jimmy and mei - new manifesto

When asked, 'What is the sense that you most love?', I'd answer that it is sound. Being able to hear is such a beautiful thing in life, hearing the sounds of nature around us, listening to music, hearing a loved ones voice; all of this because of the ability to hear.

Because of our love for sound, both Jimmy and I developed a partnership where we were to work together. We wanted to creates something that integrated sound into or design. We wanted our outcome to be something tactile, something you could touch, not an environment or an installation. Therefore, at the end of the semester, after conducting field research, experiments, internet and book research, some illustrations and possible 3D computer modeling, we hoped to have a final physical outcome, whether is be to scale, a mock-up or a prototype. Some of the ideas we had in mind included:

> bucket seats
> beds
> chairs
> furniture in general
> hand held products

We chose to go along the path of a piece of furniture, not wanting to limit ourselves to chair, beds or inbetweens. We also decided to focus more on the sounds of nature or even the absence of sound - silence, rather than music. I say the absence of sound because even though sound and the ability to hear is beautiful, I also realise that to hear absolutely nothing; to find silence in such a busy and loud world, is something that is extremely hard to achieve. Therefore achieving such a thing could be just as satisfying as hearing sound.

However, after saying all of that, we decided to change our direction. We still both love sound, but with this thing that we are wanting to design, having sound as the main sense can be such a cliche.

It is currently now further into the semester, so we have a bit more of an idea on what we intend to design. A product or a piece of furniture that will help keep a person awake when doing work. We also want to try and incorporate some kind of 'refreshing' system into it.

Therefore sound may be touched on, however, because alarm systems for waking people up are already sound based, we hope to stay away from this sense. Instead we intend to look into touch and possibly smell as well. Some of the ideas we have in mind include:

> furniture that vibrates
> furniture that sends shocks
> furniture that sprays smell
> furniture that sprays water
> furniture that massages
> product that you wear
> product that may be hand held
> product that sits on your desk or beside you
> product that blows wind in your face

Through a series of experiments, field research, research in general, illustrations, and possible 3D computer program models, we hope to produce a physical final outcome. This physical outcome may be to scale, a mock-up or a prototype, depending on the final design.

frankSense

SENSE.emotion. products - does it make SENSE?
manifesto / proposal frank lori

first of all i have to mention that based on what i have in mind to do, it seemed to make more SENSE not to seperate phase 3 and 4 from each other.
so i desided to put the manifesto and proposal of my work together in to one writing.
(find some images on blogg-part phase 4)

looking at phase one and two of the synaesthesia project
i tried hard to relocate the esSENCE of the project; something I could work with. and to use for the original idea of this project and its industrial design setting.
to recall a very intence 'SENSUAL' experience and to investigate particular sets of
senses helped me to understand and to be more aware of the way we use, depend and are unfortunately manipulated by them.

for me, phase three (and four) starts with a personal question of the project rather than with a thought of a final product.
before asking how, the question is why. why use the 'synaesthetic' theme as an method
ore base for the design process?

it seems to be very basic and not in he first place important question but for me, answering this is the determinant factor in doing this manifesto and the corresponding project.
just to pick the one or two SENSES of most interest to me, to point to and name them,
to work on and to press them into some object, which explains, stimulates, satisfies or even confuses them doesn't seemed to be the right way from my point of view.

as the project synopsis says, "..the aim of this studio is to re-inivigorate how we experience
our object based world and to focus heavily on the intangible or less immediate factors of design " to create "..what may be called a hyper design pradigm.".

so what is, can or could be the connection between our SENSORY experiences and industrial designed objects, products, concepts or even events? what is it good for?
why do i see a need or a good chance to improve things, to change structures to a better
by using this technique?
how does contemporary, visually dependent design work with this idea? what is the important connection between our SENSES and our 'product world'? what is caused by this?

actualy i'm very conscious of the immense potential which lies in this subject;
we easily could fill books with investigations, experiments, discussions, questions,
comparisons, solutions, drafts and philosophies regarding the method, importance and
causes of the 'synaesthetik' ore SENSORY thought in the design process.
the 'book' could go on to discuss historical matters, coherences between industrial, social and global developments and changes, their influences on the 'sensual' appearance and
awarenes of objects and products as on human living and values.

this brings us in the end to question the purpose and meaning of certain products in our life.
how do we rate, how do we define their qualities and importance?
for example,how is it possible that we have specialized psychiatrists treating people
afraid of being without their mobile phone?
what are a designer's chances and what a designer's responsibilities to influence
such developments by creating objects?
what are the opportunities i see in creating more 'multiSENSE related' objects or products?
what makes SENSE anyway in a sensory overloaded time?

