Design Domain

 Sunday 29th October 2017

Design Domain Symposium

These are the events I’ve signed up for tomorrow.

Time Slot 1:

Spelling Mistakes Cost Lives: Tabloid Fury

ACTION / GFT 1 / 11:15 am – 12:00 pm / Darren Cullen is a British/Irish satirical artist, illustrator and writer. After initially pursuing a career in advertising, Darren left Com Des (then Vis Comm) to join Environmental Art at The GSA, graduating in 2005, and spending the next few years as the drummer in the ‘new-rave’ band Shitdisco. He now uses comics, graphic design, toys, and the language of advertising to make often controversial work about the ethical implications of consumerism and militarism. His comic ‘Join the Army’ (2013) was described by the Daily Mail as “sickening anti-military propaganda” and as “brutal but true” by a former soldier. In 2014 he began Pocket Money Loans, a payday loan shop for kids with a 5000% interest rate, which was then featured at Banksy’s Dismaland. In 2015 he wrote the short film ‘Action Man: Battlefield Casualties’, featuring Matt Berry.

Time Slot 2:

Human Traits

BODIES / Reid LT / 12:30 pm – 1:15 pm / Patrick Tresset is a London based artist and scientist whose work and research focuses on how we make marks, how humans perceive artworks, and how humans relate to robots. In his installations, Patrick applies computational aspects onto robots to make drawings, paintings and animations. These ‘clumsy robotics’ show an element of ‘humanness’, with artistic, expressive and obsessive aspects emerging in their behaviour. Patrick is a Visiting Research Fellow at Goldsmiths, and his work has been exhibited at major institutions including The Pompidou Center, Museum of Israel, V&A, Museum of Modern and Contemporary Art (Seoul), BOZAR, Prada Foundation, and at events such as Ars Electronica, Update_5, WRO2015, and Merge festival.

Time Slot 3:

Schizo Entropic Apparatuses: Robotic & Technological Bodies

BODIES / Reid LT / 2:30 pm – 3:15 pm / Asad Khan is an architect, designer and researcher. He gained his undergraduate degree in Architecture from CECOS University of IT and Emerging Sciences, Pakistan, and a Masters in Interior Design at The GSA. Currently he is undertaking a practice-led PhD at the University of Edinburgh. Asad explores nuclear and ecological issues by looking at the ‘dark zone’ of destruction and damage, particularly the disruptive potentials of contemporary technologies – for example how robotic bodies and warfare relate to urban architecture in post-nuclear catastrophes. His work is informed by forensic archeology, artificial intelligence, filmmaking, and animation, and he has also applied his thinking to fashion, for example using additive manufacturing and 3D printing systems to embed decay and aging into body wear.

Plenary

Unruly Bodies: Identities, Action & Engagement in the Making of a Militant Museum

Cineworld Screen 3 / 3:45 pm – 4:45 pm / Adele Patrick has been involved in Glasgow Women’s Library since its launch, and she now manages its Lifelong Learning and Creative Development to develop new, enterprising and cultural strands in its status as a unique, arts-influenced provision that (re)defines through environment, learning approaches, programmes and resources what a library, archive and museum can be. Adele studied Textiles at The GSA and co-founded the innovative design agency Graven Images. Her PhD thesis at University of Stirling explored gender, feminism, class and ethnicity in terms of self-fashioning. Adele is a Fellow of the Royal Society of Arts and received an honorary doctorate from The GSA in 2017. In 2015 she was the winner of Scotswoman of the Year, and she is one of Glasgow’s most influential voices, particularly on feminism, gender politics, equality and diversity.


