Distorted Body Perceptions

Most people are aware of how a cut on your tongue feels like a gaping wound, whereas you may get a gash on your leg without even feeling it. As Aimee on Mis.Science reports, Matthew R. Longo and Patrick Haggard have also found out that it means we don’t really know where our hands are. They carried out studies where participants attempted to map their hands. The results were consistently out: people thought that their knuckles were higher up and their base of their fingers lower.

The suggestion here is that we may get it wrong because we don’t need to get it right. Dreyfus also comments on this with the observation that people make the shape of a door handle when walking towards it which is more accurate then if they consciously try to make it.

Perception Strategy

There are a series of posts on Forum One investigating perception strategy. The first discusses general framing such as font choice, word selection and ordering of questions. The second relates it to a design context, as well as making a note of Stephen Anderson’s Mental Notes.

Perception Strategy: The Emotional Side of User Experience
Perception Strategy: The Emotional Side of User Experience Part Two

The Politics of Design

The ever-eloquent Paul Rand gave his opinion on many things in his life. Here is one on the politics of design (and through it, his assertion that designers need to feel empowered in the decisions they make, and for businessmen and others to trust them):

The creative arts have always labored under adverse conditions. Subjectivity emotion, and opinion seem to be concomitants of artistic questions. The layman feels insecure and awkward about making design judgments, even though he pretends to make them with a certain measure of know-how. But, like it or not, business conditions compel many to get inextricably involved with problems in which design plays some role.

For the most part, the creation or effects of design, unlike science, are neither measurable nor predictable, nor are the results necessarily repeatable. If there is any assurance, besides faith, a businessman can have, it is in choosing talented, competent, and experienced designers

Paul Rand.

Why Is The Sky Blue?

A brief interlude into vision as well as touch

To what extent is color a physical thing in the physical world, and to what extent is it created in our minds? We start with Sir Isaac Newton, who was so eager to solve this very mystery, he stuck a knife in his eye to pinpoint the answer. Then, we meet a sea creature that sees a rainbow way beyond anything humans can experience, and we track down a woman who we’re pretty sure can see thousands (maybe even millions) more colors than the rest of us. And we end with an age-old question, that, it turns out, never even occurred to most humans until very recently: why is the sky blue?

Via Radiolab.

Soft Comfort

I remember reading in somewhere about the therapeutic nature of animals ‘particularly if they are small, soft, and docile’. I couldn’t help but be reminded about this when reading about this heart warming story about The Chook Project, a craft based project that emerged out of the 2009 Victoria, Australia fires that became known as ‘Black Saturday’:

Barbara lost 27 friends and neighbours on Black Saturday. She fled her home only minutes before the firestorm hit. Her studio and her husband’s workshop burnt to the ground. Mercifully their home survived. When she returned to it, she found that radiant heat had cracked the windows and the vicious winds had blown the doors in. Every surface of the inside of her home was covered in a thick layer of soot.

Everything in the house had to be painstakingly cleaned. In that process, Barbara unearthed Cocoa, a knitted and felted chook that she had made eight years previously with yarn spun from her neighbour’s chocolate coloured alpaca. Those same neighbours, along with their alpacas had perished in the fires. Barbara set about bringing Cocoa back to life with a wash and new stuffing and took her in a bag to her dear friend’s funeral. Those present were so pleased to see Cocoa that she was passed around for a cuddle, soothing everyone in her own special way during that sad event.

h/t @forumulate

I Dream Of…

No, not Jeanie. Rob Walker of Design Observer noticed the criminally underappreciated Dreams of the Vanishing New York blog, which attempts to collate people’s dreams about the New York of past.

Walker notes that this is peculiarly suited to New York:

I love this idea for any city, but maybe for New York in particular. I lived there for a number of years, and coming from the hinterlands it often struck me as a dream-like environment. Now I’m back just often to feel I know the place perfectly well, and to rediscover, constantly, that my memory is off. For one thing, significant parts of my New York have in fact vanished. But other details I simply recall incorrectly, or get confused about. I’m often certain there’s a subway station on this corner, or that thus-and-so restaurant is just a block away, but no: As in a dream, things aren’t where they should be. Meanwhile other city elements — multistory buildings, improbable chain retailers — seem to have emerged out of nowhere. (I’m constantly trying to remember: What used to be on this site?) So it’s still dream-like to me, but in a way that suggests instability.

Aside from the obvious Inception corollary, he also points out other sites with similar themes such as I Dream of Barack (and other related politician dreams). The creativity of this reminds me of the early data-mining project We Feel Fine, though here the specific focus on dreams makes it particularly engaging: after all, the subconscious is a scary place to be, right?

Re/Touch

I’m always looking for interesting parallel projects to use as reference for my work. One that I’d been aware of for a while but never really investigated was Re/Touch, one of the projects done as part of a general project on Near Field Communication (NFC) and design.

Retouch

In the words of the site:

A collection of quotes from ethnographic accounts written between the late 1800s and the present, re/touch encourages designers and researchers to explore how touch is used by people to relate to one another and the worlds in which we live.

 

Sounds interesting. However, when I tried clicking on any of the links, I got errors. So, I went back to the Wayback Machine. According to their scrapes, it hasn’t worked since it was first put up in 2009! Whoops. I’ve let the team know so here’s hoping they fix it, though I’m surprised that no one picked it up over three years.

