The inherent aptitude – the drive, even – to imagine the desired end result and express it in a tangible way is what separates designers from non-designers.
What designers must excel at is looking at a blank surface and filling it with believable representations of an end product, so that other people can seem to understand and eventually built it.
Building it is a separate task; designers don’t build products any more than architects build houses. Instead, they provide precise instructions so that builders can focus on accomplishing the end result.
The reading is very methodical in the way it describes the process of designing. It mentioned having an “inherent aptitude” in order to reveal the expected outcome. Also, it is able to express it in the form of a “tangible” product is a good way to differentiate between a designer and non-designer. The author has a point in mentioning this because designers have a lot of room to explore their boundaries when it comes to product-making, but at the same time once they create an output, it is necessary that the output is sustainable and works well in the long run. In cases such as 3D printing for example, understanding how the designs work and function well is very important, which is why it is necessary to look into dimensions in the software program, make the necessary adjustments and ensure trial tests are made long before the actual product has been made.
The structured procedure of designing is also essential in making sure our works work the way they are supposed to. The overview of Goal-Directed Process is structured in such a way that is applicable to process that I may find applicable, such as for Final Year Projects which include an art installations. If there is chance that I might work on installations that involve laser cutting of gears for instance, that would mean I need to plan in accordance to this process that is rather procedural. I would consider the sizing of the gears, the type of teeth I would want to put in the design software I would use (Adobe Illustrator), and as mentioned before, the diameter, teeth number, the length of rack & pinions etc would need to be measured accurately, before the process of laser cutting takes place. This would not only save time; it saves costs too, especially as a university student. However, as much these Goal-Directed processes is useful, in my opinion, there could be an experimental stage one can in the beginning of the process. Since my familiarity with electronics grew since few semesters, I find that it is necessary to make time to experiment on materials and electronics before finagling on a plan for our Final Year Project. I believe that would fall under Modelling or Research stage.
In conclusion, the Goal Directed process can be a useful way to structure projects such as our Final Year Projects. At the same time, in order to maximise our learning process, adding an Experimental stage can also help to ensure that we make full use of the resources available, make time to play around with materials and electronics in order to see what works and what may not for you as a designer ( or in my case, Interactive Media Designer). With that being said, planning is crucial part of the process because designers need to execute their works in a timely fashion, given the industries we are surrounded by in modern times today.
Based on my understanding of the reading, there were several points highlighted which were quite significant. The meaning of art making should not necessarily bring out social problems or issues that have already existed or known to the community. It may close the gaps for those who are unaware, or those who deserve to recognize the existing problems that need to be resolved. Instead, what the author is trying to redefine with artmaking is to introduce possible solutions which are creative, innovative and sustainable in the long run. Most importantly, they are social solutions that helps to bring a change to the communal environment that are affected by social issues (homelessness, drug trafficking, prostitutions, single motherhood) and what more can art do than to relate to people, communities then through meaningful art making.
The article also mentioned how Political Art in this day and age are presumably made to get profit out of their works. This is understandable considering art industry, like any other industry aren’t always set out to produce forms of appreciations, awareness but it works the same way businesses work – to make money. At the same time, art works which are heavy with strong influences from political theories, political stands and political figures, and given the internet with its resources, allows many forms of opinions and personal stands to be formed. With that being said, art can go both ways – to influence or to profit.
However, the article seems to point towards how “today’s ruling class” aren’t necessarily in it for the profit. Instead, they seem to avoid “commercializing” their art and prefers to make “outwardly avowed political solidarity as part of its defining trait”. From my understanding of this part, it suggests that political art is independent of any systems such as capitalism and instead an alternative forms of capitalism are made to influence a new mass of people – preferably a system that doesn’t constrain them the way capitalism has been (even though enough liberty has been offered to places such as USA, where this was written). This shows how influential art can be, and it takes on a whole new dimension in this age where people with wide access to Internet, and resources such as their communities and people are able to un-learn what the current system taught them and re-learn a new form of political system that can be a part of a new political system, as an alternative to the system they are under. That mean it hasn’t necessarily been defined as legal. This would ultimately be defined as “social practice” as written in there.
