. This realization has led me to explore how embodied movement can transform design practice by fostering a deeper connection between designers and their creations. (Richard et al., 2021)

Movement as a Tool for Embodying Other Perspectives

Beyond personal self-awareness, movement serves as a powerful tool for embodying and understanding the experiences of others, both human and non-human. The concept of “umwelt”—an organism’s unique sensory world—demonstrates how different species perceive and interact with their environments based on their sensory capabilities. For example, a mosquito’s auditory system is finely tuned to detect the wing-tone of a mate, while pit vipers use infrared sensors to detect prey (Balcombe, 2016). These distinct sensory experiences serve each species within its ecological context and differ vastly from human perception. Incorporating movement into the design process allows designers to momentarily step into these diverse sensory worlds. By engaging in physical exercises that simulate the sensory experiences of other species, designers can develop a more embodied understanding of their subjects. This practice not only enhances empathy but also shifts the focus from a purely human-centered perspective to a more inclusive approach that considers the sensory and cognitive realities of non-human beings (Bridle, 2023).

From Empathy to Compassionate Design

Empathy allows designers to understand and feel what others might be experiencing, but compassion goes a step further by motivating them to actively alleviate suffering and enhance well-being. In design, moving from empathy to compassion means not only acknowledging the needs and experiences of others but also committing to creating solutions that improve their lives (Sinclair et al., 2017).

This distinction is crucial when designing for non-human entities, whose needs and experiences may be vastly different from our own. For example, understanding how dogs perceive and interact with their surroundings can lead to designs that are not just functional but genuinely enriching for their lives (Balcombe, 2016). Compassionate design involves recognizing the limitations of our understanding and striving to minimize harm while enhancing the quality of life for all beings, human and non-human alike (Neely, 2021).

The Role of Movement in the Design Process

The integration of movement into the design process has proven to be a transformative tool. Through physical engagement, designers can gain a more comprehensive understanding of their own sensory and emotional states, which in turn informs their creative decisions (Barsalou, 2008). For instance, the practice of pole dance has enabled me to explore the boundaries of physical expression, challenging restrictive societal norms and uncovering new possibilities for design.

In my workshops, I guide participants through movement-based exercises that simulate the sensory experiences of dogs. This involves altering their visual perception and encouraging them to rely more on smell and sound, allowing them to inhabit a different sensory world (Neely, 2021; Richard et al., 2021). This experiential approach not only enhances empathy but also sparks creative insights that can be directly applied to the design process (Richard et al., 2021).

By physically embodying different perspectives, designers can move beyond static, humancentric design processes and explore new ways of thinking that foster innovation and inclusivity (Barsalou, 2008). This approach has led to the development of workshops that use movement to bridge the gap between designers and the beings they are designing for, offering a more holistic and ethical approach to design (Neely, 2021).

Workshop Methodology: Designing Through a Dog’s Umwelt

The workshop Designing Through a Dog’s Umwelt is structured to immerse participants in the sensory and cognitive world of dogs, with the ultimate goal of challenging human-centric design methodologies and fostering a more empathetic approach to designing for non-human users. This half-day workshop unfolds in three distinct phases, each carefully designed to guide participants through a journey of sensory exploration, reflection, and creative iteration.

Pre-Workshop Design Briefs: Setting the Stage

The workshop begins with participants choosing one of two design briefs, each tailored to stimulate their creativity and critical thinking:

Create a Dog Park:Participants are tasked with designing a dog park that is engaging, safe, and enjoyable for both dogs and their owners. They are encouraged to think beyond typical park features and consider elements that support natural dog behaviors like running, sniffing, digging, and socializing. Key considerations include activity zones, sensory elements such as different textures and scents, and safety features like secure fencing and clear visibility. The aim is to create a space that enhances the physical and mental well-being of dogs while providing comfort and accessibility for their human companions.
Pet-Tech Design:This brief invites participants to create a tech product that enhances communication, safety, or play for pets. Whether designing a smart collar that tracks a dog’s activity and location or an interactive toy that responds to a pet’s actions, participants are challenged to consider how technology can be made intuitive and engaging for animals. The focus is on creating designs that are not only functional but also enrich the daily experiences of pets and their owners.

Participants are given 20 minutes to sketch and present their initial designs, using this exercise as a baseline to assess their understanding of dog behavior and sensory experiences. This initial phase sets the foundation for the transformative experiences that follow.

Movement-Based Sensory Exploration: Embodying the Dog’s Perspective

The core of the workshop centers around a series of guided movement exercises designed to simulate a dog’s sensory experience. Conducted in an outdoor park, participants were advised to wear clothes suitable for crawling on grass and potentially getting dirty.

Warm-Up: Preparing the Body and Mind

Participants began with a short warm-up session to release physical tension and mental judgments, creating an open and receptive mindset for the experience ahead. The goal was to prepare participants to fully embody the role of a dog, setting aside self-consciousness and embracing unfamiliar sensations.

Becoming a Dog: Sensory and Physical Transformation

Participants then donned special filtered glasses that limit trichromatic vision, simulating the color perception of dogs. This visual alteration, combined with a series of movement exercises, guided participants to shift their focus from sight to smell and sound as their primary senses.