Design Domain Themes 2017-18

This year’s themes of BODIES, IDENTITIES, ACTION, and ENGAGEMENT are incredibly timely. We’re living in a world of upheaval and change, and as designers, our practice is also impacted by what we believe, and why we believe it. This is not necessarily about being “political” – instead it’s about finding a place in our practice to explore some of the issues that are core to us, and about being able to put forward what these mean to us. These might include how we use our bodies, garments and adornment to display ideas and identities; how we navigate power and class hierarchies; how we hook into debates on civil rights, social justice and race; what gender and race identities mean to us within our contemporary lives; how we use virtual and digital technologies to explore what it means to be ‘human’ within the face-off between embodied and disembodied; and how issues of migrations and community engagement can be used to enrich our lives and those of others. How do we ‘design’ ourselves into and within this worldscape? How do we engage with practice as critical thinkers and designers?


Monday 30th October 2017

Notes

Time Slot 1:

DarrenCullen

https://www.spellingmistakescostlives.com 

http://www.coolhunting.com/culture/artist-darren-cullen 

http://www.theskinny.co.uk/art/showcase/the-skinny-showcase-darren-cullen 

Time Slot 2:

PatrickTresset

Senster / Edward Ihnatowicz / 1969

TWO DOGS / Kris Verdonck / DANCER #3

OLLY ROBOT / EMOTECH

HUMAN STUDY 1 / 5RNP DRAWING NINO

Sometimes the drawings don’t come out well so it’s awkward when the person is say there 30/40 minutes and the drawings aren’t good.

If there is no one to draw, the robots can draw a drawing that they’ve previously done.

HUMAN STUDY #2 It does life drawings too.

HUMAN STUDY #4 The robots have banter with their teacher.

HUMAN STUDY #5 Started to experiment with voice.

Robots and Art / Book / Publisher: Springer?

Delusions #1

He wanted to get machines to get what he was doing and so he got them to draw in his technique.

The drawings are true to the robots.

Framework: Yap? / Used Python

Using a ballpoint pen eased the friction of the pen across the paper. It needs to work for an exhibition.

http://patricktresset.com

http://www.wired.co.uk/article/patrick-tresset-robot-classroom-robot-artists

https://form.de/en/news/interview-mit-patrick-tresset-die-simulation-von-menschlichkeit

Time Slot 3:

AsadKhan

IMG_6183

The Entropy Project / 2017

Epistemological Anarchism

Repopulate/reterratorialise black holes with his own paranoia/fear.

Toxoplasma Gondi / 2017 / Simulating schizo-parasitic colonisations / Cats stomach / Rats become attracted to the idea of their own demise.

The Priscilla Nuclear Test / June 24, 1957 / Source – Operation Cross Roads / Viewers became infected.

Radio-autograph of a Tropical Puffer Fish / Source: U.S Military Pictorial Record, 1946

The world photographed the nuclear blasts, the nuclear blasts photographed the world.

//U232 & Biobots | Collaboration with Patricia Wu Wu, 2017 /Bio-computing & Simulating Senescent Cellular Morphologies

Lidar Scanning of Crashed Vehicles

Harvest, 2016 / VR Simulation / Human becomes brick …

Becoming Fluid, 2016 / Simulating Fluid Dynamic Topographic / Forest discreting fluid to protect itself from its human counterpart.

Memoirs of the Blind, 2016 / 3D Scanner Portraits

Machine Fetish Endemics

Made myths out of contemporary technologies in order to understand them.

Cryogenics

Entropy

Houdini Side FX / Python / Maya

Inspired by scientists who create massive energy and philosophists.

https://www.theentropyproject.com

https://creators.vice.com/en_au/article/evzeee/apocalyptic-architecture-invisible-military-drones-entropy-project

Plenary

AdelePatrick

Culturally / Socially / Politically

Glasgow Women’s Library

Gender gap in BBC stars’ pay

Intersectionality – coined by Kimberlé Williams Crenshaw

Pajoritive sense

Women were given really dubious advice during the 50’s and 60’s on how not to get raped, how to tell if you’re a lesbian and how to deal with your menstrual body.