The artist Maureen Mullarkey seems to criticize this idea of social practice. She seemed reluctant with the idea of “social practice” which is quite predictable given author’s description of being “arch-conservative”, someone resistant to changes, perhaps even in her stance towards contemporary art of today. He seems to suggest contemporary art is trending with artists who are “soi-distant promoters of their own notions of the common good”. It seemed like she did not like the idea of how artists can appease to an audience by portraying themselves as the Good Samaritans of society, and possibly used as a tool to manipulate masses simply because they can. Perhaps, she, herself would know such creations of political art can be influential for reasons which are far beyond the “common good”, being an art critic herself.
In conclusion, I find that political art in general are rather questionable, especially with the artist’s intent. It is hard to unpack an artist’s intentions because there could be many. And with an artist’s ability to gather resources such as communities, especially vulnerable ones such as those who seek out shelters in Third Ward, Public Row Houses residences, may easily be trapped into thinking they are helped by Good Samaritans, when in fact it could be the opposite. However, I do think there are real good causes that are in support of looking after the not-so well off. It seems to be that in manipulation of people seems to be a recurring theme through contemporary art of today – whether it helps or “uplifts” the society and makes it progressive; only time will tell.
She is a designer learning the ropes of interactivity and art and turning them into piece of work in School of Art Design & Media. In this school, she specialize in Interactive Media. With the projects she have done so far, she have explored different materials to work with, combined with electronics, put together to form different kinds of installations.Prior to majoring IM, she was formerly a Digital Animation student. But after much thought about whether Animation would befit her interest and career path in future, she made a switch to Interactive Media instead.
The learning curve for IM has been very steep for her but her interest in conceptual side of making art installations remains, which she finds very important even though School of Art,Design,Media emphasizes a lot on usage of modern technology and devices to produce contemporary works of art. This is possibly due to foundation of artistics concepts which were taught during her Art classes in junior college back then, where analysing artworks, artistic backgrounds and purpose behind usage of mediums were heavily emphasised back then.
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Written by *
Technology opens the doors to a better future. As a forward-looking person, Najiha is a conceptual designer who is greatly aware of this truth. As someone who cares greatly for society, she is willing to persevere through any difficulty to create a better society. This is what gave her the courage to shift away from her former training in traditional art and animation. Yet, this training has not been lost. Instead, she has adopted it into her current pursuits in Interactive media. Some of her works include
Recently, her efforts towards social causes have also begun to bear fruit. As the Publicity Officer for Nanyang Technological University’s United Nations Students Association, her illustrative works for Sustainable Development Goals have raised awareness amongst the student body Publications’ Wing under United Nations Students’ Association.
A Sample of Najiha’s Work
Title: The Tree
This is an interactive installation of a tree that is personified. When one walks towards or around it, the tree draws it’s branches in and out as if its ‘calling out’ to the viewer. But if the person is further away from you, it withdraws.
When you walk around the grass, the sounds of birds chirping and the crunching of leaves can also be heard, inviting people to surround themselves around the lone tree.
Title: Complexity of Relationships Through Representation of Gears
This is also an interactive installation where the movement of a family of gears move in accordance to distance. Using in-built sensors, viewers are the main subject in affecting the movement based on close and far they stand around these gears.
As a result of one movement of a gear, leads to other gears moving too, causing a ripple effect. This artwork is meant to showcase gears as personified, with human elements such as being a part of a family (hence the term “family of gears”, and triggers that create conflict factors outside of reach such as people, intimacy and emotions.
This would portray the idea of how people who approach these gears, whether near or far would trigger certain outcomes from these gears. The clip shows how family of gears can be triggered by factors such movement of other neighboring gears, or even people. Additionally, unknown to visitors, their presence around these gears creates a sense an unpredictability, an element that we see in relationships in general.
