Strange Phenomenon Weird Sensation by abbyjuanqin

Juan Master´sQin Thesis 2022 Visual Communication Design Faculty of Fine Art, Music and Design, University of Bergen DesignCommunicationVisaulinProgramMaster´s Visual Communication Design in the Post-Digital Age: The Untapped Potential and Possibilities of Autonomous Sensory Meridian Response (ASMR) Afford for Visual Communication Design nonPhenomeStrange-WeirdSensation

Major Visual communication design

Title of thesis Strange Phenomenon Weird Sesation

Date 15.05.2022

Author Juan Qin

Thesis supervisor/main tutor Prof. Dóra Ísleifsdóttir

Language

Thesis advisor(s) Prof. Dóra Ísleifsdóttir

Subtitle: Visual communication design in the post-digital age: the untspped potential and possibilities Autonomous Sensory Me ridian Response (ASMR) afford for visual communication design

Number of pages 148 English

Program Master in design

In recent years, The Autonomous Sensory Meridian Response (ASMR) has become one of the most popular phenomena over the internet. It defines as a combination of positive feelings, relax ation, pressure release, and a distinct static-like tingling sensation on the skin. It is a sensory phenomenon that is a tingling physical feeling that typically begins on the back and the top of the scalp. It moves down to the back of the neck, down to the upper spine, shoulder, and arms, and sometimes even to the legs, which respond to specific triggering audio and visual stimuli. Base on Barratt and Davis´s study (2015) suggested ASMR´s effect on providing temporary relief to individuals with depression, stress, and chronic pain. For example, I enjoy viewing eating food, cooking, and video content on the internet that zooms close in on objects. I found that ASMR videos and sounds relax me, and sometimes I even develop goosebumps when watching them. This personal experience and realisation spur in ASMR, which compounded when I realised how many people seemingly feel similar effects of ASMR experiences.

ABSTRACT

This master’s project in visual communication design and thesis focuses on visual communication design in the digital age: the untapped potential and possibilities of a global internet phenom enon, Autonomous Sensory Meridian Response (ASMR), afford for visual communication design. With a particular interest in exploring the intersection of connections and cross-disciplinary relations among visual communication design, graphic design, creative coding, programming, interactive design, social media, and individuals’ subtle emotional expression.

Abstract

This thesis introduces the research motivation, research back ground, and presented research questions. Where is visual com munication design heading in the post-digital era, when the world is a global village? Can new global phenomena on the internet create inspirational directions for visual communication design to learn from, like the worldwide internet phenomenon: ASMR? Can we speak of a new movement in visual communication design practice and academic research? And what kind of new movement can it establish? Can learning tools push this new movement? Then I give a brief explanation of ASMR and its history. I also explain the exciting connection between ASMR experience and visual communication design in today’s context where digital screens surround us. Next, I follow project examples and relevant research about ASMR in clinical role-play, personal attention role play, and pop cultures, like contemporary art, digital art, exhibi tion, and its creative possibility for visual communication design.

In the third chapter, I present the methodologies and methods used in my studies, such as diffractive reading, discursive design, speculative design, and practice-led research. New tools and techniques have been learned and used in practice varying from creative coding, motion graphic, and visual programming to sen sory technology. Further, I argue that there is a need for academic practice-based design research of learning tools. This is especially important when more and more learning is mediated by digital technology. I introduce the design process, outcomes, results and reflection. And finally, I use speculative design as a methodolo gy to generate ideas and encourage a speculative and dialectical discussion about the future of visual communication design. And

ABSTRACT

how ASMR can become an inspirational resource for people who work in mental health, textile design, spatial design, visual com munication design, furniture design, etc.

Keywords Visual Communication Design, Graphic Design, In teractive Design, Multi-Sensory Design, Creative Coding, Asmr, Social-Media, Emotion Expression

Encouraged to seek answers to my research questions, I examine the field of visual communication design, graphic design, creative coding, programming and ASMR media. As a result, I use specu lative design as a methodology and creative coding and sensory technology as tools to generate a conceptual product: strange phenomena and weird sensations – a multisensory soothing lab. With this experiment, I challenge visual communication design´s future possibilities and argue that multisensory experience and ASMR experience can be part of the visible communication process.

Then, I would like to express my special thanks to the professor at Aalto University, Matti Niinimäki. His guidance, support, and care helped me to overcome many challenges. He gave me a lot of courage to experiment and explore many practices I would not dare to try or think about. Besides them, I would also like to thank Lily Diaz-Kommonen, Andres Lucero Vera, Markku Reun anen, Teemu Leinonen, and all the other professors and friends I have met during the study period at Aalto ARTS. Thanks for al ways being there for me when I need help and support. Thank the Faculty of Art, Music, and Design (KMD), University of Bergen (UiB), for providing me with such a fantastic opportunity. Thanks to Aalto ARTs for such a great learning experience.