the following thoughts are ment as a small contribution to this and are not to be mistaken
as an tenet or an only truth, if there is any..?
based on my backround and experiences these thoughts are meant to be a basic constuction
in a "wikipedia" sense, maybe to agree, maybe to start new questions.

as we know, synaesthesia stands for the 'union of senses' "..which refers to a rare neurological condition in which at least two streams of sensory data interlink ore cross..".
next to these very intense and uncommon SENSATIONS of personal synaesthesia
(e.g. smelling colour ),the 'normal' sensations of all of us non-synaesthetes are still
individual and individually intense.
the smell and taste of one and the same thing can be experienced completely different by different people even under the same conditions, e.g. climate, place, time, mood, age,
context and social situations.
if we change these elements, one and the same thing can be SENSED in a different way
just by the same person.
to open a door knowing the beloved wife is waiting in love ore is about to leave,
gives a door two completly different meanings.
as memphis founder ettore sottsass said, "..to know what awaits me behind a door,
is an important parameter to design a door."
the factor here is emotion, next to SENSATION, thought and intuition
one of the four modes of human consciousness and and to my mind strongly connected
to almost all of our sensations.

the important point is that next to this innate experience of personal synaesthesia,
we all daily do experience a kind of synaesthesia as well, at least in every form of art
(created synaesthesia).
in fact "life is a continious synaesthetic experience, seeing, smelling, touching,hearing, tasting. THE WORLD DISCLOSES ITSELF TO US THROUGH THE SENCE."

and as said this world we sense and live in is mainly an object based one.
so if that what we SENSE also influences our emotions, decissions and our ideas of
what we want ore need, what influence has our 'product world' to us?

to understand this fact, became an important and basic point for the whole concept of my work.
to design an object(product) for this class (or an object based on
"multisense related design' in genaral) i have to understand the situation of contemporary design, it's influence on society, life qualities and moral concepts.
i think it is important to ask for the reasons and intentions of the mainly visual based designig, their causes and so on..

to design a thing shouldn't mean to design just something.to create a thing always means
the try change something,..to whatever.
it may be a 'first-semester-thought', but at basic and common SENSED it is,
the more incomprehensibly it is how often we seem to forget about it.
to design means ask and answer, it means to try to change and spread processes,
posibilities and qualities in our lives, for the better.
(guess it should't degenerate to an manifestation of ego or an happening just comprehensible
by a view elite people either.)
in an industrial point of view it may be moral nonSENSE, but this is uni,.. right?!

as on old common saying says :
"fine feathers make fine birds..clothes make the man", we all are influencend by the objects
we life with, we are surrounded by.
there are view objects almost all of us know, need and own today. but still there is an whide range of qualities in them that make an recognizeable different to us.
surrounded by different qualities of chairs, tables, cloths, cars and so on, we start to
feel and act different.
studies have shown that the surounding social components(including the quality of the
'product world') have an larger influence of the originating charakter of an child than the breeding.

we feel different in an big expensive air-conditioned, leather seated, mp3 playing car
than in an small, old, cheap one.
we touch, smell, feel and even hear different qualities of materials,
we experience two different ways of one and the same process.to drive a car.
i don't want to judge these feelings, i'm just saying that they are different, what is mainly caused by two reasons.
the first reason is media and society generated, and entirely based on status.
the second is almost free of alien influences and based on induvidual experiences, affectations and decisions about qualities in life.
it is proven that the feeling of the personal social status is an determining factor in the health and lifespan of a person.
the self confident feeling of an important and 'superior' roll in society adds an everage of
five to seven years to life expectancy.
the result of this investigation was not affected by the point that wealthier people can effort
to buy better food and consult better doctors.
my thesis is that this feeling of being an 'important' part of the society, is supplementary to the social status, and is hereby affected by the material, 'product world' a person lives in.

we may not want to admit it, but unconsciously it affects us.

so the connections and relationships between sensation, emotion, and objects, become interesting for my work as well.
that includes the influence of the industrie, and how affecting it is to our society and interpersonally.

as the original function of our senses is to help us to survive and orientate in nature by identifying and qualifying objects and situations, to distinguish between dangerous and harmless, healthy and unhealthy, toxic, sexual compatible ore not
..and all our sensations are strongly conected to our emotions.
we say: "that was really touching" and ask how things feel when we touch them ore can easily imagine how things would feel just by watching them.