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RESUME
NUR NAJIHA PUTERI MAZLAN
Phone: +65 9023 2450 | Email: A160123@e.ntu.edu.sg
Portfolio URL: https://oss.adm.ntu.edu.sg/a160123/
EDUCATION
Nanyang Technological University, Singapore AUG 2016 – AUG 2021
Bachelor of Arts, Interactive Media
Specialization: Interactive Media
WORK EXPERIENCE
NANYANG TECHNOLOGICAL UNIVERSITY
Videographer DEC 2018 – JAN 2019
* Worked alongside lab technician and professor for filming of lab presentations and experiments for students’ e-learning purposes
* Operated video cameras and sound recording equipment on-site, producing segments of video clips edited using Adobe to meet specified requirements
CO-CURRICULAR ACTIVITIES & COMMUNITY SERVICES UNITED NATIONS STUDENT ASSOCIATION, PUBLICATIONS WING
Publicity Officer, Singapore JUL 2019 – PRESENT
* Created publicity materials for UNSA’s upcoming social events
* Collaborated with Public Relations Officer in managing content, and providing updates on UNSA’s latest events and projects on a weekly basis
* Contributed to the team’s discussion blog “Watercooler Series” through personal writings and commentary on topics of interest, followed by interactive discussions on topics proposed
UNITED NATIONS STUDENT ASSOCIATION, HUMANITARIAN WING
Project Meraki 3.0, Kuala Lumpur, Malaysia
Financial Committee MAY 2019 – JUN 2019
* Raised funds selling merchandise, food and beverages at discounted prices to achieve target of $1500 for Project Meraki 3.0
* Achieved $2727.82, which is 182% above target which were funded towards expenses across 4 committees within team
Lead Translator
* Led closely with volunteer tutors in direct translation of Malay to English to reduce language barriers during English-spoken Academic and Enrichment lessons in two schools – with 13 and 44 kids respectively
* Planned out a shared document containing up to 25 commonly used words/phrases in using voiceovers; operated by in-built app Kaizena as reference material for future use
Refurbishment Manager
* Structured workplan with two team members on assigning tasks to members to clean and decorate interior of kindergarten school
* Assisted in rearrangements of reading materials to introduce a borrowing system for age range from 3-12-year olds, resulting in systematic way of borrowing and returning materials
* Created school’s first large scale banner using Adobe which is on display at school’s entrance
NANYANG APOLITICAL SOCIETY
Graphic Design Director JAN 2019 – MAY 2019
• Created designs as add-ons to team’s written article, including topic on NTU’s S/U Policy
• Generated up to 930 views and 558 visitors on month of February on our website, comparatively higher in views and visitors in previous months
UNITED NATIONS STUDENT ASSOCIATION, HUMANITARIAN WING /
Project Meraki 2.0, Kuala Lumpur, Malaysia
Head of Academic Team JUN 2018 – JUN 2018
* Managed alongside 4 members and planned yearly lesson curriculum for primary level English, Math and Science subjects based on IGCSE standards and referring to assessment books
* Planned English, Math, Science and Enrichment lessons customized to children’s learning abilities in a school of 23 children
Translator
* Led 15 team members and children across two schools in translation of Malay to English in reducing language barriers between non-Malay speaking members and students during lesson time in two schools – up to 23 and 30 students in two schools respectively
NTU MUSLIM SOCIETY
Head of Programmes NOV 2016 – MAY 2017
Led a team of 3 in planning and execution of two events – a workshop based on dispelling religious
myths on public speaking for women and mass lecture on discussing social roles of men and
women in Islam – resulted in turnout rate of 15 and 20 audience members respectively
* Led a team of 3 in planning of two events resulted in turnout rate of two events – a workshop based on dispelling myths on public speaking for women and mass lecture on discussing social roles in Islam – resulted in turnout rate of 15 and 20 audience members respectively
SKILLS
* Digital skills: Proficient in Adobe Software Photoshop, Illustrator, Premiere Pro, Sony Vegas, Powerpoint, Word
* Languages: Proficient in English and Malay
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A Link To A Sample of Work – InfluentiAl
“Relationship Carrier”
Short Description
“The Relationship Carrier” is about the journey of relationships and how temporary and fleeting they are. Every relationship is like a story: it has a beginning, the good, the bad and most importantly, an end. Buses are a common mode of transportation in Singapore the different parts of buses are
As the “carrier”, buses take passengers who share a similar ride with others and form some kind of relationship with them. As time passes, there will come a point where people will depart from their journeys. This leaves the ones they cared for behind, moving on to their own personal journey on their own. While some relationships are lost, new ones are formed. But new ones become old, and even newer ones are formed. This repeated cycle of coming and going is a cycle.