Adrian Piper / Wet Paint / 1970

http://womenslibrary.org.uk

http://www.gsa.ac.uk/about-gsa/our-people/honorary-graduates/p/4/4-patrick,-adele/

http://herstoryportrait.com/?p=39 


Tuesday 31st October 2017

Presentations

All of first, second and third year gathered round a projector in the studio and listened to  presentations given by each of the lecturers. The first presentation given by Paul was about Design Domain as a whole and how we could tackle the brief and themes with our discipline. This was then followed by three presentations by Gillian, Jen and Paul again of some inspiration and routes that we could follow.

From Gillian’s presentation:

From Jen’s presentation:

Articles:

Works:

From Paul’s presentation:


Thursday 2nd November 2017

InDesign Workshop

Notes

Gutter = distance between columns

There’s a lot of setting up to do before any content actually goes on the pages.

*insert screenshots of set-up*

Control + to zoom in and Control – to zoom out, as with all Adobe software.

This book is to explain your idea that you will implement in part two. You’re essentially making a proposal to yourself.

Style sheets are like master pages for type.

Press ‘W’ to toggle guidelines.

File -> Package to collect all the information (images, fonts) into one folder so nothing is missing.

Should usually be in CMYK for printing.

Press ‘TAB’ to toggle the user interface.

Baseline grid is important.

Don’t print from InDesign – export and print it from Acrobat.

About 10+ pages


Friday 3rd November 2017

Group Chat

Today we got into our Design Domain groups to talk about our progress on where our thought process was. I admitted that I was still very unsure of what I could do and so listening to other people’s thought processes really helped me out and got the ball rolling.

It made me think of some previous concepts that I’d briefly explored and maybe how I could develop them further. I’m very interested in the human mind and representing things we can’t see, such as emotions and morality. The medium I tend to lean towards is sound but I’ve been thinking of what other mediums I could use to represent my idea in order to challenge myself and develop my concept further.

I was very inspired by Asad Khan’s talk on Monday. I liked the process of his thinking that related to his final output. An example that he showed us was that he found a quote from a firefighter that was there during 9/11 who was talking about why there were so many bodies missing, and that it was because they had been vaporised and that we were breathing human dust. Asad Khan’s response to this was to create a 3D model of a human form out of dust. The link between the initial idea and the final outcome I feel creates a very strong project and so this is something I wish to do.


Tuesday 7th November 2017

Initial Thoughts

Out of the four themes we were presented with, BODIES, IDENTITIES, ACTION, and ENGAGEMENT, I felt that I was most interested in exploring was bodies and identities.

Body noun:

  1. The physical structure and material substance of an animal or plant, living or dead.
  2. a corpse; carcass.
  3. the trunk or main mass of a thing
  4. Anatomy, Zoology. the physical structure of a human being or animal, not including the head, limbs, and tail; trunk; torso

Dictionary. (2017). Body [Online] Available at:  http://www.dictionary.com/browse/bodies [Last accessed 16th Nov 2017]

Identity noun:

  1. the state or fact of remaining the same one or ones, as under varying aspects or conditions
  2. the condition of being oneself or itself, and not another
  3. condition or character as to who a person or what a thing is; the qualities, beliefs, etc., that distinguish or identify a person or thing

Dictionary. (2017). Identity [Online] Available at: http://www.dictionary.com/
browse/identity?s=t [Last accessed 16th Nov 2017]

It made me think of some previous concepts that I’d briefly explored and how I could develop them further. I’m very interested in the human mind and representing things we are unable to see, such as emotions and morality, through different techniques and mediums. The medium I tend to lean towards is sound but I thought of what other mediums I could use to represent my idea in order to challenge myself and develop my concept further.

How do we recognise emotions?

“Created at Nexus for the Group Therapy exhibition at Fact, States of Mind allows people to create abstract 3D shapes in response to the question “What does your mental health look like right now?”

Using a custom built console, visitors to the exhibition twist and turn the controls to manipulate the object, changing its shape and colour in response to the question. When they’re happy with their creation they simply press the yellow “done” button to save their object into the public gallery, where other visitors can see what they’ve made on the beautiful Tilo screen.”