In the meantime, I went and scraped the information into my own subdomain so that I could see what was there. The (very basic) site is at retouch.aestheticsoftouch.com

RightWeight

[UPDATE: I've now extended this concept out into a mini-site. Take a look at the Through Thick and Thin site for a rough prototype. The next steps? Getting more objects, making a proper calculator … and figuring out what to do with this!]

What is the right weight of something? If it feels too heavy it’s uncomfortable, yet something that feels too light is cheap.

That was the theme of the Rightweight workshop that took place in November 2010 (I’d just arrived in the country and didn’t know about it, but wish I’d been able to attend.) Luckily there’s a book documenting the event.

One of the ideas I was most interested in was that of density. In a world of injection-moulded materials, it’s hard to get a handle on what something actually weighs short of actually looking up the weight. (I know that people are surprised at the relative weight of my 2007 Black Macbook—admittedly it’s been souped up with a bigger hard drive than it initially came with, and black is as slimming for laptops as it is for dresses).

One idea put across was what various objects would be made of were they solid instead of hollow. The authors said that based on density, an iPhone would be a literal brick, based on its density. Here’s the graph he provided (which I’ve also made into an interactive graph)

Rightweight Graph

Rightweight Graph

An idea I got from that was what would happen were this to be the case?

First…

The iPhone 4

As it turns out, they were right, with a weight of 140g and a volume of about 63cm3, it comes out at a density of 2.23g/cm3 which is somewhere between brick and concrete.

An iPhone has the same density as brick

An iPhone has the same density as brick

The Macbook 2007 model (the one I own):

At  2.36kg (including batteries) and a volume of 2029cm3  (2.75 x 32.5cm x 22.7cm), it comes out at a density of  1.16324 g/cm3 = somewhere among nylon/rubber/paper (literally a Macbook!)

And a Macbook is the same weight as a book

And a Macbook is the same weight as a book

Macbook Air

A Macbook air weighs 1.08kg and has a volume of 576cm3 ((0.3-1.7)/2 x 30 x 19.2 cm) = 1.875 g/cm3 (halfway between carbon fibre and brick).

Magic Trackpad

With a weight of 140g without batteries and and 186 with 2xAA batteries and a volume of 464.209cm3 it comes out as 0.28g/cm3 without batteries (cork) and  0.376705cm3  with them (between cork and pine). 

Magic Mouse

With a weight of 47g without batteries/93g with them and a volume of 42.387cm3 (11.43 cm  x 5.84 cm x 1.27 cm x ~0.5 for the curvature) the density without batteries = 1.10883 (nylon/rubber) and with batteries =  2.19407 (brick/concrete)

Battery

With a weight of 23g for lithium and a volume of 7.7cm3 (0.7*2 x π x 5.3) it comes out with a density of  2.97g/cm3 ( a bit more than granite/slate/aluminium)

Hella Jongerious: Soft Sink and Pushed Washbasin

I’ve been fascinated with the work of Hella Jongerius for a while (which only increased when I saw the Pulled Washbasin in real life for the first time during a rare travelling design show in New Zealand in 2010). After hearing that Droog employ writers for their copy, I though it work looking at the writing in regard to her highly tactile and evocative work.

Pulled Washbowl:

The material and form combine to give this washbowl a soft appearance and touch; for a warm and comfortable bathroom feeling. The flexibility of this washbowl means you can bend it without damaging the bowl or yourself, making it particularly suitable for small spaces.

Droog Lab

Pushed washbasin:

Hella Jongerius wanted to discover the true identity of plastic. To do this she took a basic shape, a half sphere and gave it its form by pushing it inwards. To keep the final shape she used different densities of the material.

———–

From the designer’s own website (where it also notes that it is made from PU rubber and metal), the Pushed Washtub:

The transformation of a nonform into a form through the clever use of the inherent qualities of the material. The varied thicknesses of the skin determine the final shape of Pushed Washtub. Jongerius was one of the first designers to research the application of this relatively young material.

and Folded Washtub:

The same non-form as Pushed Washtub is squeezed inwards and ‘frozen’.

Soft Urn:

The skin and its material qualities have defined the design of Soft Urn. The archetypal form reveals the results of research into the ageing of an unconventional material for vases, PU rubber. Whereas most artificial materials look forever young, neutral and hygienic, Soft Urn has the feel of handicraft due to the addition of traces of the casting process. Soft Urn was soon recognized as a significant example of the ‘Dutch’ or ‘conceptual’ approach to design. Jongerius contributed to a few projects and exhibitions organized by Droog Design, the Dutch platform for concep­tual design, until 1998.

————-

From the New York Times (2006):

 She has rendered traditionally “hard” objects — a sink, say — in disorientingly squishy polyurethane. And she has added old-fashioned embroidery to porcelain bowls, the last place you’d expect to find it.

 

While I’d need to do more detailed semantic analysis on this to draw any concrete results, some points that are immediately noticeable on reading are terms such as ‘skin’, ‘inherent qualities’, and soft/comfortable. However, Folded Washtub uses notions of both force (‘squeezed’) and, perhaps the most strikingly different from the other terms, ‘frozen’.

The concept of ‘skin’ is one that has been explored in depth not only out of design, but also within it, namely in Ellen Lupton’s book on that very subject. (I will discuss this in a later post).