we interact with our world (the objects in it) by information. we inform and become informed about our or the object's qualities.
this process is never monocausal. this information flows two ways; if we recognise that something is hard,soft ore cold we are saying that, comparatively, we are softer,
harder ore warmer.
our sense provide us with functional and emotional information; very often we translate and transform our sensual experiences into emotions that we can recall later.

if we look at the act of celebrating and enjoying a meal, then we have to see that this joy is something created by our civilisation and culture.
this joy is not functional information, originally this information was not required for survival.
we need to eat and drink to stay alive, and so as not to forget about eating and drinking
we know hunger and thirst.
so basically there seems to be no need for joy. to find joy in certain things is a human quality
we have developed and cultured over the ages. next to our mind, love and the SENSE of humor (hey!!! we never talked about this one!!) it is one of these wonderful things about being human.

in german joy means "genuss", and it comes from the word "nutzen" which means to use.
and indeed this concept is very importnat to the design industry.
so that's how it goes; that's what it's all about. design tries to sell products by using emotions.
the clearest examples are in fashion design which next to the fabrics and their haptic,
the emotions of the good old days of the 70s, 80s... are recalled and sold.
indeed 'retro' has been a very successful design tool throughout the ages.

ok.back to the point!
so what is it, i will look for?

questions:

how do the following facts impact on the appearance and qualities of the products in today's design world?

+profit optimization
+globalization
+mass production
+food production
+outsourcing, world wide trading, monopolizing,
+material, technolgy and production process inventions
+digitalization, minimizing
+digital design tools and processes (2d and 3d programs)
+advertising and marketing techniques
what do/can the following product characteristics offer to user and society? :
+inaccessability of the technical stucture
+be beyond repair ore second use (throw away products> causes throw away society >causes ?)
+digital predetermined breaking points?
+incompatibility between same functions of different brands
+multifunctional integration, ore what a thing is, pretend, is expected to be and
what it actualy is and can do..
+artificial flavoured and coloured food
+ mainstream technical, clean haptic

how much is what we think to want self-genarated how much is influenced by the media?
(e.g.: magazines, 'experts' telling how to get dressed, how to smell, how to be successful...)

can we, do we still trust and rely on our senses, like we are meant to in the original sense? (sensory overload)

are there other senses worth to bring into the design process (sence of balance,sence of humor...)?

what causes industrial trends aimed at taking advantage of human needs and moral values (e.g.: "..this season we have to react to insecurity of people caused by social and economic changes ,
political helplessness, ecological disasters and world wide terrorism ! lets generate a feeling of trust and honesty, lets use more natural materials and so on..")

based on these thoughts, reflections and facts i want to investigate and have a closer look at:

+'mainstream design solutions', contemporary design and it's 'declarations of sense',
+products done in a 'synaesthetic' way
+literature, movies and alternative sources reflecting and critecising social developments,
moods and needs affected ore caused by our product culture.
(just look around with my senses open).

the next step will be to bring all thoughts and research results into the design process
and to find a few possible 'answers' ore 'solutions' (objects, products....) with reference to them.
in fact i will look for different ideas on objects at different topics on my way.
the 'topics' will be influenced by my research.
it is more the way (process) that im interested in than the final result.

object / product:

if i'm thinking of an object, it will be most likeky reduced to one main function
still able to touch different senses.
i'm not going to pick on one ore two special senses and i'm not mainly interested in creating something that plays to transparently and most importanately with the stimulation of an sense.
lets say i'm more interested in creating a 'wine glass' than a new delicious tasting and smelling wine, but still it is possible to find a wine glass made out of wine, ore out of something you can eat in the end.

if i'm thinking of an scenario, event ore of an object not clearly to define as an product
i see a warm, emotional, sort of ironic design language.
i will look at various fields of human being, like i will look at seperate products of our culture.
reinterpretation and invention, both is possible.

looking for the technical character and solution it will become a very simple,
but hopefully high quality and smart solution piece. but character is certainly first!
so punk, chaos and intended imperfection are possible as well.
the used and combined materials will be an important element to achieve this quality.

i don't want to put too much complicated technical elements ore inventions in it.
this is for three reasons
first: in the most of the cases it splits the users attention into too many directions and just reduces the sensual awarness and experience
second: the aesthetic of an pure and simple but well finished object is just 'simply beautiful' and timeless and there is no need to spoil it by wasting lots of money an resources manufacturing it.
third: i hate overly complicated things..

fields to look at:
+eat and drink
+rest and sleep
+personal hygiene
+basic furniture and their use
+clothes
+communication, interaction, interpersonally
+nature elements
+urban perception (how to feel a city)
+urban needs(how to enjoy the city more)
+lights +love +fire +time

most important is an unique and not trend orientated character which 'makes sense'
even if the first impression is an entirely contrary to it.
i aim to create an object ore product that needs the interaction with the user to actualy
become senseful ore functional.

the final result will be an digital end presentation including:

+images, graphics, moodsheets, quotations, and diagrams to reflect my research
and to present the theoretical part of my work
+scetches and images oft the different ideas and objects
+detailed drawings and digital illustrations of the final object
+prototyp if possible

..wow that's it.. got to get out here and do something for my SENSE of humor..whatching old roadrunner cartoons i guess!!!!!!!!!!!