Mediums used: Colour pencils/pastels on black canvases ,Video projector, videography/filming
Location of video: Bukit Batok Bus Interchange
How did the work impacted you?
The process of working around filming and working around medium of colours to bring out the place where I filmed was quite an interesting for me. Never had I considered using both traditional and technological forms of art as ways to portray an art piece. This was started off through having an art teacher observing the traditional mediums I meddled with and giving advise as to how my artwork can be better improved. In this aspect, this work was like a transition, especially with growing use of technology to produce art. And the use traditional forms of arts such as using paints, colour pencils, chinese ink etc are becoming less common, because other digitized forms of art has made our work far more efficient and popular these days.
But what struck me, was this work seemed like a precursor to the use of technology, or electronics that I would use to produce artworks/installations in the coming years. In a way, this was the work that made it influential, because of the change of mediums we use to day.
Narrative For Interaction – Similar Works Done in ADM
As a follow-up of my recent mid-term project, which makes use of threads to represent the places people in NTU have visited around campus, I decided that there would be a better use of materials in representing a digital form of my concept. Without venturing too far off the use of circles, and cyclical nature of how human relations are formed, I thought that using gears that move would be best suited for this final project.
As gears are normally fixed with other gears, and moves according to how its neighbors move, this was a direct way of representing how one thing leads to another – similar to how relations are formed through communication and interaction between one or multiple people at the same time. Also, the type of interactions we have with people can trigger various forms of reactions – emotional reactions I would say. By trigger it could mean a dialogue, a presence, the level of closeness with a particular person evokes certain emotions that range from pleasant to unpleasant. This would mean that every person’s reactions are personalized according to such variables when presented at that.
(add video of two family of gears moving at different speeds )
In the video clip above, I basically showed Kristy and Biju about my progress in using gears – playing around with the delay, speed of movement using Arduino software. It was highlighted that some gears had different “personas” to these gears, it would in a way, represent gears which are “personalized”.
At the same time, there were several more ideas that came to mind in use of materials and technologies used, where an the interactive element could be formed by adding a sensor. With the use of distance sensor this would show the viewer’s interaction with the said personalized gear – that would trigger reactions in both the viewer and gears too. And when we tie this back concept, it does show some relationship aspect in representation of gears.
drafts/ideas to show concept
process of making gears
This was the website I visited to get accurate measurements of the gears that I wanted. https://woodgears.ca/gear_cutting/template.html
I was able to get customized version of the gears that I wanted – from tooth spacing, number of tooth, rack&pinion ( which would be used eventually) and this helped a lot in making and “image trace” these images into Adobe Illustrator. Afterwards, I laser cut them in 3 mm thick plywood in the laser-cutting room at ADM Level 2. Prior to using gear generator, I simply took images off google – but that was not the best option, especially considering you do not know the exact measurements of the said gears. Hence, with my limited amount of budget for purchasing expensive plywood, it would be best to be precise with what gears to add in your Illustrator file.
As a follow-up to mid-term project, the circular shapes remain the same even though the main material of using thread will be changed. Used gears instead.
Side view of planned installation.
Creating a rack that bites well with the gear previously printed.