Acknowledgments

I would like to first thank my supervisor, Prof. Dóra Ísleifsdóttir, for supporting me in my master’s studies. Her trust and encour agement are the core of my conducting such an interesting and challenging thesis topic. I thank her for always being there for me when I encountered difficulties and for helping me adjust to a new cultural environment. Furthermore, she encouraged me to participate in the exchange program at Aalto University School of Art, Design, and Architecture (Aalto ARTS) in the Visual Com munication and New Media department. The study experience at Aal-to University has been inspiring and essential. It reshaped my understanding of design, art, technology, and the profound connection among these fields.

Bergen, 08 January 2022

ACKNOWLEDGMENTS

Juan Qin

Finally, I would like to express my gratitude to Haltenbanken. Their support and trust helped a lot during the thesis writing period. Moreover, I would like to thank everyone who has participated in this thesis research. Last but not least, I want to send my gratitude to my parents and friends. Their love, understanding, and encouragement help me overcome all the difficulties during the master’s study period.

10 Table of Contents 321AbbreviationsContentsAcknowledgmentsAbstract…...………………………...………………...…..……..05…...…………………….……………..……..08…...………………………...…………..………..……..10…...………………………...……………..……....13Introduction…...………………………...……………..……..141.1ResearchTheme………………..………………………161.2ResearchMotivation……………………..………..……231.3ResearchQuestions.……………………………..……..261.4StructureOfThesis…..…………………………..……..27ContextandLiteratureReview………………………..……..302.1ASMR..…………………………………………..……..302.2VisualCommunicationDesignandGraphicDesign:TheOriginandDevelopment…...……………………..……..372.3ASMRMediaandVisualCommunicationDesign...…..43MethodologyandMethods…...………………...……..……...703.1DiffractiveReading…...………………..………..……..703.2DiscursiveDesignandSpeculativeDesign…...………..713.3Practice-LedResearch:ThinkingandLearningThroughPractice….....……………………..……....833.3.1ToolsandTechnologies…...………………...……..844DesignProcessandOutcome…...……………………..……106

11 Multi-Sensory Lab – Look, Listen, Touch, and Feel...……..106 4.1 Mukbang – Follow Me..……..……………….…...107 4.2 The Pillow Project – Have a Good Sleep....…....…112 4.3 Strange Phenomenon Weird Sensation – Feel It......117 4.4 Audiovisual Live Performance: “Oh, I Just Had Goosebumps!”………….…………….…………….….....128 5 Results and Reflection....….…………………………..….…132 5.1 Showroom: Strange Phenomenon Weird Sensation –A Multisensory Soothing Lab.………………………..….…132 5.2. Reflection….…………….…………….……………..136 6 Bibliography……..Conclusion….…………….…………….……………..…….139….…………….…………….……………..140 CONTENTS

ABBREVIATIONS

Autonomous Sensory Meridian Response User Interface User

AVVPL,D&ADArkDesMobileCAFAAaltoUiBKMDRQVRARUXUIASMRARTSAppsVPS

Musikk og Design, UiB University of Bergen

Centre for Architecture and DesignDesignand Art Direction, formerly known as British Design and Art Direction, is a British educational organization that was created in 1962 to promote excellence in design and advertising Visual Programming Language, Visual Programming System Audiovisual

Abbreviations

Aalto University School of Art, Design and ChinaArchitectureCentral Academy of Fine Arts

FakultetResearchVirtualAugmentedExperienceRealityRealityQuestionforKunst,

A mobile application or app is a computer program or soft-ware application designed to run on a mobile device such as a phone, tablet, or Sweden’swatchNational

1 Introduction

This master’s study explores the untapped potential and possibilities of a global internet phenomenon, Autonomous Sensory Me ridian Response (ASMR) afford for visual communication design. How can today´s visual communication design involve a multisensory experience? And to challenge the whole communication process about seeing, touching, hearing, and sometimes even tasting and smelling. I am particularly interested in exploring the intersection of connections and cross-disciplinary relations among visual communication design, graphic design, creative coding, programming, interactive design, social media, and individuals’ subtle emotional expression.

