{"id":3314,"date":"2026-09-14T12:54:57","date_gmt":"2026-09-14T11:54:57","guid":{"rendered":"https:\/\/ls2026.aau.dk\/?page_id=3314"},"modified":"2026-09-18T09:50:14","modified_gmt":"2026-09-18T08:50:14","slug":"session_2-abstracts","status":"publish","type":"page","link":"https:\/\/ls2026.aau.dk\/?page_id=3314","title":{"rendered":"Session_2-Abstracts"},"content":{"rendered":"\n\n\nMultisensory and Embodied Light Experience \u2014 Parallel Paper Session<\/title>\n<!--\n \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\n PAPER SESSION 2 \u2014 Multisensory and Embodied Light Experience\n Light Symposium 2026 \u00b7 Thursday 10:00-12:00 \u00b7 Room B\n\n 1. Paste everything below the <\/style> tag into a Custom HTML\n block (or the whole file into a blank\/Elementor HTML template).\n 2. The <style> block is identical on all session pages, so it can\n also live once in Appearance \u2192 Customize \u2192 Additional CSS.\n 3. PREV \/ NEXT LINKS: two href=\"#\" placeholders sit at the bottom\n of the page. Replace them with your page addresses:\n previous Art of Darkness: Special Session\n next Lighting Education and Pedagogy\n Example: href=\"https:\/\/ls2026.aau.dk\/?page_id=1234\"\n 4. Abstracts only \u2014 no full papers are published here. 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font-size: 1.3rem; }\n }\n @media (prefers-reduced-motion: reduce) {\n * { transition: none !important; }\n }\n<\/style>\n\n\n<div class=\"session-page\">\n\n <nav class=\"crumb\" aria-label=\"Breadcrumb\">\n <a href=\"https:\/\/ls2026.aau.dk\/?page_id=93\">Programme<\/a> <span>\u203a<\/span> <span>Thursday \u00b7 Parallel Paper Sessions<\/span>\n <\/nav>\n\n <header class=\"session-head\">\n <p class=\"session-eyebrow\">Parallel Paper Session 2<\/p>\n <h1 class=\"session-title\">Multisensory and Embodied Light Experience<\/h1>\n <ul class=\"session-facts\">\n <li>Thursday<\/li>\n <li>10:00 \u2013 12:00<\/li>\n <li class=\"room\">Room B<\/li>\n <li>6 papers<\/li>\n <\/ul>\n <p class=\"session-desc\">\n Light reaches the body through more than the eye. These papers follow thermal perception through the skin, the meeting of light and sound, breathing inside a light installation, and what movement and walking reveal about lit space.\n <\/p>\n <p class=\"session-chair\">Session chair: <strong>To be announced<\/strong><\/p>\n <\/header>\n\n <p class=\"papers-label\">Presentations in this session<\/p>\n\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 01 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-26\">\n <div class=\"paper-num\" aria-hidden=\"true\">01<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Blind Hue Heat Hypothesis: Light-Induced Thermal Perception through Human Skin<\/h2>\n <p class=\"paper-authors\">Xinyi Meng, Stine Louring, Zakaria Djebbara<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>The Hue-Heat Hypothesis (HHH) posits that the color of light influences thermal perception, with reds feeling warm and blues cool. This vision-based cross-modal association, widely attributed as a learned and cognitive response, has been investigated over a century, yet its empirical evidence remains inconsistent, fueling debate of its validity and hindering its application in human-centric lighting design. Critically, all prior inquiries into HHH rest on the fundamental assumption that it is mediated exclusively through the visual system. This paper challenges that paradigm by proposing and testing a \u2018blind\u2019 hue-heat mechanism: a non-visual pathway where light, detected directly by the skin, modulates thermal perception.<\/p><p>Recent discoveries of functional dermal opsins\u2014differentially responsive light-sensitive proteins in human skin, exhibiting peak sensitivity to blue light (~465 nm)\u2014provide biological plausibility for such a pathway, positioning the skin as a photoreceptive organ. However, it remains unknown whether this spectrally dependent dermal photoreception can directly influence conscious thermal experience in a similar way as the classic HHH. This study directly addresses this unresolved question: Does direct dermal light stimulation of short and long wavelengths, defined as warm and cold by HHH, alter subjective thermal perception and its associated brain dynamics in the absence of vision?<\/p><p>To isolate non-visual pathways, we employed a within-subject design (N=26, balanced for sex) in which blindfolded participants were exposed to three lighting conditions on their forearms: red light (long-wavelength, peak ~630 nm), blue light (short-wavelength, peak ~460 nm), and a sham control. Room temperature, relative humidity and local skin temperature were continuously monitored. Throughout each 7-minute experimental block, participants performed an auditory oddball task to divert attention from cutaneous sensations. Subjective thermal perception (whole-body and local), thermal comfort, and affective state were assessed using standardized scales after each exposure. Concurrently, electroencephalography (EEG) was recorded to capture neural correlates of any perceptual changes.<\/p><p>We analyzed subjective ratings, reaction times, and accuracies using a mixed-effects regression, controlling for thermal conditions, to test for main effects of light color on perception and cognition. EEG data was analyzed using event-related potentials (ERPs) and time-frequency decomposition to identify color-specific cortical signatures, correlating these neural responses with subjective reports. We hypothesize that(H1) direct exposure of red light to the skin induces a warmer sensation and blue light a cooler sensation, despite the physical tendency of blue light to heat the skin surface more efficiently, (H2) lighting conditions will be correlated with neural activity across both visual (occipital) and somatosensory (central) cortices, and finally (H3) due to the high expression of OPN3 in the skin, blue light exposure will elicit the most pronounced brain potentials.