REFERENCE: "art and synesthesia:in searchof the synesthetic experience"
by dr. Hugo Heyrman, 2005 unversidad de almeria, spain

Laura Phase 3

I have decided to look closely at just one sense. Touch. I was originally looking at smell and touch but I have since decided it is better to one in detail then many from just the surface. I was interested in both smell and touch as the both can be very involuntary senses to experience.

A smell floats a long in the air and it is only once you have smelt it that you can block you nose and even then some smells are all consuming and impossible to get away from. Smell is also the main sense that brings back involuntary memories. Once you smell something you generally know instantly what it is, whether it is a nice smell a bad smell and what exactly the smell is (eg. Coffee).

Touch is also to an extent involuntary. You can choose more easily to not to touch a hot burning fire than to not smell it but at the same time you can never be completely not touching anything. Even if you are standing alone not touching anything in particular you feet still have to touch the floor.

Within touch I would like to particularly look at texture and the appropriateness of different textures to different products, warmth and coolness in association to comfort, and personal space (why do we let products touch us but not people?).

-The “Energy” ManifestO -

by Matthew Gutowski – Phase III

I think all of us, in fact humanity in general, are in constant pursuit of answers.. “What is this made of?”, “Where did that come from?” ..”Why are we here?” ..but more pertinently for us in the context of what we are doing here.. “How does that feel?”, and if we look at what that implies in its entirety, then “why does that feel?” also seems more than applicable..

-------

Space.. the final frontier?

I don’t think so. As interesting as I find space and the stars and the universe and how it all came about, I can’t help but feeling that no matter how unfathomable, immense and mysterious it all seems, it pales in comparison to the infinite possibilities within us, within our minds, our feelings, interpretations.. infinity in its broadest sense ..a truly undefinable ‘frontier’

So where does that leave me and my direction.. good question.. does anyone know where any of us are headed, or do we just GRAB on to the back of a passing path like the waterskiier behind the boat and just get ‘dragged’ along because we were at the correct place at the correct time to be able to grab on to its flailing handle…

Time to be a little less ambiguous..

Touch seems to be a sense with sub-sense, in that its function is not relegated to or as I like to look at it, restricted to just one Modus Operandi i.e. not just one particular function or goal. It is ignorantly referred to as just touch, whereas it encompasses a plethora of sensory and operational duties. Funnily enough touch can be stripped back to a raw scientific analysis. In essence the core definition of what touch is defined as, as an action, is two bodies coming into contact with each other. In science, when any two bodies come in contact with each other there is always, ALWAYS, a transfer of energy.
What has always fascinated me, and having its roots in ancient spirituality and many religions and cultures(American Indian, Buddhist etc) is that every single object contains an energy, something that can be felt depending on how in tune or ‘open’ one is to that level of awareness and depending on how we look at it, this feeling, this inner recognition of energy can also be defined as a sense.. to be touched etheraly to some is as vivid and engaging an experience(even more so sometimes) than physical contact. These two forms of touch though can be and are quite frequently juxtaposed.. becoming synesthetically parallel you could say. We feel this every day, when picking up an old heirloom from a dearly departed grandparent and feeling emotions related to our experience of them. Like a smell evokes a particular memory of a distant place or time, thus does an object infused with an intangible, unmanufacturable ‘value’, possibly through having belonged to someone special, or been from a particularly significant time, place or event in history.
We see this ‘infusion’ very frequently with musical instruments. You might go to a museum in Europe and see ‘Mozart’s Piano’. It of course is a man-made product, probably exactly like hundreds of other pianos from the late 1700’s, but the amount of energy that has passed through Mozart’s piano is immesurable, as is the type of energy, and that artefact has forever been infused with a ‘value’. Another interesting parallel with music and the instruments used to play and create it is how instrumental the sense of touch is to the emotion of the sound, the musician or user actually feels the sound through the way he/she touches the input receptacles of the instrument and this is directly reflected in the emotive index of the resulting music. Playing music in itself is a direct representation of a mass conversion of energy and emotion in one.