This thesis has six chapters covering content, including the introduction, context and literature review, methodology and methods, design process and outcome, result and reflection, and conclusion. The first chapter introduced the research motivation and background and presented research questions. Three research questions have been listed in this paper, and they are, where is visual communication design heading in the post-digital era, when the world is a global village? Can new global phenomena on the internet create inspirational directions for visual communication design to learn from, like the worldwide internet phenomenon: ASMR? Can we speak of a new movement in visual communi cation design practice and academic research? And what kind of new movement can it establish? Can learning tools push this new movement? Context and literature review are introduced in the second chapter, where I briefly explain ASMR and its history. I also explain the exciting connection between ASMR Media and Visual Communication Design, especially in today’s scenario

Introduction1

Encouraged to seek answers to my research questions, I examine the field of visual communication design, creative coding, pro gramming, and ASMR media. As a result, I use speculative design as a methodology and creative coding and sensory technology to generate a conceptual product: strange phenomena and weird sensations – a multisensory soothing lab. With this experiment, I challenge visual communication design´s future possibilities and

where screens surround us. Next, I follow project examples and relevant research about ASMR in clinical role-play, personal attention role play, and pop cultures, like contemporary art, digital art, exhibition, and its creative possibility for visual communica tion design. Following in the third chapter, I present the method ologies and methods that have been used in my study, methodologies like diffractive reading, discursive design, speculative design, and practice-led research. New tools and techniques have been learned and used in practice varying from creative coding, motion graphic, and visual programming to sensory technology. Further, I argue that there is a need for academic practice-based design research of learning tools. This is especially important when more and more learning is mediated by digital technology. Following that, I introduce the design process, outcomes, and findings. And finally, I use discursive design and speculative design to gener ate ideas and lead a speculative and dialectical discussion about the future of visual communication design. And how ASMR can become an inspirational resource for people who work in mental health, textile design, spatial design, visual communication de sign, furniture design, etc. For example, the ASMR experience-inspired design services and products can be an alternative.

argue that multisensory experience and ASMR experience can be part of the visible communication process.

Personal Choice of Theme

Before I dive into the thesis content, I want to start with a brief introduction to my personal history. I grew up in a small city in the southern part of China. Later moved to Beijing to study visual communication design. My parents thought I had shown talents in painting when I was seven and interested in drawings and art. So, they sent me to classes for systemic training in painting. I now see that this experience was my early experience in visual art. Because of my drawing skills, I became the Commissary in charge of publicity from primary school to high school, from age eight to seventeen. I took care of publications and was, most of the time, mainly responsible for the seasonal blackboard newspaper and posters. To be a commissary from primary school to high school was my early practical experience in visual communica tion

1.1 Research Theme

Furtherdesign.study at the art academy, China Central Academic of Fine Art (CAFA), and study experience in the Netherlands at Willem de Kooning Academy (WdKA) broadened my understanding of visual communication design and design in general. In 2016, I graduated from CAFA in China with a bachelor’s project called

After my BA studies, I decided to focus on working with visual identities and branding for both culture and commercial projects as I worked in design consultancy, LAVA Design and 2x4. LAVA focus on graphic design, and 2x4, headquartered in New York City, focus on brand strategy, storytelling, and identity. Naturally, those practices improved my professional skills in branding, visual identity design, conceptual thinking, and graphic design. Most of the time, the visual presentation of my work was static, and the content was often displayed on media platforms like paper, objects, and space. However, more and more static print matter content displays have been replaced by digital screens. I sensed a growing need for more dynamic elements from the clients and brands. I felt the change was happening, and I was curious about future visual communication design changes. I wanted to explore – Where is visual communication design heading in the post-digital era when the world is a global village? Can new global phe nomena on the Internet create inspirational directions for visual communication design to learn from, like the worldwide internet phenomenon: ASMR? Can we speak of a new movement in visual communication design practice and academic research? And what kind of new movement can it establish?

1717 ThemeResearchIntroduction_1.11

1/10 Blue, a data visualization project that brings a sensitive topic, depression issues in China, to the table and makes it visible and acceptable. Although I care about social issues and am aware of what is happening around me, individual emotional expres sions are essential for me. Therefore, I am interested in using visual communication design as a medium to build connections between information and unique people.

Goodwin, T (2016) explains, “digital will be a vast, quiet element shaping the diaphysis of life in the post-digital age. The internet will become a background service. It feels invisible and so natural to have it. Noticeable only in its absence. The smart home will

While writing my thesis, I was inspired by the book Graphic de sign in the post-digital Age by Demian Conrad, Rob van Leijsen, and David Héritier. It is a research project that discusses the challenges and opportunities apparent in the wake of the rapid rise of creative coding within a growing community of designers opting to make their design tools. Coding has innovated and transformed this group’s design practices, strategies, and future directions visual communication design will take. “The term “post-digital” was coined in 1998 by the founder of the famed MIT media lab, Nicholas Negroponte. Graphic designers have recently used it to refer to creative practices based upon the growing utilization of programming, software, and ad hoc algorithms.” (Conrad D. & Leijsen v R. Héritier D, 2021).