<\/p><p>This research provides the first direct empirical test of a non-visual, skin-mediated hue-heat effect, isolating it from visual cognition. Theoretically, it bridges previously disparate literatures by proposing dermal opsins as a biological mechanism integrating environmental light and thermal perception, identifying a pathway that may complement or compete with visual effects. More broadly, it also contributes to the growing body of research on the concurrent, non-ocular, and unconscious effects of light environments on human physiological and perceptual processes. Applied contributions follow by informing the design of health- and comfort-oriented lighting in built environments, suggesting that light may directly modulate thermal comfort and affective state through biological means, with implications for reducing indoor energy consumption.<\/p><p>Deepening our understanding of how light interacts with the human body, this study serves to nurture our understanding of the many sensory (path)ways that light alters the human body in lit space. Ultimately, this deepening may specifically serve to inform both researchers and lighting practitioners on the perceptual potentials of light to affect and attune the human body in lit space, and to generally assist them in positioning light as a powerful design tool.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 26<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 02 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-81\">\n <div class=\"paper-num\" aria-hidden=\"true\">02<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Light as felt volume and seen beam: An ocean-informed strategy for architectural lighting design<\/h2>\n <p class=\"paper-authors\">Stine Louring, Gonzalo Lopez De Armentia, Zakaria Djebbara<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>This paper examines light beneath the ocean surface as an exploratory case for informing and rethinking architectural lighting design. Combining optical physics, autoethnographic observations from diving, and phenomenological theory, it offers lighting designers foundational insights into the physical, optical, and bodily felt dimensions of light. The underwater environment makes visible light\u2019s diffusion, movement, chromatic shifting, and interaction with matter in ways that are less apparent in air, while also foregrounding its experiential and atmospheric qualities. Through refraction, scattering, absorption, and darkness, light emerges as an energetic medium that is both physically structured and bodily sensed. Drawing on the concepts of atmosphere, bodily presence, and felt space, the paper argues that light should be understood as both a measurable seen beam directed toward and refelcted of surfaces, and as a bodily felt volume that shapes spatial experience. It concludes by proposing an integrative strategy for lighting design that balances technical control with embodied attention to light\u2019s atmospheric effects.<\/p><p>Light surrounds us almost constantly. Physics contend that it exists both as an electromagnetic wave and as particles of energy known as photons. The specifics of this dual nature need not concern us here, what matters is that neither is something living beings should visibly be able to detect. From a biological perspective, perhaps the most wondrous thing about light is that we can sense it at all (Yong 2023). However, some spatial environments afford grasping the immaterial optical phenomenon of light differently.<\/p><p>Since the behaviour of light depends on the medium through which it travels, such as air, glass and diamonds, its speed change, it causes different effects like refraction, partial reflection, absorption, and scattering at boundaries. Beneath the ocean surface, light becomes visible as it moves through a dynamic medium, transforming illumination into a spatial phenomenon expressed through motion, gradients, and shifting patterns that make light appear almost tangible.<\/p><p>As light penetrates water, it interacts with waves, currents, and suspended particles, scattering and refracting in ways that reshape both perception and spatial experience (Mobley, 1994). In this regard, the ocean functions as a living optical environment in which depth, density, and movement continuously modify how light travels. These interactions generate dynamic light structures \u2013 caustics, gradients, and shifting beams \u2013 that are uncommon in terrestrial environments. As such, our watery world provides an ideal case for deepening lighting designers understandings of how light travels in and shape spaces.<\/p><p>Following these streams of knowledge, this paper explores how the behaviour of light underwater \u2013 its diffusion, movement, and interaction with matter \u2013 can inform new knowledge and approaches in architectural lighting design. Discussing light as an optical phenomenon and crucial element of spatial design, the paper links key concepts within architectural lighting design with real life field observations, underwater photography, and visual analysis. The collected material provides an empirically based foundation for translating underwater optical principles into conceptual lighting strategies for architectural contexts.