So… things to investigate are:
Qualities that cant be manufactured
Old jeans, wooden artefacts etc
How can something get ‘better’ as it gets older’
Photo-synthesis – conversion of energy
Value coming from what an object represents
User feeling a sense of worth
(trying to steer away from the materialistic nature of ‘worth’ with this), sense of accomplishment
visual expression of personal music
(visually opening up personal space without actually inviting its violation, just)
sensory deprivation in relation to touch

The evolution of personal music(and technology in general) seems to be also directly in proportion to the amount of isolation in our society. I think it would be interesting to look at ‘opening up’ that personal space that the headphone now give everyone, possibly visually with a link to the music being listened to, without actually taking away that personal space and security in a sense, but allowing it to be shared unobtrusively. The silent but just as acknowledgeable Ghetto-Blaster .
Other parallels that I have drawn with sound and instruments and very much touch, is with incorporating the element of time. By comparison in the sense of an engine or machine, being operated or on for a long time, getting hotter and more worn the longer it is being used.. this notion would be interesting if incorporated with music and sound in a way that the instrument is the machine, and its heat can be interpreted by the sense of touch, or visually by becoming redder, a colour we associate with heat and interestingly subsequently, longer(as opposed to shorter) periods of time. This would again be yet another tool to demonstrate or at least investigate the multi-faceted-ness of our sense of touch, and possibly what it means to us, our interaction with our environments, people, also products… and how we would use or interact with objects if we had that sense removed(thus confusing associations) from the equation i.e. the interaction experience/exercise.


If I was to cumulate my thoughts, ideas and findings in a product(as i am hoping to) ..it may very well turn out to be a kind of ‘anti’-synesthetic emotive device.. taking away perhaps more than one of our senses, in a less conventional or direct fashion, and induce disorientation and in a sense a greater respect for the senses that we take for granted in our daily transgression and basic function(especially that of the more complex touch) ..but then again, that wouldn’t necessarily be a bad thing..

----------------------------------------------------
Someone once said
“Dream is destiny...”
Absolutely,
so to that I add..
“Be your own altruist”

----------------------------------------------------

Damien's Manifesto

Eating and drinking involves all of the senses . Any thoughts concerning food and drink being just about taste are misguided. Try drinking a fine wine from a polystyrene cup or eating a beautifully cooked piece of lamb off a paper plate with a plastic knife and fork, its not the same. This is due to psychological and physiological factors. When drinking a fine wine, the shape of the cup will affect the percieved smell and flavour of the wine and the material of the cup will affect the feel of it in your hands and on your lips.


Points which interest DAMIEN.
- The science of flavour
- Senses linked in taste and smell
- Flavourants
- Essences and Extracts
- Artificial Flavours
- The importance of flavour
_ Frangrance
- Smell Flavourants
- Perfumes
- Different methods of extraction
- Use of smell to enhance flavour
- Flavour chemists (Flavourists)
- Phenylalanine
- The wine experience
- The dining experience
- Airline food

Brittany Veitch

Brittany Veitch s3025093
Synaesthesia studio 2006
RMIT Industrial Design


Phase 3: Manifesto

Using different perspectives I will explore the relationship between the sensorial and their associated emotional states. Through readings of texts, internet sources, film, music and artwork* I wish to develop a broader understanding of cultural and social implications.

The information gathered will then be interpreted though a series of short studies using film, photography, visual data, auditory data and applications of a tactile nature.

The outcome of these experiments will be dictated by the level of understanding and appreciation gained during preliminary research. This will then give a clear indication of the necessary direction the final project will take.

* -Kafka, Metamorphosis, although the English rendition has miffed some readers with incorrect translations.
- ‘The Fly’ B-grade horror flick where man transforms into a fly
- Totemism
- Human/animal embodiment
- Shape shifters and doppelgangers.
- Hieronymus Bosch

Juliet's phase three

Juliet's phase three
Manifesto - sound and touch

It is in the essence of water which I will look in to for phase three. Water being a multi sensory stimuli: the bubbles, the crashing, sweeping, rhythm tic, motion waves; the vision of water, and the colours which it brings to mind and/or to emotion, the amplified sounds which exist when submerged, the taste, and the touch.

Exploring children psychology for my preliminary research I have explored teaching methods using multi-sensory products and/or environments, such as the coloured ball pits, voice recognition puzzles, interactive play sets and other environments which purely rely on sensory experience as a point of learning.