My curious gut feeling and a wish to gain a deeper understanding of graphic design in the digital realm, as well as a desire to be an inspiring designer and artist, led me to a further study in Visual communication design at the Fakultet for Kunst, Musikk og Design (KMD) in Norway and New media design and production at the Aalto University, in School of Art, Design, and Architecture (Aalto ARTS) in Finland. These programs enabled my particular interest in further exploring the intersection of connection and in terdisciplinary relations between graphic design, technology, and individual subtle emotional expression in the digital era.

19 work. The video will follow us around. Content will be paid for… all seamlessly, invisible, and effortlessly.” I have just replaced my broom with an automatic robot vacuum cleaner. And I named the robot Samantha because she has a deep female voice which reminds me of Samantha, one of the main characters in the TV series, Sex and the City. I have become addicted to viewing live streaming video content and enjoy watching people cook, plant, and eat online. This has become a natural activity for me to do before bed. I say to my friends: This is my daily relaxing-sensation

DataReportalactivity.

(2021) notes that in 2021 there are now 4.88 billion internet users worldwide, equating to almost 62 percent of the whole world’s population, and social media users reach another impressive milestone. More than 41/2 billion social media users worldwide, more than 400 million higher than last year, equating to almost 10 per cent yearly growth. Social media has a profound impact on all aspects of people’s lives, and we do not seem to be paying enough attention to this fact even though evidence of it is everywhere around us. The digital revolution marked the beginning of the Information Age. The shift from mechanical and analogue electronic technology to digital electronics began in the later half of the 20th century (‘Digital Revolution’ 2022).

ThemeResearchIntroduction_1.11

Growing up in China, where technology has developed rapidly in the past 30 years, I feel there is a significant need to explore the new digital realm as a visual communication designer and artist. Although I am an active social media user, I enjoy viewing eating and cooking video content. I find that content relaxes me and

content.Imageresource via Instagram account @ASMR

sometimes even makes me have goosebumps while I watch. This tingling sensation develops when experiencing specific video and audio content. Jennifer Allen coined the term Autonomous Sensory Meridian Response (ASMR) in 2010 to describe this phenome non. To avoid creating confusion when mentioning ASMR-related content, in the following content, I will use the phrase “ASMR media”, as in this paper, to describe all types of ASMR-related

Relevance

ASMR is a massive and growing trend. For example, Google’s archives (2016) indicated that there is more search interest on Youtube for ASMR than for “Candy” or “Chocolate”. The topsearched question to ASMR on Google worldwide is, “What is ASMR?” Similarly, according to Google Trends statistics, search es in Norway on Youtube for ASMR also show much higher interest for it than “Candy” and “Chocolate”. Table 1 demonstrates the search interest development from 2008 to the present. Table 2 compares worldwide interest for ASMR by region. South Korea showed the most interest in ASMR, ranked top 1, followed by Ja pan in second place, Finland in third, the United States in fourth, and Norway in place five. (Google Trends ©2022)

ThemeResearchIntroduction_1.11

22 Table Figure21

shows the top YouTube search query in Norway, and it suggests that ASMR is in the top 8th place of popular search topics in Norway.

ASMR-related queries vary from eating, cooking, slime, sleep, makeup, anime, relaxation, etc. The most common triggers are au dio and visual. A 2017 study of 130 survey respondents found that lower-pitched, complex sounds, and slow-paced, detail-focused videos are compelling ASMR triggers. (Barrat, EL; Spence, C;

“Graphic design is the profession and academic discipline whose activity consists in projecting visual communi cations intended to transmit specific messages to social groups with objectives. Unlike art, whose aim is merely contemplation, design is based on the principle that ‘form follows a specific function (Bear, J.H., 2019)

Therefore, graphic design is an interdisciplinary branch of

1.2 Research Motivation

To Develop as A Visual Communication Designer and Artist

Davis, NJ, 2017). There is already a massive discussion over the internet about ASMR, and much academic and scientific research about its possibilities in clinical role-play and personal attention role-play. For instance, it is suspected to act as pressure release ment, curing sleeping disorders, treatment for unhealthy eating habits, giving relaxing sensations, and assuaging symptoms associated with depression, anxiety, and panic attacks. On top of that, ASMR has also been used in contemporary art, digital arts, music, film, and exhibitions. Project examples and cases are included in Chapter 2: Context and Literature Review.

