The semester did not end with IP Critiques, it ended with two papers and an exam, and for that reason, I finished my critique and scampered off to write papers and study. I sulked about my performance in the critique, but not about my feedback, which was true and helpful, though I did not, and for that matter still don't know how to proceed. Here is what my panel, consisting of Jan, Marianetta, and Roland had to say:
Theo – the committee appreciates your material exploration but is confused regarding your intentions and the final form of your project. Remember you are designing a form as well as an experience. Consider how the form itself (through material, gesture, scale, etc.) can express or suggest the experience. The visual perception of the final object will set the expectations that prime the kinesthetic and tactile experience. In all experience design, expectations – or the breaking thereof – are half the deal.
More clarity is needed on the objective and form of the project. What is the specific experience you want the user to have? Are you aiming to subvert the subject object relationship by building an entrapment? What is the central role of the “chair”? Is it an object that “speaks” (offers some commentary)? Is it a piece of furniture or a performance piece? Is it an interactive sculpture? Is it a provocation? Is it meant to be serious or a joke – or both? If you are using humor what kind of emotions are you playing with? It may be helpful to think about your form in a different way – not as a chair. Look at other things or devices that serve as supports for the human body. Aside from the immediate experience of “using” your piece, what do you want the user to leave with?
On a technical level we recommend you to quickly solve the “pillow material” for your cornstarch material and choose the most appropriate/feasible form for the experience that you want to set up.
References:
http://www.jacobtonski.com/balance-from-within/
I had built a chair that was too delicate to be sat on. When observed, it simply stands there, immobile, just like a chair should. But as soon as it senses that it is alone, when there is no movement nearby, it begins to frolic and dance, legs bounding, jumping into the air like a happy goat. This of course would not have been enough to appease the critique panel, so in the dream the chair was accompanied with a projection of a play that I had written, acted in, taped, and edited. The play was a dialogue between me and the chair. The chair could indeed speak: with the push of a slideshow clicker on my end, it would say the next of its lines; the entire performance was staged. We discussed art, design, audiences, and education (I recall the chair shouting at a crucial moment "How can I be art if the audience never sees my movement? My purpose? If there is no audience for my existence, then my creation is meaningless. Why should I have unobservable features?").
Digression: I do not remember my dreams often. The dreams I do recall, however, are bizarre and filled with architectural marvels of my subconscious' making, stories and characters I have never encountered, and so I chronicle said dreams. Dreams are almost always fodder for creativity, not only in the writing cases of Coleridge and Stevenson, but also, I believe, for design and architecture.
Upon waking, I thought it was bloody typical that I would make something that could not be watched. After a little reflection, however, I began to mull it over in my head. Writing a play between a work of art and its creator would allow me to physically talk about the things I've been pondering for the past three months. I would not be implying a struggle so much as actually showing it. The piece it self would not be too difficult--I saw how it was constructed in my dream (dream logic is admittedly flawed). I would also be able to combine elements from my creative writing minor, and my senior thesis integrative project would be one part design, one part artwork, and one part play.
I talked to a couple of people about this idea (mainly my mother, who is herself a published author of three novels). My mother loved the dream and that my mind combined my stresses into a coherent, albeit absurd solution, but she did not think it should be my final project. At this point, I don't know what to think. Currently working on a book contract, a grant proposal, a collection of short stories, and this project on top of school, work, and family vacation time is making thinking difficult at the moment. My hope is that once I'm back in Michigan, isolated 500 miles from home, I'll be able to work nonstop and come up with some solutions.
I have not, as of yet, started writing my 1500 word thesis draft, but because I keep this blog so maintained, I don't believe I'll have much difficulty talking about what I've done and the research behind the project. Now to just figure out what the hell it is I'm doing....
Checklist
One semester.
Working on:
Relaxing, reflecting, figuring things out.
Writing thesis draft numero uno
To do:
One semester