Exploring Movement and Space:Participants experimented with different walking rhythms, moving on all fours to mimic the movement patterns of dogs. They explored the space around them by crawling, sniffing objects, and interacting with each other as dogs would. This exercise encouraged participants to let go of their usual human gait and adopt the physicality of a dog, experiencing the environment from a radically different perspective.
Sensory Immersion:With their vision limited, participants were guided to rely more on their sense of smell and hearing. They followed scents placed around the park, tilted their heads to focus on specific sounds, and used their bodies to express curiosity, playfulness, or caution—emotions typically associated with dogs. This sensory immersion helped participants connect with the environment in a new way, emphasizing the importance of non-visual sensory inputs in understanding and navigating the world.
Social Dynamics:Participants engaged in activities that simulated dog social interactions, such as approaching others with playful or cautious body language, engaging in playfighting, and marking territory. These exercises provided insights into the complex social structures and communication methods of dogs, highlighting the nuances of canine behavior that are often overlooked in human-centric design processes.This phase of the workshop, lasting approximately 30 minutes, was designed to disrupt conventional design thinking by encouraging participants to fully embody a non-human perspective. The experience was both physically and mentally challenging, pushing participants to reconsider their assumptions about sensory perception and interaction.

Post-Workshop Design Revisions: Integrating Insights into Practice

After the movement exercises, participants returned to their original design briefs with new insights gained from their embodied experience. They were asked to reflect on how their understanding of dogs’ needs and behaviors had evolved and to modify their designs accordingly. This iterative process, lasting another 20 minutes, allowed participants to integrate their sensory and emotional experiences into their design concepts, fostering a more empathetic and informed approach.

Participants reported significant shifts in their thinking, noting that the movement exercises had deepened their understanding of dogs’ sensory priorities and social behaviors. Many expressed that they felt more connected to the experiences of dogs and were better equipped to design products and spaces that truly cater to their needs.

Workshop Reflections: Participant Feedback and Impact

The Designing Through a Dog’s Umwelt workshop generated significant shifts in the participants’ design processes and perspectives. Feedback collected through post-workshop surveys and discussions highlighted the profound impact that embodied movement exercises had on participants’ understanding and empathy for non-human perspectives.

Pre- and Post-Workshop Design Process Shifts

Before the workshop, participants generally approached the design briefs from a human-centric perspective, focusing on convenience, aesthetics, and functionality for human users. Many reported that their initial designs, whether for a dog park or a pet-tech product, were influenced more by human needs and preferences rather than the specific behaviors and sensory experiences of dogs.

Design Process After the Workshop:

After engaging in the movement exercises, participants reported a notable shift in their design approach:

Increased Focus on Dog’s Perspective:Participants began to prioritize the sensory and behavioral characteristics of dogs, considering factors such as scent trails, varied textures, and interactive elements that cater to natural dog behaviors like sniffing, digging, and playing. For example, some redesigned dog parks to include scent gardens and digging zones, while others created more discreet, camouflaged tech products that would be less intrusive for dogs.
Greater Empathy and Insight:Participants expressed a deeper understanding of the challenges dogs face in human-designed environments. They noted that the movement exercises made them more aware of how dogs navigate and perceive spaces, leading to designs that were more inclusive of dogs’ sensory needs. One participant commented, “After the workshop, I started focusing on what the dog would want rather than the owner,” illustrating a significant shift towards a dog-centric design process.
Incorporating Sensory Experiences:The experience of using filtered glasses and navigating on all fours led participants to reimagine the sensory experiences of dogs. Many integrated sensory elements such as different textures and scents into their designs, reflecting a nuanced understanding of how dogs interact with their environments. For instance, one participant redesigned their dog park to include a “community dog garden” with non-toxic plants and flowers specifically chosen to stimulate dogs’ sense of smell.

Influence of Movement-Based Exercises on Creativity and Empathy

The workshop’s core methodology—using movement-based exercises to simulate a dog’s sensory world—had a profound impact on participants’ creativity and empathy:

Enhanced Creativity:Participants reported that the physical movements and sensory immersion exercises significantly boosted their creativity. Engaging in activities like crawling, sniffing, and mimicking dog behaviors helped break down conventional thought patterns and opened new avenues for creative exploration. As one participant noted, “The movement exercises helped me think outside the box, considering not just what would look good but what would feel good for a dog.”
Increased Empathy:The workshop effectively fostered a deeper sense of empathy for dogs. Many participants described how embodying a dog’s perspective allowed them to connect more closely with non-human experiences. This empathy extended beyond the immediate design tasks, influencing participants’ broader approach to design and their understanding of multispecies interactions. One participant shared, “I felt more connected to the dogs’ experiences and was able to design solutions that genuinely addressed their needs, rather than just projecting human desires onto them.”

Conclusion: Transformative Potential of Embodied Design

The Designing Through a Dog’s Umwelt workshop successfully challenged traditional design methodologies by immersing participants in a non-human perspective. Through a combination of movement-based sensory exploration and iterative design practice, participants developed a more empathetic and informed approach to designing for dogs. The workshop highlighted the potential of embodied movement as a tool for enhancing empathy, creativity, and ethical awareness in design.

The feedback and reflections from participants underscore the effectiveness of using movement-based exercises to disrupt conventional thinking and promote a more holistic approach to design. Moving forward, I plan to refine and expand this workshop, exploring its application to other non-human perspectives and continuing to advocate for a more inclusive and compassionate approach to design. By integrating embodied movement and multispecies perspectives into design practice, we can create environments and products that better serve the diverse needs of all beings.

Bibliography

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Ceren Ozgen is an urban planner and industrial designer with a double degree in Urban and Regional Planning and Industrial Design from Istanbul Technical University. They are currently pursuing an MFA in Design at the University of Texas at Austin, specializing in experience and interaction design with a focus on embodied movement and multispecies interaction. Their research aims to integrate empathy and multispecies perspectives into design practices, bridging the gap between art, technology, and ethics. Ceren’s design work has been recognized with several awards in fields ranging from UX design to architecture. Ceren is dedicated to exploring non-materialistic approaches to sustainability, fostering a deeper connection to life and a better understanding of human and non-human needs. Their design philosophy emphasizes respect for diverse environments and cultures, striving to create more sensitive and meaningful design solutions for all beings.