As mentioned above i will delve into the sensory experience attached with water. Having an attachment to water since a young age i have been fortunate to experienced the sensory love water brings as well as the positive and sometimes negative emotions also attached. Many children are afraid of water at an older age if they had not been accustomed to water at a younger age; or perhaps had an particularly negative experience which was unable to mend in their mind. Therefore my main objective for this assignment is to produce an aid to children’s awareness of water using a multi-sensory experience as a teaching and developmental method to further assist sensory appreciation of water.

whether i will produce a game, a book, an environment for my final stages of development are still unclear; but for my sound understanding of water and its multi-sensory behaviour I will research the deeper meanings behind water, looking into music, artwork, mythology, dreams, sea life, as well as conducting experiments to further extend my knowledge. When the product/environment is further refined I will incorporate the following backup development…

backup
sketches/ illustrations,
audio recordings,
video recordings,
cad 3d modelling, and
animated backup to further support my findings.
experimenting with photography, and film

current ideas:
shower/ baths
Massager using water.
Multi-sensory environment designed to stimulate and entertain the senses of individuals
Animated children’s books,
Games,
Swimming breathing device,
a sensory pool experience,
Underwater music/sounds,
Bubble machine,
Innovative sensory snorkel.
Interactive head sets-eg infinity
Virtual games- underwater
Optical illusions
Mazes
Electromagnetic impulses
Geometry of human body-
Kinaesthetic
Synchronise swimming
Home theatre- acoustic speakers vibration underwater- movement frequency
Sensory deprivation- floatation tank
head phones that incorporate water suction acoustics

Investigation- Snoezelen Multisensory Room

Snoezelen is a multi-sensory environment designed to stimulate and entertain the senses of individuals with developmental disabilities. It was first developed at the Hartenberg Institute, a special care facility in the Netherlands, during the late eighties. Snoezelen is derived from the Dutch words “snuffeln” (to sniff, to snuffle) and “doezelen” (to doze, to snooze). It was developed in the Netherlands in the seventies by institutions caring for severely disabled people. Behind Snoezelen is a multi functional concept: In a purposely designed room (mostly a white room) the use of light and sound elements, scents and music initiate sensual sensations. These have both relaxing and activating effects on the different perception areas. The specific design directs and arranges the stimuli; it creates interest, brings back memories and guides relationships. Snoezelen induces wellbeing, in a calm atmosphere fear will be taken away, people feel secure. Snoezelen is therapy as well as promotion and is used for all stages of development (from toddlers to old people).

The Snoezelen concept comes from the recognition that EVERYONE has a right to quality leisure and relaxation. Children especially need time for play, relaxation, and enjoyment in a pleasurable stimulating environment. The goal of Snoezelen is to provide an inclusive and developmentally appropriate environment for those who have sensory and learning disabilities.

A Snoezelen room is a wonderful magical place that users and their companions can explore, absorb, and control what happens within their environment. Companions are adults who gently facilitate the Snoezelen experience. Snoezelen helps to provide a full range of sensory stimulation and enjoyable experiences in an atmosphere of trust and relaxation. In a safe comfortable environment the primary senses are entertained and stimulated through self - selected sensations of wonderful combinations of soft music, enchanting lights, gentle vibrations, tactile sensations and enticing aromas. The enjoyment of the room is independent of the individual cognitive or physical abilities. It is accessible leisure for all users.

Research has shown that Snoezelen:

Enables students to develop and/or expand communication skills
Improves student motivation
Improves student responsiveness
Decreases student learned helplessness
Increases frequency of eye contact
Reduces in self-injurious behaviour

Movement Manifesto a look into the Apache Ninja (Eddy)