This is one of the distorted gears that I used. It is used to create a different set of gears that is conventially round.
Afterwards, I put the gears cap of the gears together with the cap of the servo motor – glued them together and they would form a moving gear!
I made use of different kind of servo motors – but eventually the most responsive one was the small Sservo motor (180d). That worked well.
I also used rack&Pinions – which are elongated rectangular platfors that has teethr esembling the gears. It would be moved by the gears from one end to another. I was given suggestion to add something that bridges two or more families of gears together – so that there would be an interaction between them. However, because I customized the shapes of the gears and its teeth differently, it was hard for me to make another set of rack that bites well with gear. Fortunately, I made a rack that bites well and moves with the gear ( Type C Gear).
code used
I had several files of code to experiment the movement of servos. By playing around with the code made me realize how it takes a lot of power for the three servos to play at the same time ( even though they are all bracketed together).
The gears managed to move together – that was an accomplishment. I was very glad that the teeth gears bit each other making the movement quite seamless. The distance sensor could receive data of person standing close/further away from the gears, and this is shown through the various speeds or type of movement the gears made. Only Type A gears (left) moved depending on the sensor. The other two did not. This was not possible to make all three move simply based on one sensor – however with the help of Zifeng it was actually possible to do so by wiring it differently.
TYPE A (servo3.attach) – This is directly connected to the ultrasonic sensor, so this family of gears react to a person’s presence near the installation. Random function are used at distance of more than 60cm
TYPE B (servo6.attach) – This servo is not connected to ultrasonic sensor, so it moves according to the speed and delay stated above.
TYPE C (servo9attach) – This servo is not connected to ultrasonic sensor, so it moves according to the speed and delay stated above.
final
Creating a rack that bites well with the gear previously printed.
feedback post-presentation
Backdrop for the plywood holding gears could be of a different colour – in order to bring out the gears, focused attention on gears (aesthetics)
Use of easel – which is normally used to hold paintings, changed the way we see gears on plywood when it is used to support them – especially with difference in movement of object
With 3 “families” of gears, it would be better if one family affect the negihbouring one, followed by the next one – with the ultrasonic as the trigger
deliberate probabilities – where there are 3 outcomes in terms of type of movement, however use a random function to get 1/3 probabilty of that outcome
Using a pulse sensor, this visual pulse is used to take in data of a person’s pulse rate, something normally felt and unseen. With the use of servos, the frequency of data produced of each person’s pulse rate affects the movement of objects beneath the fabric. This follows a rhythmic pattern that is shown through this device. A visualization of our pulse rate is an alternative to our palpitations that we feel by hand.
PROCESS
Initially, the main objective was to put the servo motor in a container filled with water, so that the movement of the cap would allow the water to create ripples. These ripples would form some pattern that is aligned to one’s pulse rate, and that I thought was an interesting concept I could explore.
(insert video of container of water with servo movement for proof of experiment)
As much as I almost got into making a servo move the water in a container, it also had its risks too. And one included – servo being spoilt and not being functional anymore. I made a hole at the bottom of the container, so that this would allow the cap to be placed on top. I sealed the holes with some “Epoxy” – like a waterproof glue. It almost worked until I realize that the cap needed some room to move because it is directly attached to the servo.
ALTERNATIVEs THAT WORKED
On the other hand, my professor suggested I used an object that is shaped in a way where the height would dip-and-fall continuously ( with help of servo). I made several shapes of that, that would work and this is the outcome.
After that, I was also given suggestion to add a fabric that is stretchable, so that this would cover the movement and allow it to move nicely. I lasercut a box and made some holes at the bottom so that it would be possibly for me to sow the some parts of the fabric to the bottom of the box. This would give the shape of the object when it moves. Additionally, I thought of just creating a lid that has the stretch fabric over it, so that this would be easy for me to work around object in the box with removing fabric that I thought had to be sewn.