I like how this is a visual representation of emotions, and how users can interact with it to create their own independent outcome. This makes the experience very personal to the user, and therefore hopefully memorable. I would like to include this method within my project.

Brendan Dawes. 2015. States of Mind [Online] Available at: http://brendandawes.com/projects/statesofmind [Last accessed 16th Nov 2017]


Wednesday 8th November 2017

Research

As I said earlier I am very interested in attempting to visualise or represent concepts that don’t originally have any visual representation. I’ve previously done some research on emotions and the order in which we experience things. Do we feel the emotion first or do we perform the physiological action first?

I originally had agreed with Cannon & Bard’s theory that you instantaneously feel the emotion and then the physiological response follows subsequently but then I had an interesting chat with my twin. She said that when she was giving birth to her child she remembers our mum telling her to be quiet and to stop screaming but she doesn’t remember screaming. This suggests that she was subconsciously screaming as she hadn’t consciously decided to scream. If you can automatically perform physiological reactions without registering your emotion first then what part of our brain decides our emotion? Was the screaming directly linked with her emotion?

Definition of Emotion

The word “emotion” dates back to 1579, when it was adapted from the French word émouvoir, which means “to stir up”. However, the earliest precursors of the word likely date back to the very origins of language.

Emotions have been described as discrete and consistent responses to internal or external events which have a particular significance for the organism. Emotions are brief in duration and consist of a coordinated set of responses, which may include physiological, behavioural, and neural mechanisms.

Wikipedia. (2017). Emotion in animals – Etymology, definitions, and differentiation [Online] Available at:  https://en.wikipedia.org/wiki/Emotion_in_animals#Etymology.2C_definitions.2C_and_differentiation [Last accessed 14th Nov 2017]

In some uses of the word, emotions are intense feelings that are directed at someone or something. On the other hand, emotion can be used to refer to states that are mild (as in annoyed or content) and to states that are not directed at anything (as in anxiety and depression).

Wikipedia. (2017). Emotion – Etymology, definitions, and differentiation [Online] Available at:  https://en.wikipedia.org/wiki/Emotion#Etymology.2C_definitions.2C_and_differentiation  [Last accessed 14th Nov 2017]

For more than 40 years, Paul Ekman has supported the view that emotions are discrete, measurable, and physiologically distinct. Ekman’s most influential work revolved around the finding that certain emotions appeared to be universally recognized, even in cultures that were preliterate and could not have learned associations for facial expressions through media. Another classic study found that when participants contorted their facial muscles into distinct facial expressions (for example, disgust), they reported subjective and physiological experiences that matched the distinct facial expressions. His research findings led him to classify six emotions as basic: angerdisgustfearhappinesssadness and surprise.

Wikipedia. (2017). Emotion – Basic emotions [Online] Available at: https://en.wikipedia.org/wiki/Emotion#Basic_emotions [Last accessed 14th Nov 2017]


Thursday 9th November 2017

Octopuses (Octopi?)

After some casual browsing of the internet I came across an Instagram page that posted many videos of octopuses. Not entirely sure how I got there but hey, that’s procrastination for you. Anyway, I came across an interesting video of an octopus that changed its colour to a dark black in an attempt to scare the diver that was approaching it. Upon some further investigation the comments said that the octopus would change it’s colour depending on how it was feeling which I thought was very interesting.

Cephalopod Definition

I only thought that octopuses changed their colour as a form of camouflage, to either hide from predators or to sneak up on pray. This idea sparked a lot of interest so I did some further investigation. I came across a website that had a lot to say on octopuses colour language.

cuttlefish-flamboyanti Metasepia Pfefferi
Metasepia Pfefferi

Psychedelic researcher and ethnobotanist (investigating plants used by primitive societies in various parts of the world) Terence McKenna said this about the colour-change ability of the cuttlefish:

“I believe that the totemic image for the future is the octopus. This is because the squids and octopi have perfected a form of communication that is both psychedelic and telepathic; a model for the human communications of the future.”