In contrast to Conrad, D., Héritier, D. and Leijsen, R.’s research, a very recent updated Wikipedia explanation about Graphic design gives a general yet still interesting point of view:

MotivationResearchIntroduction_1.21

24 design (Vise, Kristen, 2021) whose foundations and objec tives for decision-making, through creativity, innovation, and lateral thinking, along with manual or digital tools, are transformed for proper interpretation. This activity helps in the optimization of visual communications. It is also known as visual communication design, visual design or editorial design… Due to its interdisciplinary nature, graphic design can be performed in different areas of application: brand ing, technical and artistic drawing, signage, photography, image, and video editing, 3D modelling, animation, and programming, among other fields. ” (‘Graphic design’, 2022)

When I graduated from university in 2016 with a bachelor’s degree in visual communication design, I applied for a graphic designer position at a design consultancy, LAVA Design and 2x4. The requirements for the jobs were to have relevant education in graphic design or art study, knowledge and experience in layout design, typography, and print design, and to have demonstrable conceptual thinking ability. In 2018, the job market updated its requirements due to the technology and interdisciplinary nature. Despite still requiring the same relevant education background, skills in graphic design and experience, skills in website design, motion graphics, and digital design are preferred. In 2019, I quit my job and moved to Norway for further study. Because of financial reasons, I had to work alone on my studies to be able to finish my degree. Based on my job searching experience in 2021, mainly in Scandinavia countries, I estimate that there are way more job opportunities in digital design, for example, UX, UI,

When I got hired by Haltenbanken, a Bergen-based design agen cy, they suggested that my portfolio has shown diverse projects, from graphic design, branding, and identity to website design, UX and UI design, and interaction design. At Aalto ART, learning programming and coding is part of the course plan in the visual com

MotivationResearchIntroduction_1.21

Studio dumber is a well-known international branding agency specializing in visual identity and motion design based in Rot terdam, the Netherlands. An interesting mention from Sander Sturing, interaction designer and creative coder at Studio Dumbar, during the interview with Demian Conrad, a designer, researcher and creative director. Sander suggested Liza [Enebeis], creative director of Studio Dumber, always likes to say, “static is no longer an option because now, designers have to design for screens of all different sizes and animate things more than ever.” San-der men tioned, “for example, their two recent hires are motion designers who work with 3D and VR.” I understand Sander and Liza’s points of view. It represents the main focus that Studio Dumbar is trying to archive because there are also studios and agencies in the Netherlands and the world that focus on print matters.

25 and interaction design, than in graphic design, which focuses on branding, identity, and print design. More and more companies and design consultancies are looking for designers with skills in motion graphics, moving images, 3D, and even programming and coding skills. I find this very interesting, exciting, and a bit scary. How should designers adapt themselves to this rapidly growing technology age? Where should we position ourselves as graphic designers in the future? What’s next? How should we react?

26 munication design department. For instance, basic Html knowl edge is part of the mandatory course plan. At Aalto ART, students are encouraged to do cross-disciplinary studies. The students are encouraged to take courses in computer science, business, art, etc. I learned to use codes during my research at Aalto and found some exciting connections between visual communication design and creative coding. The significant part of this experience is not making myself become an advanced programmer but more about knowing and understanding what is possible with it.

From the research objectives and research motivation, the Re search Questions have listed below:

RQ2: Can we speak of a new movement in visual communication practice and academic research? And what kind of design move ment can we speak of? Can learning tools push this new moveRQ3:ment?Can new global phenomena on the internet become inspirational directions for graphic design to learn from, for example,

RQ1: Where is graphic design heading in the post-digital era, when the world is a global village (McLuhan 1962) and media technologies (Spacey 2015) have become so natural and seamlessly blended into people´s daily lives?

1.3 Research Questions

QuestionsResearchIntroduction_1.31

1.4 Structure of Thesis

Chapter 1 of this thesis briefly introduces the research objectives, motivation, and questions. Then Chapter 2 gives a brief explana tion of ASMR and the history and development of Visual communication design. Then introduce the exciting connection between visual communication design and the ASMR media. Next, follow project examples and relevant research about ASMR in clinical role-play personal attention role play, and pop cultures, like con temporary art, digital art, exhibition, and its creative possibility for visual communication design. Finally, chapter 3 presents my themes, context, methodology, and methods – for example, dif fractive reading, discursive design, speculative design, and prac tice-led research. New tools and techniques have been learned and used in practice varying from creative coding, motion graphic, and visual programming to sensory technology, AR, and interac tive design. Using these new tools and methods has opened many unexpected possibilities and brought a lot of new ideas to my design practice and artistic research. And argue the importance of learning tools for academic practice-based design.