Finally, after I was done with putting the pieces together, here is the outcome. I am quite satisfied with the way it turned out. The code worked and it really did sensed someone’s pulse rate when they touch the pulse sensor. At the same time, I think there is definitely room for improvement!
Things that worked
pulse rate follows accurate to a person’s palpitations
movement of the objects inside he box
the rod planted in the servo cap managed to move – sand the insides of rod to make it fit into the servo cap, which would allow the rod to move in proper direction
Things TO better IMPROVE
Hide electronics with same cloth
Code the pulse sensor such that device remains still when not in use, the pulse rate will activate when it is being touched – takes away use of pulse sensor
Construction of device can be better visually – tilt it, so that its shape resembles pulse rate out put
Measurements of the clear acrylic box
Be economical with buying materials and constructing it properly – get measurements accurate first before putting them together
As we learn to be more of sharing and “open source” society, many turn to social media to learn ways to “express ourselves”, our lifestyle, our habits, our norms to an audience. With that being said, personal privacy is even more valuable in an age where privacy is compromised for someone else’s entertainment or even personal gratification. But before anyone gets mistaken, there is nothing wrong with sharing certain parts of ourselves, it is acceptable. But it is acceptable as long as we are aware of the risks factors that come from it.
My project will revolve around a person journeys through travel in a crowded MRT train expressing certain discomforts from being in spaces which are both “tight” and “loose”. By tight meaning – a lot of people, with little space to manoeuvre, and this setting is contrasted with a more spacious space, like a “loose” envionement.
My project will allow people to see my route from school to home, with some portions of it highlighted for example, moving across cabins to avoid too much closeness with passengers, passengers looking into camera, and panning camera to see who is looking into my camera during live broadcasting.. The discontentment from having strangers stand or sit too close to you, stranger prying to look into what you are looking in your phone, and the normalized discomfort of being looked at a certain way in MRT train – I will attempt to capture that through the live broadcasting.
There would be voice overs to describe route on the way home, describe in detail how this would take place, as an added personal touch. I would consider moving to a quieter environment where the bus is “looser” as well so that this would highlight the contrast between different types of spaces experienced by an individual.
In today’s time where we can reveal private moments among friends, family and even strangers in our circle, our personal spaces or privacy is ever more valued in a time where we know, people have a reason to get into your personal business, and even feel entitled it. Whether we are in physical spaces which are tight, like in a crowded train, strangers may have a reason to stand close to you, but at the same time this could give them an opportunity to carry out human behavioural tendencies that is normally discomforting in nature.
An essay I used as reference is “Liquid Space: Science Fiction Film and Television in the Digital Age” (Waldby)where Catherine Waldby’s writings were mentioned. The author quoted
“To engage in sexualized exchange at the screen interface is to suture the body’s capacities for pleasure into the interactive space of the network, to use that network at the medium for pleasuring and being pleasured at a distance.” And “substitutes for the face-to-face negotiation of proximate sexuality and simulates certain aspects of that proximate relationship, involving the projection of a limited kind of telepresence through the simultaneous and interactive production of pleasure in the other’s body”.
The project idea may not have any provocative elements like that abovementioned but it was important to note that telepresence of someone can stimulate certain strong feelings that normally comes through physical presence of someone. And using social media, or even with online communities, it works in a way communities have traditionally thrived – which is to create spaces where shared “normals” exist. I thought this was relevant to the project idea that I am working on where voyeurism in the Singaporean community has taken to new forms – in online community spaces where exchange of photos that stimulate certain emotions to derive certain pleasures, is used as an alternative to real life, thriving social relationships.
An artwork I used as a reference is “Jennicam” where Jennifer Kay Ringley films herself performing her normal everyday routine in the presence of a live camera. What I find quite interesting is her comfort of being watched doing mundane activities. However, once she stopped doing “lifecasting”, she said she was content in living a private life too.
The main morale of this project is to also show how viewers, who are digital voyeurs themselves, would be more aware of their role, understand how this normalized trend of watching people online, may or may not have some effects to the way they view people in general. With the growing trend of voyeruism as seen in TODAY’s article (Ting, n.d.)and the project idea of valuing personal space, it also shows the growing tension between these two factors in a growing digital age we live in now.