This is already relating the idea of the visual form of emotions being related to humans.

The website then goes on to talk about how humans take fantastic happenings and objects and reduce them down to one word which immediately strips it of all its glory and wander. It’s a form of cultural conditioning. Now this all sounds a bit ‘hippy-ish’ but it’s still an interesting concept. This is their way of explaining it:

The Problem: Common Language

Culture replaces authentic feeling with words. As an example of this, imagine an infant lying in its cradle, and the window is open, and into the room comes something, marvelous, mysterious, glittering, shedding light of many colors, movement, sound, a tranformative hierophany of integrated perception and the child is enthralled and then the mother comes into the room and she says to the child, “that’s a bird, baby, that’s a bird,” instantly the complex wave of the angel peacock irridescent transformative mystery is collapsed, into the word.

All mystery is gone, the child learns ‘this is a bird’, and by the time we’re five or six years old all the mystery of reality has been carefully tiled over with words. “This is a bird, this is a house, this is the sky”, and we seal ourselves in within a linguistic shell of disempowered perception, and what the psychedelics do is they burst apart this cultural envelope of confinement and return us really to the legacy and birthright of the organism.

What these psychedelics do is they dissolve cultural conditioning. Cultural conditioning is like software, but beneath the software is the hardware of brain and organism and by dissolving the cultural conditioning to speak English, German, Swahili or whatever, then one returns to this ur-sprach, this primal language of the animal body and can explore the real dimension of feeling that culture has a tendency to cut us off from.

The Solution: ‘Visible Language’?

What if language were visible? If we could see language, if language were a project of understanding that used the eyes for the extraction of meaning rather than the ears, it would be a kind of telepathy. There would be both a fusion of the observer with the object observed, and with the person communicated with. The place in nature where something like this has actually evolved is in the cephalopods.

These octopii have chromataphores all over the exterior of their bodies. Chromataphores are cells that can change color. Now many people know that octopii can change color but they think its for camouflage, for blending in with the environment, this is not at all the case. The reason octopii change colors in a very large repertoire of stripes, dots, blushes, travelling shades and tonal shifts is because this is for them a channel of linguistic communication.

In other words they don’t transduce their linguistic intentionality into small mouth noises like we do. Small mouth noises which then move as sound across space in the form of vibrations of the air. Rather, they actually change their appearance in accordance with their linguistic intent.

What this boils down to is they physically become their meaning. They can also, because they’re soft-bodied, fold and unfold and reveal and conceal, very rapidly, different parts of their body. So they’re capable of a visual dance of communication.

It’s interesting that octopuses change colours in “a very large repertoire of stripes, dots, blushes, travelling shades and tonal shifts as a channel of linguistic communication” as it makes me wonder what the translation would be. I’ve already seen that black means that they’re being defensive towards predators, but what about the stripes and dots? Is there some sort of algorithm? Or is it simply the octopus communicating through expression? Does this mean that it could be interpreted in a numerous amount of ways?

The website then goes on to talk about how this ideology could be applied to humans:

graphic-tattoo-back-women
Visible language amongst humans?

Could a ‘Second Skin’ applying visible language be useful for humanity in the future? Imagine a ‘visual live lie detector’, an artificial skin which instantly reflects our mood, thoughts and feelings – a Second Skin. Your body will be painted with a specially formulated ink via brush, spray or stamp. The paint acts, similar to a computer screen, as a medium to send information from a person to another (or even to transmit data via gestures and touch directly from a person to a computer).

This opens a vast array of possibilities and even more questions. My thoughts on this are mixed – yes it would be a innovative idea but realistically I don’t think it would work. If this idea came to fruition would this be an invasion of privacy? Just as I spoke about on Wednesday we as humans express a lot through our physiological reactions anyway and through other methods such as our own skin tones (blushing, going pale) and speech. Blushing and going pale has a more scientific explanation to it as opposed to an expressive meaning. It would just mean that humans would start to communicate all their thoughts and feelings, whether they be conscious or unconscious thoughts.