The design process, outcome, and findings are included in Chapter 4. Later in Chapter 5, I use speculative design as a methodolo

ASMR? And how can ASMR media inspire a multi-sensory approach to visual communication design?

28 gy to generate ideas and lead a speculative and dialectical discus sion about the future of visual communication design. And how ASMR can become an inspirational resource for people who work in mental health, textile design, spatial design, visual communi cation design, furniture design, etc. I speculated on an exhibition concept, Strange Phenomenon Weird Sensation – A Multisensory Soothing Lab. Finally, Chapter 6 summarizes the whole thesis and reviews the research questions again in the final part of the thesis.

29 ThesisofStructureIntroduction_1.41

2 Context and Literature Review

WhatASMRisASMR

The Autonomous Sensory Meridian Response (ASMR) combines positive feelings, relaxation, and a distinct static-like tingling sensation on the skin. It is a sensory phenomenon that is a tingling physical feeling that typically begins on the back and top of the scalp, responding to specific triggering audio and visual stimuli. It moves down to the back of the neck, upper spine, shoulder, and arms, and sometimes even to the legs. An illustration of the route of ASMR’s tingling sensation is presented in Figure 2. (Barratt, E.L.; Davis, N.j., 2015). The effect of the audio and visual content is not about the speed but the slowness, a zooming close in on objects, and a feeling of closeness, such as whispers, crisp sounds, personal care, and slow or repetitive movement. It is best experienced when the environment is quiet and calm. The experience of ASMR “tingles” is often accompanied by a feeling of calm and relaxation. (Poerio, G.L.; Blakey, E.; Hostler, T.J.; Veltri, T., 2018), (Ohta, Y., Inagaki, K., 2021). There are also discussions about ASMR’s effect on providing temporary relief to individuals

This chapter gives briefly explains ASMR and its history. First, I present the exciting connection between ASMR Media and Visual Communication Design, especially in today’s scenario where screens surround us. Next, I follow project examples and relevant research about ASMR in clinical role-play, personal attention role play, and pop cultures, like contemporary art, digital art, exhibi tion, and its creative possibility for visual communication design.

2.1

_ASMRReviewLiteratureandContext2

Figure 2 ASMRMap. An illustration of the route of ASMR’s tin gling sensation.Image shows rear view of the head and upper torso. Capable individuals typically experience the sensation as originating at the back of the head, spreading across the scalp and down the back of the neck. Half of participants reported that this sensation typically spreads to the shoulders and back with increasing intensity. Though this diagram represents the most common areas involved in the tingling sensation, there is a huge amount of individual variation in where tingles spread to with increased intensity, with legs and arms also commonly reported as hotspots in some individuals.

31 with depression, stress, and chronic pain. (Barratt, E.L.;Davis, N.j., 2015).

On Instagram, there are more than 26 million (viewed in June 2021) posts with the hashtag (#)ASMR. These posts cover content from food eating, cooking, and zooming close in on looking at people interacting with daily objects like soap, foam, slime, and sand. ASMR is a term to describe a physical sensation. There are different ways to express this physical sensation, for instance, a feeling of deep calm, a sense of satisfaction, or a mellow feeling. The term, ASMR, was coined by Jennifer Allen (2010). She came up with this term to provide a word for people to feel comfortable talking about this sensation without feeling too giggly or shy. Or even a matter that one would be understood as a shame to make people think they were experiencing something making them feel or think of themselves as crazy.

Before 2015 there was no rigorous scientific exploration of ASMR, nor of the conditions which trigger or end the ASMR state. (Barratt, E.L.;Davis, N,j., 2015). However, important scientifical research by Barratt and Davis in 2015 at the Department of Psychology, Swansea University, Swansea, United Kingdom, revealed a series of remarkable findings about ASMR. The primary method used during this research is an online questionnaire (www.qualtrics.com, version 36,8929), which has been used to gather information on the prevalence of particular features of ASMR: when and why individuals engage in ASMR, and the relation of ASMR to other known phenomena. A sample study included 475 participants, comprised of 245 men, 222 women, and eight individuals of non-binary gender. Exciting findings and results from Barratt and Davis’s research are listed below:

Reasons for Engaging in ASMR

Based on the Likert scale questions, which indicate why people engage in ASMR, they mainly seek a relaxation experience, with 98% of individuals agreeing or agreeing strongly with this statement. However, some indicate more specific in this area as ASMR helps them relax and fall asleep in the evening, with 82% agreeing and 70% suggest ing using it to release their stress level.