Tight spaces, loose spaces on the Internet
Online “tight” or “loose” spaces are some elements that we can learn off of this project idea too. With “looseness” online, viewers taking in my broadcasting are given complete freedom to exercise their right over the Protagonist (me) in making comments, inviting some form of interaction from me, while I am caught in between the “tightness” of the spaces in the MRT cabin. And also, some users find a lot of liberty in exercising power through online means – where they tell people what to do, have complete freedom to watch live broadcasts without appearing creepy and etc.
With that being said, unlike “loose” spaces, when we describe internet spaces which are “tight”, it means limitations imposed on the online user. It may include inaction and passive-aggressiveness of user in being part of the live broadcasting. That affects the Protagonist in such a way, viewers can only go so far in making their intents known to the person behind the live broadcasting. I, as protagonist can choose to ignore their requests in favour of my own.
Excluding the quoted paragraph word count is 684 words
Bibliography
Ting, W. P. (n.d.). The Big Read: Singapore’s Voyeurism Problem – what’s wrong with men, or the world? . Retrieved from https://www.todayonline.com/big-read/big-read-singapores-voyeurism-problem-whats-wrong-men-or-world
Waldby, C. (n.d.). Liquid Space: Science Fiction Film and Television In the Digital Age by Sean Redmond . In S. Redmond.
Umbrella cover with dual materials that absorbs water from rain as soon as cover senses material of the umbrella and able to dry it quickly.
Use an electronic eraser that follows the movement of waving hang gestures to wipe off dirt from a whiteboard.
Belt tighter made to control how tight belt bucks is over waist without touching it.
Overview of the project
To create an umbrella cover with dual material that absorbs water from umbrella so that you can store it immediately without anything else getting wet, efficient way with after-use of umbrella
To ease use of magnet-attached duster by adding electronics and sensors to ease movement of duster on whiteboard – easy erasing
???
Few sentences / Image
A wet-umbrella cover that is water absorbent and doesn’t wet the surrounding objects once the umbrella is slot into holder
An automated white board eraser that follows hand gestures to wipe dust off board / An Automated eraser that moves according to user-controlled object attached to it
??
Context / Rationale
Immediate dry after using small umbrella for easy storage in bag. Normally after using it after use from rain, the wetness keeps one from not storing it immediately inside the bag, inconvenient to store in holder because it is not water absorbent, holder usually misplaced or lost ( there are exceptions :P) By adding dual material with inner layer – a material that absorbs water, and outer layer – a material that holds shape of umbrella & strong handgrip.
This reduce effort needed by people, usually educators using the duster to wipe of dirt from board. Reduces effort, reduces unnecessary time wastage, allows user to control direction of duster for erasing
Why is this relevant?
This is relevant in a wet weather where there is little to no space for an umbrella to be dried off immediately, unless you are at a given space for a long period of time. By introducing an umbrella cover, it removes the hassle of finding a space to leave it out in the open, as likelihood of drying takes longer ( esp in wet weather), and also possibility of misplacement, forgetfulness and theft.
Allows another user to wipe off dirt with little effort; simply make wiping hand gestures that allows movement of duster on board. This is relevant in a period where unnecessary time need not be wasted on activities such as erasing the board
Solution to a problem? Design Object? Experience ?
Solution to a problem – reduces time and effort, likelihood of misplacement and theft
Solution to the problem – reduces time and effort in a time-structured setting such as teaching in a classroom, discussion in a board room where whiteboard is used as a medium
Aesthetic/Artistic realm -or- Design realm
Assuming the mini umbrella has 8 flaps, the holder can slot 8 flaps fittingly, dual material with inner and outer layera.Inner material – thin foam, spongy material, any material water absorbentb.Outer Material – rough but thin that can be easily gripped by hands, flexible so it is wrappable before making a lockInteractive Element: ??