One commenter ‘theskeptic’ argued:

How easy would it be to control a society in which this phenomenon was rampant? How long would it be before humans learned that it was best to refrain from emotion entirely, lest their inner secrets be revealed?

This is an interesting point but I thought the point of this ‘Second Skin’ idea was to communicate all emotions whether the user chose to or not. An example that came to mind would be if someone was in court, it would be a lie-detector. The person on trial could consciously think one thing but their augmented second skin would unconsciously reveal something else.

Another commenter ‘Lumpi’ asked how the octopuses changed it’s colours so quickly to which another commenter Roy Wailder replied “perhaps the octopus would wonder how we use words so quickly, one after the other? But I would think it’s the same kind of mechanism.”

Blue Lined Octopus
Hapalochlaena lunulata Credit: Tony Brown, Flickr

Pattern is also a key part of communication. The greater blue-ringed octopus (above) become covered in iridescent, blue rings when provoked as a form of communication. This warns predators to stay away.

“Cephalopods can also use chromatophores to communicate with one another. Male Caribbean reef squid (Sepioteuthis sepioidea) turn red to attract females and white to repel other males—and can even split the coloration of their bodies down the middle to attract a female on one side and repel a male on the other (video example below). The Humboldt Squid (Dosidicus gigas), also called the “Jumbo Squid” and the “Red Devil,” is known for its flashing colors. This flashing is suspected to be a means of communication—but no one knows what the squid are trying to say.”

I think it’s very interesting that Caribbean Reef Squid can effectively communicate to two squids at the one time and can easily change it’s colours depending on the location of the two squids in relation to itself. Why does the colour red attract females? And why does white repel males?

Dictionary. (2017). Cephalopod [Online] Available at: http://www.dictionary.com/browse/cephalopod [Last accessed 13th Nov 2017]

Ultrafeel TV. (2014). Octopus Communicates With Psychedelic Color Language. [Online] Available at: http://ultrafeel.tv/octopus-psychedelic-color-language/ [Last accessed 9th Nov 2017]

Fox Meyer. (2016). How Octopuses and Squids Change Color. [Online] Available at: http://ocean.si.edu/ocean-news/how-octopuses-and-squids-change-color [Last accessed 9th Nov 2017]

EOL. (2016). Hapalochlaena lunulata [Online] Available at: http://eol.org/pages/491995/details [Last accessed 13th Nov 2017]


Friday 10th November 2017

NEoN Festival

Today we met outside the Barnes Building at 9:30am and got a bus to Dundee for the NEoN digital arts festival. We arrived at about 11am and set off around the different locations in Dundee to look at the different works.

“NEoN  will expand on it being Scotland’s Year of History, Heritage and Archaeology, and will unveil hidden histories by working with artists who use the current (and controversial) practice of ‘media archaeology’. Media archaeologists uncover and reconsider the obsolete, persistent, and hidden material cultures of the technological age – from big data software algorithms to tiny silicon chips. NEoN proposes that artists are future media archaeologists, recorders of our current information-based society, and time-travellers highlighting the continued relevance of our long past. Join us as we dig for the digital, brush the dirt off the non-material, and excavate the internet.

The programme will focus on the tropes of current archaeology practices such as the visualisation of heritage assets, and the questioning of the geological sediment layers that evidence human life on planet earth. By putting artist’s concerns at the heart of the programme, a more complex picture of the material culture of the digital age will emerge. NEoN doesn’t seek to be merely nostalgic about technology but to expose, through artistic practice, how new technologies are understood now and will be in the future, in the creation of shared cultural experiences.