<\/p><p>Pointing to how light underwater serves to reveal light as dynamic, immersive, and spatial, the paper moreover explores how addressing these phenomena underwater may inspire alternative approaches to shaping light environments that enhance movement, atmosphere, and sensory experience for humankind (Pallasmaa 2012; Malnar and Vodvarka, 2004). On this point, the paper introduces perspectives on marine organisms, perceiving, inhabiting and interacting with their underwater light environments, from which they, throughout time, have evolved to develope specific visual adaptations and behaviours responding to variations in light intensity, colour, and temporal patterns (Johnsen, 2012). While some species detect subtle variations in brightness and polarization patterns in light to orient and navigate their environments, others produce light through bioluminescence for communication, camouflage, or predation. In this regard, addressing the nature of marine organisms\u2019 interactions with light, we strain to extract valuable insights for design disciplines by highlighting how spatial atmospheres are shaped by perceptions of light.<\/p><p>Ultimately, this paper introduces lighting designers to reflections and valuable foundational knowledge on the optical phenomenon, perception and behavioural implications of light from an exploratory study of light in the underwater world, in the aims to inspire alternative approaches to shaping light environments that enhance movement, atmosphere, and sensory experience for humankind. As such, the paper essentially emphasises light as a dynamic medium that shapes spatial perception, experience and inhabitation, in addition to encouraging more ecologically and perceptually sensitive strategies in architectural lighting design.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 81<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 03 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-88\">\n <div class=\"paper-num\" aria-hidden=\"true\">03<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Attuning bodily sensations by spatial light art: A case study on physiological responses and embodied experience<\/h2>\n <p class=\"paper-authors\">Hyunsung Lee, Marta Monr\u00f3s Rivera, Stine Louring<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Since the discovery of intrinsically photosensitive retinal ganglion cells (ipRGCs), light has been studied not only for visual performance but also increasingly for its non-image-forming biological effects, with emphasis on updating metrics and guidelines. While such metrics are essential for creating healthy illuminated environments, they can sometimes overshadow the fundamental aspect of designing with light, the embodied experience.<\/p><p>This study positions itself at the intersection of phenomenological approaches to architectural lighting and research in embodied cognition and environmental psychology. By combining subjective experience with physiological measurements, it contributes to a growing perspective that understands perception as embodied and shaped by context, rather than focusing only on visual performance and standardized lighting metrics.<\/p><p>Specifically, this study focuses on spatial light art, a context in which designing the experience of light is the sole purpose. A large-scale immersive light installation by a leading artist of the Light and Space movement, soon to be open to the public, is used as a case study.<\/p><p>Combining physiological and phenomenological approaches, this study investigates how spatial light art shapes bodily sensations and how these experiences are reflected in autonomic physiology and subjective narratives.<\/p><p>Breathing is chosen as the primary physiological measure, as it is a highly interoceptive, voluntarily controllable autonomic process that plays an important role in physiological and psychological regulation, making it a suitable frame for the investigation of the embodied experience of light.<\/p><p>Participants are guided through the installation while breathing data is continuously collected, with electrocardiography (ECG) and electrodermal activity (EDA) as supporting physiological measures. Interoceptive self-report measures are registered before and after the experience to capture the shift in perceived bodily states. Following the experience, semi-structured interviews are conducted, focusing on the subjective narrative of the participants.<\/p><p>Data collection is currently carried out to be analyzed in due time for the paper submission deadline of Light Symposium 2026. Findings are expected to provide insights into how purposefully designed lighting environments can shape bodily sensation, highlighting light as an embodied experience between physiology and phenomenological perception. These results aim to provide a new experiential perspective with conceptual attention to breathing and bodily sensations to inform the design of immersive, experience-focused lighting environments.<\/p><p>Ultimately, this study serves to emphasize how light alters the human body in lit space by entangled physiological and experiential means. As such, it may serve to inform both researchers and designers of lighting, by ultimately informing both theories and methodologies on the potentials of light to affect and attune the human body in lit space, in addition to generally assist in positioning light as a powerful design tool for embodied experience.