An object that moves on its own without
Similar works, critique and differences
Inspiration sources
Interaction (describe how people will interact with it, cover many scenarios):
Metaphor / Principles
Storyboard /Mockup
Implementation
Technologies
a. Inner material – thin foam, spongy material, any material water absorbent
b. Outer Material – rough but thin that can be easily gripped by hands, flexible so it is wrappable before making a lock ( exploe biodegradable material)
Milestones with a weekly breakdown of tasks to accomplish.
Description of the first prototype.
How will you work be shown at the end of the semester?
How will you document your work? mainly the interaction?
Do you see a demarcation between private and public? If yes, what are their differences? Here are some options you can consider:
For this project, I filmed as first-person live broadcaster behind the camera. This means you would not be able to see how I look like, except from my way of looking at things. In this clip, it was not planned that we were going to go to a location to do this on its own.
We had plans to go cycling and watch a movie afterwards, but decided to take our usual stroll at the park. Widad used to live near me and we would have walks together at a nearby park. Now that she has relocated to Sembawang, , she took me to her park closest to her home and took me around to introduce me her new neighborhood park.
Since this took place on Friday evening, the timing was not at the most appropriate for people to go online, and i did not inform anyone online about an upcoming broadcasting live. My friend Widad was concerned about being on a live broadcast, because of its public nature, but she was comfortable around it, eventually. I think we usually go for walks together as a way to spend time together, and in this place, Sembawang Beach – she was simply giving me/ us a tour. But I think the difference was the extra third party ( my phone recording us live) took some time for us to get used to. Eventually I thought it turned out okay.
During this recording, I also mentioned viewing this from first-person perspective – but there were limitations to this. During the walk by the sands I saw a couple seated together and kids playing by the waters, but this did not appear in the broadcasting because I wouldn’t want to be questioned. I kept it discreet.
In hindsight, I think residents there didn’t appear to concerned about my camera out. But I did not disrupt their personal – they were a couple seated by the sands watching their kids playing by the water. Just like my friend and I, we were having our own “private moment” so I didn’t feel like I should intrude on the couple’s private moment too.
The abstract moment would be the part where the lights of the lamppost is shown together with the moon during our walk back to Widad’s home. I thought the size and color of those two objects were matching – and it really did when I gave a close up shot. I thought that was beautiful!
In summary, a lot of what I have filmed were not planned out, apart from letting Widad know about this ( and then mentioning this during the live broadcast) because the context here was visiting Widad’s new place and going for our usual walk at her park nearby.
Disclaimer: During the instagram live broadcast, there was no time duration stated to show how long it has been live. It was only until I stopped recording that it recorded below the 20min mark requirement. Therefore, the video is shorter than it is suppose to be, unfortunately.
However, the second video below is a “back-up” video to make up for the extra time needed to hit the minimum duration of 20 minutes. It also featured Widad and I, just in a different environment this time – a place more private ( in a car).
In summary, the biggest learning point for me was that there will always be a clear benchmark between public and private. The part where it was mentioned where the “third-party” comes in shifted the dynamic between my friend and I while we go for our routine walk at a park. Something that was meant to be private, was out in public – which may be discomforting to some. At the same time, it could be pleasant to others. I think those who find it pleasant to watch this – would also appear to behave the same way when watching something as personal like a vlog, or a Jennicam video or any videos of that sort.
Also, even though there weren’t a lot of people watching, I would assume that as first person narrator, behind the camera, I am in control of what users can or cannot see – there fore that gives me a lot of allowance to let them see and make assumptions about the person behind the live broadcaster.
Feedback for mid term project
– mapping of aeroplanes with no backdrop of location
-digital evolution of this project – map – using processing
– colour of threads to represent certain type of people, and location most frequented – most frequented
– observe people’s reactions
– make work appear approachable -strings tied make ot look like its about to drop, make a concrete stand so that passerby can see this work and feel confident about making it appear still
– remove instruction board