We are excited to be working with and hosting a varied mix of artists and practitioners from across the globe, including Kelly Richardson (Canada), Marina Zurkow (USA), Nedyalka Panova (Bulgaria), Roel Roscam Abbing (Netherlands), Gabriel Menotti (Brazil), VOID (Belgium), William (Bill) Miller (USA), Olia Lialina (Russia), Furtherfield (UK) and many more.”

http://www.northeastofnorth.com/

Laboratory for Variable Risk Perception, Ele Carpenter (UK)

It was interesting to see such a vast array of mediums such as glassware with uranium and UV light (above), projectors, virtual reality, gramophones made with cardboard and stone, Polaroid photographs and sculptures. This made me think about what mediums I could use as opposed to Processing and sound like I usually do.


Monday 13th November 2017

Thinking

Callum and I watched episode 3 of Blue Planet II which demonstrated some behaviour shown by cuttlefish and octopuses. We see a broadclub cuttlefish that uses an interesting display of continuously moving colours that mesmerises its prey, a crab, which lowers its guard. A shark then appears and the cuttlefish immediately changes both its colour, form and texture to camouflage itself into its surroundings, away from the gaze of the oncoming shark. Once the shark has passed the cuttlefish proceeds to carry out its enticing display and, in a way, hypnotises the crab so that it lets down its defences. The cuttlefish performs this display until it can get close enough to strike and capture the crab.

“On the Great Barrier Reef we meet a remarkable grouper which uses sign language, dubbed the headstand signal, to reach out to an entirely different creature, a reef octopus, to flush small fish out of their hiding holes and into the groupers waiting mouth.”

I also watched  a documentary on YouTube that has many facts on the octopus. At 19:12 it begins to talk about the emotions of the octopus, and how they turn pale with fright, red with anger or an alternation of the two.

What other colours can they turn? And what are the reasons for these colours?

BBC. (2017). Blue Planet II [Online] Available at: https://www.bbc.co.uk/iplayer/episode/b09g4d98/blue-planet-ii-series-1-3-coral-reefs [Last accessed 13th Nov 2017]

YouTube. Amazing Octopus – Most Intelligent Animal on Earth? 1080p [Online] Available at: https://www.youtube.com/watch?v=_G6eH1KDl0s [Last accessed 14th Nov 2017 – The video has now been removed, luckily I watched it yesterday]


Tuesday 14th November 2017

Further Exploration

Emotional Pain

Sometimes a distinction is made between “physical pain” and “emotional” or “psychological pain“. Emotional pain is the pain experienced in the absence of physical trauma, e.g. the pain experienced by humans after the loss of a loved one, or the break-up of a relationship. It has been argued that only primates and humans can feel “emotional pain”, because they are the only animals that have a neocortex – a part of the brain’s cortex considered to be the “thinking area”. However, research has provided evidence that monkeys, dogs, cats and birds can show signs of emotional pain and display behaviours associated with depression during painful experience, i.e. lack of motivation, lethargy, anorexia, unresponsiveness to other animals.

Wikipedia. (2017). Pain in cephalopods – Emotional pain [Online] Available at: https://en.wikipedia.org/wiki/Pain_in_cephalopods#Emotional_pain [Last accessed: 14th Nov 2017]

Finalisation

I’m in the last week now and so it has come to my attention that I need to condense my thoughts into one singular coherent idea that I can present as my proposal. I need to think about:

  • What is it I want to create
  • What will users see visually
  • Will users hear sound? If so, what will users hear?
  • Why do I want to create this
  • How will I execute it
  • What technology will I use
  • What message/idea I’m trying to express

Chromatophores

Minette from Seattle, Washington

Wikipedia. (2017). Chromatophores [Online] Available at: https://en.wikipedia.org/wiki/Chromatophore [Last accessed 14th Nov 2017]

Categorisation of Emotions

Wikipedia. (2017). Contrasting and categorization of emotions [Online] Available at: https://en.wikipedia.org/wiki/Contrasting_and_categorization_of_emotions [Last accessed 14th Nov 2017]

Notes

Metaphysical

What direction would I take it


Wednesday 15th November 2017

Working on PDF

I made a start on formatting my PDF for my proposal and started finding some images that I can use for it that are a large enough resolution.