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 88<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 04 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-174\">\n <div class=\"paper-num\" aria-hidden=\"true\">04<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">The Corporeality of Light \u2013 The Body as a Bridge Between Human Perception and Lighting Design<\/h2>\n <p class=\"paper-authors\">Veronika Mayerboeck<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Introduction<\/p><p>The physiological foundations of vision are well documented, yet their integration into holistic models of spatial experience has gained traction only over the past two decades. Drawing on the paradigm of 4E cognition \u2014 embodied, embedded, enacted, and extended (Varela, Thompson & Rosch, 1991; Menary, 2010) \u2014 this paper argues that humans do not passively receive light as stimulus but actively constitute spatial meaning through moving, culturally situated bodies. Phenomenological accounts, from Merleau-Ponty’s primacy of the lived body (1945) to No\u00eb’s enactive perception (2004), converge with neuroscientific findings on predictive processing and multisensory integration (Clark, 2016) to challenge purely ocular models of lighting and architectural experience. Affect theory and the concept of atmosphere (B\u00f6hme, 1993; Zumthor, 2006) further foreground how light shapes qualitative, pre-reflective bodily states \u2014 dimensions that remain largely absent from conventional design curricula (Mallgrave & Goodman, 2011; Pallasmaa, 2005). This work addresses the central question: What does lighting have to do with bodily corporeality?<\/p><p>Methods<\/p><p>The Sensing Space Method is a didactic framework developed by the author at the interface of body, movement, and built environment. Structured as a multi-layered practice, it guides participants through successive stages of enactive perception, guided observation, and reflective articulation. Drawing on somatic practices informed by phenomenological pedagogy (Sheets-Johnstone, 2011) and attunement frameworks from ecological psychology (Gibson, 1979; Ingold, 2000), the method progressively translates somatic states into spoken language, written notation, and spatial mapping. Museum and gallery environments serve as primary case study contexts, examining how natural and artificial light constructs visual hierarchies, mediates atmosphere, and shapes scenographic experience \u2014 tracing the perceptual chain from photon to neuron. The framework has been tested across multiple international workshops with participants from lighting design and architecture, and is rooted in the author’s practice spanning theatre, stage design, and museum lighting.<\/p><p>Findings<\/p><p>Participants consistently demonstrated accelerated convergence toward design solutions, alongside measurable gains in conceptual depth and the complexity of spatial narratives produced. Embodied sensitivity training was found to expand students’ design vocabulary beyond visual categories, incorporating kinesthetic, affective, and atmospheric dimensions of spatial experience. Co-creation and collaborative teamwork improved markedly, suggesting that shared somatic reference points facilitate communication across disciplinary boundaries. The cross-disciplinary positioning of the method \u2014 between lighting research, experiential architecture, and artistic practice \u2014 proved generative, producing outcomes relevant to both pedagogical and professional design contexts.<\/p><p>Discussion<\/p><p>These findings suggest that the body functions not merely as a passive receptor of light but as an active instrument of spatial knowing. Incorporating embodied strategies into lighting education reframes the designer’s relationship to light: from a technical parameter to a medium of experience that is felt, interpreted, and culturally situated. This aligns with broader calls in architectural neuroscience and environmental aesthetics for design education that cultivates somatic intelligence alongside technical competency. The method’s applicability extends beyond pedagogy into the design of immersive environments, light art installations, and experiential architecture \u2014 contexts in which atmospheric and bodily dimensions of light are primary design concerns.<\/p><p>Conclusions<\/p><p>Embodied sensitivity training constitutes a transferable and scalable pedagogical strategy with direct relevance to lighting research, design education, and experiential practice. By positioning the body as an epistemological bridge between perception and design language, the Sensing Space Method offers a replicable model for integrating somatic awareness into lighting and architectural curricula. Future work will explore longitudinal impacts on design practice and the method’s adaptation for immersive and installation-based light environments.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 174<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 05 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-40\">\n <div class=\"paper-num\" aria-hidden=\"true\">05<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Walking Performance and Prefrontal Brain Activity under Different Light Intensities and Spectral Conditions in Younger, Older, and Autistic Adults<\/h2>\n <p class=\"paper-authors\">Navaz Davoodian, Antonia Hamilton, Chia May Teh, Victoria Sauter, Edward Barrett<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Lighting influences not only visual performance, but also cognitive engagement and mobility. However, evidence linking lighting spectrum and intensity to real-world walking behaviour, and to the cognitive mechanisms that may underlie these effects, remains limited. This study investigated how illuminance (5 vs. 500 lux), spectral composition (2700 K vs. 6000 K), and environmental complexity (presence vs. absence of obstacles) affect walking performance, prefrontal cortical activity, and subjective experience in younger adults, older adults, and autistic adults under mesopic lighting conditions.