Movement Manifesto

Kinesthesia is the definition of the sensation or perception of motion.
During this project I wish to experiment with the motion of the user and of a machine, possibly creating a union of the two parties and triggering all of the relevant senses to create a complete experience.
My research so far has indicated that there is a strong connection between kinesthesia and other perceptive receptors such as the five sense, and metakinesis, which is to do with the transferal of energy from one person to another. My goal in this project is simple and is related to the topics mentioned above dealing with strong metakinetic ties I intend to experiment with the transferal of energy from user to machine. This marriage of human and machine will be primarily of the motion sense enhancing movement and experience for the user and if possible the machine, to succeed I will describe machines not as an foreign entity but as a possible partner with the human body, were each would have complete proprioception (also another name to describe kinesthesia) of the other with complete correlation.
The relation of human and machine has been toyed with for a long time prevalent in Japanese animation a prime example is Neon Genesis were the machine builds a inner connection with their pilots. The connection that I intend to create would not be as powerful, but have deep roots with metakinesis and the involvement of parallel motion between user and machine.
Primary real world examples of this process is the Nintendo Wii controllers were they have adapted motion into the control of the game-play though this is not a new concept they have managed to do it very successfully and the sensory experience will be far greater and a level of sympathetic motion will have occurred heightening experience. Segways are another inspirational product that has led me to this project path there mobility with the human body is smooth and intuitive using body placement to control the vehicle, this idea I wish to borrow from, maybe not directly but defiantly in the same gene.
My experiments will consist of motion based photography and film using high speed cameras and slow motion video of dancers and martial artists, and ordinary motion, scrutinizing movement and placement of joints, looking closely at the geometry of the human body. From this I hope to gather information about which is the best way to tackle the idea for the design intention and what to base it on. Further research is required into human receptors of a metakinetic nature; for example Qi and its relation to the human body and machines, the equation Qi for arguments sake could be converted to electric impulses which is what most objects in this universe run on. This could be used to create a temporary relationship between user and machine, or it could be used on a less direct level for greater flexibility.
In conclusion by project is about the correlation of man and machine on an intimate level and through this relationship my aim is to address synesthesia from a direct source of motion and marry that motion with the rest of the senses creating a unique exciting experience.


 

Jacqueline Lin

Manifesto

The sense that I'm interested in is smell. It’s easy to close your eyes and block out a sight or we can cover our ears and block out sound. However, it’s impossible to shut down our olfactory system without suffocating. Everything has a smell and yet there aren’t many places take advantage of the unavoidable existence of smells. As for most animals, it is the primary mode of communication. So what I want to do for this project is to explore into the area of how we might use the sense of smell in a more creative and fun way which it helps to enrich meeting environments.

I will use:
- Field research
- Internet/books research
- Experiments (filming, photographing etc...)

I don’t exactly know what my final outcome is yet, it might not be object based and it’s all depends…

My final outcome will include:
- sketches for ideations and concepts
- possible 3D modelling(computer)
- possible mock-up/prototype
- animation (if necessary)

Kelly

Manifesto

The following points I have derived from WONDERLAND – A MANIFESTO FOR 21ST CENTURY IMMERSIVE WORKS by MELINDA RACKHAM. I feel they are extremely relevant to what I am personally trying to achieve.

1. SIMPLE, STRONG, SUBTLE.
2. SEDUCTION OVERCOMES CONTROL.
3. PLAY IS PLEASURE.
4. CONTEMPLATE DON’T MANIPULATE.
5. ABSTRACTION AMPLIFIES MINIMALISM.
6. FEEL NOW, THINK LATER.
7. NOTHINGNESS ENHANCES EMPTINESS.

In Phase 1 I spoke of passing through the darkness of a haunted house and how its lack of visual stimulus intensifies other senses. Now, rather than using lack of sight I intend to create confusion of the visual, aided by non-complimentary sounds/music, in an attempt to create a feeling of uneasiness. Sound instills either the creation or amplification of movement and touch and the fear of being touched. It’s also common to believe that you can see things within this space that do not exist. It is the combinations of senses that suggest the most logical scenario and have you assume that you see someone pass behind you or run before you. Hopefully the lack of conformity to senses generally known to co-exist will evoke stress possibly also through a tactile sense instead of purely visual stimulus.

To achieve this I believe I will need to produce an installation, possibly a screen-based installation that looks at the idea of panic. An environment rather that a static image. I don’t want to simply create intuitive recognition of aesthetic quality but a paradigm, the inability to recognize truth and the want to fabricate an explanation. This ‘panic’ or ‘confusion’ may be about a many number of issues. The work may reflect the contemporary state of anxiety that occurs as new technologies, the inability to distinguish true from false, apprehension towards unfamiliarity etc.

Through this ‘confusion’ I have played with the idea of attempting to imbue various emotions such as the enhanced capacity to love the lost and vulnerable. These emotions may further increase confusion as the viewer will be unaware as to why they are feeling such towards an unfamiliar figure. Obviously the emotions instilled will vary according to the images I chose to depict. These figures will most probably be once familiar images now plagued by distortion, hyperbole, exaggeration.

The other possibility along the same lines would be to use optical illusions again aided by music (non complementary) to confuse the viewer. This in turn would once again create unease however rather than evoking empathy it would hopefully instill apprehension through an anxiety of a different form. This may be fascination, claustrophobia etc.

I intend to look further into the works of Anne-Sarah Le Meur, Patricia Piccinini, Damien Hirst etc. Also optical illusions, empathy and possibly claustrophobia.