Reaper Cuttlefish

DPG. (2017). Reaper Cuttlefish [Online] Available at:  http://www.divephotoguide.com/user/MichaelG/gallery/the-color-red-2/photo/21740/ [Accessed at 15th Nov 2017]

I know that my PDF will contain a lot of words and so I thought if I use interesting images and a single sentence that sums up my proposal on the first page then readers can decide whether they want to continue reading or not – this means that they get the gist of the idea without having to read the whole thing. If they decide to read on then I can take them through my thought process to how I arrived at my final idea.

My idea is to virtually recreate the chromatophores of cephalopods in order to create a second augmented skin that effectively, visually communicates emotion in an expressive manner.

I attempted some mock-ups on Adobe Photoshop that turned out quite unexpected:

This slideshow requires JavaScript.

The idea was to edit Sam, my nephew, so that he had skin like that of cephlapods, although to the human eye it looks odd. The use of the colour blue was chosen to represent the theme of the sea, but used on a human it just makes him look unwell. The analogous colours of red/orange/yellow on the example on the right were the natural colours of the cuttlefish but they make Sam appear too hot. This has made me realise that we already have a similar, but in no way as expressive, form of communication through colour, even if it’s not emotions that it’s portraying.

Although because I’ve used the exact same photograph to edit, when the slideshow transitions to the next edit it gives quite a nice effect.

Feedback

From Gillian:

Bodies += identities. Concept of emotion and how people display that. Feel emotion first or physiological response? Form of communication mental health Brendan Dawes – visualising something that you can’t see.

Tell the story of your journey in your A3 pdf:
Octopus way of communicating – child’s way of communicating expressive, less so when they “learn” how to communicate. This can be an imaginary thing – meaningful conceptual.

Proposing hypothetical product – machine learning. Changes in physical facial expression to communicate an emotion through changes to a visual output?

Action: A3 pdf document that explains your ideas, direction and outcomes, primarily to show intention. Include references and artists that have influenced you.

From Paul:

I was interested to hear your framing of your take on ‘bodies’ and your anecdotal stories on how an octopus changes colour to signify fear/aggression. I enjoyed your thread on how to implement an ‘expressive skin’. This is clearly an imaginary ‘product’ with no real application as such but that is ok! It is interesting to consider your ideas and how these may be applied hypothetically. You can work to realise elements from this in part 2 perhaps with a view to presenting a description of a framework or service as a final work.

More Thinking

Reflecting on the feedback I tried to think about my input, process and output.

Process

I intend on using a camera as an input that will use machine learning to recognise facial expressions. I’ll need to do some further research on facial expressions in regards to emotions but currently I’m basing my idea off studies by Paul Elkman that I spoke about previously: “When participants contorted their facial muscles into distinct facial expressions (for example, disgust), they reported subjective and physiological experiences that matched the distinct facial expressions. His research findings led him to classify six emotions as basic: anger, disgust, fear, happiness, sadness and surprise.” I will use machine learning as the process that will recognise the form of the human face and be able to distinguish the six classifications of emotions listed above. I will need to do some further research to see what parts of the face change and would influence the desired outcome emotion. For the output for my project I was thinking that I could somehow manipulate the live feedback you get from the camera in order to change the appearance of the users skin. I could do this by either using software on the computer or using a projector that will direct the colour directly onto the user. Therefore the output will be live visuals or projections.


Thursday 16th November 2017

Further Editing of PDF

These videos are close-ups of chromatophores moving. I wanted to see if I could take stills from the video to use in my PDF.

I really like how close up the shots are.

Inspiration for my design that I spotted whilst walking through the art school:

IMG_6428

The editing process on Adobe InDesign:

scrnshot1

Final

The final PDF that I presented for our Interaction Design display:

DesignDomainPart1_ElliotShaw

*insert feedback sheet*

IMG_6441.JPG


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