<\/p><p>Fifty-three participants completed structured walking tasks in a full-scale pedestrian laboratory under systematically varied lighting conditions. Walking duration served as a functional measure of mobility performance. Functional near-infrared spectroscopy (fNIRS) was used to assess prefrontal cortical activation as an index of cognitive engagement during walking, and participants provided repeated ratings of visual comfort and perceived physical and mental effort after each condition.<\/p><p>The results showed that dimmer (5lux) and warmer (2700K) lighting consistently slowed walking, whereas blue-enriched (6000K) lighting and higher illuminance (500lux) supported faster walking across environments. Older adults walked more slowly overall, but benefited more from blue-enriched lighting in visually and cognitively demanding settings, particularly under dim conditions. No significant differences in walking performance were found between the autistic group and the younger neurotypical group. Neurophysiological findings revealed selective modulation of prefrontal engagement by lighting and environmental complexity, with higher brain activity under blue-enriched light, suggesting enhanced attentional support rather than a global increase in cognitive load. Subjective ratings indicated greater perceived effort under dim lighting, but no reduction in comfort under blue-enriched light among younger and older adults. The autistic group reported the task as more physically and mentally demanding overall, and increasing light intensity did not improve comfort in this group.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 40<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 06 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-53\">\n <div class=\"paper-num\" aria-hidden=\"true\">06<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Multi-Sensory Context Effects on Spatial Navigation: An Experimental Investigation of Audio-Visual Congruence in Indoor Environments<\/h2>\n <p class=\"paper-authors\">Martina Frattura, Miriam D’Ignazio, Annarita Ferrante<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Human perception within the built environment is fundamentally multisensory and multimodal, rather than a specialised function that processes stimuli in isolation. In real-world architectural settings, lighting conditions are inextricably embedded within complex multi-domain contexts, including also acoustic and thermal factors.<\/p><p>Advances in multisensory integration demonstrate that sensory congruence enhances processing fluency and preference, whereas incongruent contexts produce sub-additive responses that can impair attention, emotional states, and task performance. However, traditional research and design standards often rely on photometric parameters and unimodal evaluations mainly, reflecting a persistent form of oculocentrism.<\/p><p>The present study challenges this theoretical and applicative bias by investigating how acoustic and lighting contexts together modulate spatial perception and navigational behaviour. Specifically, it examines how the interaction between these environmental factors may influence the range of possible movement-related decisions in space.<\/p><p>Our experiment was conducted using a 2\u00d72 within-subjects design, crossing lighting conditions (warm vs. cool correlated color temperature) with sounds (congruent vs. incongruent). Participants completed standardized attention tasks under all four conditions. Behavioral performance (accuracy and reaction times) was recorded alongside affective responses using the iMotions platform, including eye-tracking and facial expression analysis.<\/p><p>This work seeks to demonstrate that aligning environmental auditory and visual stimuli can fundamentally support more effective and intuitive spatial navigation. In doing so, the study aims to contribute to a growing body of research advocating for multisensory design approaches and to inform future guidelines for integrative environmental design. The findings could have direct implications for creating more accessible environments where sensory cues work together to guide people through space with confidence and fluency.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 53<\/span>\n <\/div>\n <\/div>\n <\/article>\n\n <!-- Replace each href=\"#\" below with the WordPress page address -->\n <nav class=\"session-nav\" aria-label=\"Session navigation\">\n <a href=\"https:\/\/ls2026.aau.dk\/?page_id=3078\"><span class=\"dir\">\u2039 Previous session<\/span>Art of Darkness: Special Session<\/a>\n <a href=\"https:\/\/ls2026.aau.dk\/?page_id=3318\" style=\"text-align:right\"><span class=\"dir\">Next session \u203a<\/span>Lighting Education and Pedagogy<\/a>\n <\/nav>\n\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Multisensory and Embodied Light Experience \u2014 Parallel Paper Session 01 Blind Hue Heat Hypothesis: Light-Induced Thermal Perception through Human Skin Xinyi Meng, Stine Louring, Zakaria Djebbara Abstract The Hue-Heat Hypothesis …<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":3330,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3314","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.9 - aioseo.com -->\n\t<meta name=\"description\" content=\"Multisensory and Embodied Light Experience \u2014 Parallel Paper Session 01 Blind Hue Heat Hypothesis: Light-Induced Thermal Perception through Human Skin Xinyi Meng, Stine Louring, Zakaria Djebbara Abstract The Hue-Heat Hypothesis (HHH) posits that the color of light influences thermal perception, with reds feeling warm and blues cool. 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