Analysis of responses found four significant categories of triggers, each experienced by over 50% of participants. These triggers are whispering (75%), personal attention (69%), crisp sounds (64%), and slow movements (53%). 34% of participants also reported that their ASMR was triggered by watching repetitive tasks. Triggers less com monly associated with ASMR media (smiling, vacuum cleaner noise, aeroplane noise, and laughing) were included

Common Triggers

_ASMRReviewLiteratureandContext2

Table 3 Common triggers. Percentage of participants that reported induction of tingling sensations from each trigger type.

The research also indicated that the most common time for engagement with ASMR is before going to sleep at night, with 81% of participants reporting this as their preferred time. And their preferred environment when experiencing ASMR media is quiet, relaxed conditions.

of Engagement With ASMR

Participants reportedly felt best while engaging with ASMR media, with reports on the 0 to 100 scale of positive mood averaging at 78 for this period. The effect on mood steadily decreased over several hours. Means for all time frames are

Timenext.

Effect on Mood

Eighty percent of participants responded positively to ASMR’s effect of uplifting their mood, while 14% were unsure, and the rest 6% felt that ASMR did not alter their mood. When submitted to a mixed ANOVA with factors for time (before, during, immediately following, and three hours after ASMR) and for depression status (high, medi um, or low as defined by the BDI), Barratt and Davis found a significant main effect of time on mood [F(3.06,1143.0), p < 0.0005]. Pairwise comparisons revealed significant dif ferences between all timeframes (p < 0.0005 in all cases).

34 for comparison. In each case, each of these non-triggers was reported to be effective by less than 3% of participants. These values are illustrated in Table 3. Some individuals reported only being triggered by new viewing material, in which they cannot predict which trigger will be presented

reported in Table 4.

Table 4 BDI graph. The time course of mood before, during, immediately following, and se-veral hours after engaging in ASMR. Data shown is the mean mood score given to each time frame by all participants (N=475), with participants grouped according to their Beck Depression Index. Mood scores could range from 0-100, 0 represent the worst the indivisual had ever felt, 100 representing the best theyt have ever felt. Error bars represent +-1 standard error.

_ASMRReviewLiteratureandContext2

Barratt, E.L., and Davis, N,j. (2015) pointed out that their re search warrants further investigation into the potential therapeutic measure similar to meditation and mindfulness, which are the reported benefits of ASMR in uplifting mood and pain symptoms. One of the latest research projects by Pedrini C., Marotta L., and Guazzini A (2021) has pointed out that people use ASMR media

Synaesthesia and Chromesthesia

Based on Giles C. (2017)’s article, James Wannerton, the president of the UK Synaesthesia Association, suggested that synesthe sia is a neurological trait or condition that results in a joining or merging of senses that aren’t usually connected. The stimulation of one sense causes an involuntary reaction in one or more senses. For instance, someone who experiences synesthesia may hear colour, see sound, or taste sounds. He also pointed out that the five human senses —hearing, sight, touch, taste, and smell, which function independently but are interlinked at birth. Then, when the brain starts developing, a gene that cuts all the connections between the five senses comes into play. However, this pruning is incomplete, so some neural connections remain in place. The neural connections that remain are a kind of synesthesia. Some subtypes have been suggested, including grapheme-colour, graph eme-personality, time-space, and pain-gustatory synesthesia. Synesthesia has also appeared in some of my practice projects during the project exploration process, placed in chapter 5.

Another interesting finding in Barratt and Davis’s research also suggested that people with higher depression scores benefitted most significantly from engaging in ASMR.

2.2 Visual Communication Design and Graphic Design: the Origin and Development

37 to relax, induce sleep, and reduce anxiety. Still, physiological data suggest an activation component despite the relaxing state people affirm to be in. Although the data can be a starting point to understanding the general framework regarding the mechanisms under lying the ASMR, the complex nature of this phenomenon makes it necessary to build further exploration in this field, especially to know-how and when this idiosyncrasy occurs.