For full version please see http://digress-from-refuge.blogspot.com/

Lauren

Manifesto

I will attempt to show the world from an animal’s sensory perspective using videoed footage, recorded sound and perhaps flash animation.

My research sources will include:

- Books (both fiction and non-fiction)

- Art

- Film- kafka, The fly

- Internet articles

- Field research – trips to zoo, pet shops, kennels etc.

I will experiment with different visual effects, such as blurring, night vision, colour blindness and black. Sounds I might work with include white noise, natural and created sounds. My aim is to generate the user to feel emotions of:

- fear

- claustrophobia

- insignificance

- anger

- confusion, for example.

These are other areas of interest, for possible inclusion:

Metamorphosis

1. Biology. A change in the form and often habits of an animal during normal development after the embryonic stage. Metamorphosis includes, in insects, the transformation of a maggot into an adult fly and a caterpillar into a butterfly and, in amphibians, the changing of a tadpole into a frog.

Anamorphosis

The evolution of one type of organism from another by a long series of gradual changes

Design proposal

To produce a series of short films and construct an installation for viewing. The user sits inside a small booths to experience the films. I will draw inspiration from animals, such issues as strange occurrences, true or fictional stories, misconceptions and ill treatment. Each film will incorporate elements for different senses, as I am also interested in constructing a climate inside the installation to assist building an atmosphere.

Manifesto #2

Intentions

Interested in our sense of taste and tactile

To work in natural or naturally derived materials.

Consider the basics of life- what we can’t live without? Without our senses parts of life would be missing or it would be a world undiscovered.

Consider the small details of life- What are the little things we take for granted, or get overlooked?

Improve my understanding of art and the practices involved

Improve my sensorial awareness- What is my weakest sense? How can I strengthen my weaker sense?

Principles

Don’t necessarily want a product, yet I want a tangible outcome

Overproduction- don’t want my project to become large and expensive; a waste of materials. It needs to be efficient in its use of materials and its purpose must be clear.

I hope to explore the different senses to discover which I feel I relate to most or will find most rewarding to work within.

To play with different materials and explore small everyday details and objects

Nirmal Kumar Menon

Manifesto

I was initially interested in sound, colour and smells and how they add such richness to experiences. One of the initial ideas I had was that of a suit to be worn by those with vision impairments and would help them realize when objects were in their way or moving towards them. Unfortunately for me, fortunately for them, some guys in Hong Kong came up with a pair of shoes last week that helps them with this problem, the system can even warn of potholes in the road. As seen here http://bigpond.com/news/technology/content/20060806/1707581.asp . Needless to say I then wanted to pursue another project instead.

The idea I am going ahead with, attempts to change a persons sense of being; a mood room, a place to relax and drift off or wake up with a shot of zest unlike anything else. Currently I hope to include some form of music or sound, coloured lights and possibly aromatherapy.

I will use

- Sketches

- Research for what stimulates the senses to what effect. I.e. red is vibrant and uplifting yellow effects memory and so on

- 3D modeling

- Possibly animation

- Possibly model making

mei

Manifesto

The sense that I am mostly interested in at the moment is sound, however, lately smell has also become of interest to me. As I journey through, I will hope to focus mainly on sound via various investigation techniques. Some of these include:

field research - surveys/interviews (one on one)
experiments
internet research
text research

I will also investigate smell, however, because it is seen as more of a sub-sense in my project I will not focus my final outcome around it.

My final outcome will include:

some concept sketches
possible prototype or 3D models via computer programs (depending on the proposed project)

Jimmy Leung

Manifesto

I'm quite interested in the aspect of sound, and how sound such as music can manipulate/heightens the emotional state of mind. The theme for this project I'm intending to design is a feeling or a sense of closure and being consumed in tight spaces, i.e clostraphobia. However in some cases, being consumed in tight spaces will also provide comfort and a sense of safety.

My investigation involves:
- Field research the type of sound such as music effects the mood of the person. A survey maybe required to suggest the type of genre they listen to and how they feel.
- Internet research.
- Form study. If producing a product, it requires a type of form for the intention of design and purpose.
- Concept sketches.

Design outcome

I'm intending to design a piece of furniture, more specifically re-designing a car bucket seat. In relation to sound, intigrating speakers will provide the mood for the user depending on what he/she plays.

The bucket seat is essential because it has that form that I'm seeking to explore. It also has the feeling of being snug fit, which sucks you in and provide the comfort and safety as you sit on it. However, this piece of furniture will be stored within the domestic environment rather in a car, due to constraints and regulations that a car seat needs to be.

Example of a bucket seat:
image www.c-one.co