Why do I think it is essential to talk about visual communica tion in today’s context? Due to my previous education and work experience, I understand visual communication design is a too to build connections between information and individuals. This con nection sometimes uses visual language to create communication experiences. These experiences can be through physical objects, like books, newspapers, posters, and all other kinds of printed matters. It can also be digital, like websites, mobile apps, digital newspapers, and motion graphics. It can also apply to 3d environ ments, such as signage and wayfinding systems, exhibitions, and real-time live visual performances. The connection can also be a thinking method to ask questions, find problems, generate ideas, and discover solutions. Visual communication design is the use of visual elements to convey ideas and information (InfogGraphic, 2019), which include but are not limited to signage, typography, drawing, colour, graphic design, illustration, industrial design, advertising, animation, and electronic resources (“Subject Week”,

DevelopmentandOriginTheDesign:GraphicandDesignCommunicationReview_VisualLiteratureandContext2

2020). Graphic design started from the origins of human exis tence, from the caves of Lascaux to Rome’s Trajan’s Column to the age to the illuminated manuscripts of the Middle Ages, to the Neon lights of Ginza, Tokyo. The printing press made books more widely available. To some degree, both movable-type systems were limited to primarily east Asia. The development of the printing press in Europe may have been influenced by various sporadic reports of movable type technology brought back to Europe by returning business people and missionaries from China (Gies, F., Gies, J., 1994), (Carter, T. F. 1955), (von Polenz, P., 1991).

Abushwali, Lim, and Bedu (2013) suggested that the start of graphic design development follows the advent of printing and has relied on print since its emergence. However, it has been affected by technological development and digital media usage for visual communication. Not hard to notice that in the past, the leading media where we access information and knowledge were radio, tv, and printed material, for instance, newspapers, flyers, and books. In today’s context, especially with technology devel opment and Internet usage, new forms of media are computational and rely on the internet for redistribution. These forms are also called new media. Examples are computer animations, computer games, human-computer interfaces, interactive computer installations, websites, and virtual worlds (Teemu, 2010).

Next, I would like to introduce facts about digital usage in today´s context. The data and figures show a clear image of the develop ment of global internet users and media platforms where the people are most active. Kemp (2022) suggested some interesting facts

More than two-thirds (67.1 percent) of the world’s population now uses a mobile phone, with unique users reaching 5.31 billion by the start of 2022. And global internet users have climbed to 4.95 billion at the beginning of 2022, which stands at 62.5 percent of the world´s total population. Global Social media users reach 4.64 billion, which is equal to 58.4 percent of the world’s total population. Worth mentioning that social media “users” may not stand for unique individuals. This is demonstrated graphicly in Figure 3.

about digital usage in today’s context based on the Digital 2022 Global Overview Report. The world’s population stood at 7.91 billion in January 2022, with an annual growth rate of 1.0 percent, suggesting that this figure will reach 8 billion sometime in 2023.

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Figure 3 demonstrated the adoption and use of connected devices and service and their ratio to the world's population.

Complete Digital 2022: Norway report can be found: ary-2022-v01.www.slideshare.net/DataReportal/digital-2022-norway-februhttps://

The report also indicates that in January 2022, Norway’s total population was 5.48 million, with an annual 0.8 percent increase between 2021 and 2022. At the start of 2022, there are 5.43 mil lion internet users in Norway, meaning 99.0 percent of the total population use the internet. Figures are visualized in Figure. 4. In Norway, social media users were 4.74 million, which is about 86.5 percent of the total population, but it’s essential to know that social media users may not represent unique individuals (Kemp, S., 2022). The report suggested that Norway’s five most popu lar social media platforms are YouTube, Snapchat, Facebook, Facebook Messenger, Instagram, and TikTok. YouTube has 4.64 million users, Snapchat and Facebook have 3.3 million users, Facebook Messenger with 2.95 million users, Instagram with 2.9 million users, and TikTok with 1.4 million users aged above 18. Detailed graphical content can find in Figure. 5 and Figure. 6.

Figure 4

Figure

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Figure 5 6

The term “post-digital” was coined in 1998, about twenty-four years ago, by the founder of the famed MIT media lab, Nicholas Negroponte. Graphic designers have recently used it to refer to creative practices based upon the growing utilization of program ming, software, and ad hoc algorithms. (Conrad D. & Leijsen v R. Héritier D, 2021). Goodwin, T (2016) mentioned digital would be a vast, quiet element shaping the diaphysis of life in the post-dig ital age. The internet will become a background service. It feels invisible and so natural to have it. Noticeable only in its absence. The smart home will work, the video will follow us, the content will be paid for, etc. Everything is seamless, invisible, and effort less. The Digital Revolution is also known as the Third Industrial Revolution. It begins in the latter half of the 20th century. The transformation from mechanical and analogue electronic tech nology to digital electronics with the adoption and proliferation of digital computers and digital record-keeping continues today. (E.Schoenherr, Steven, 5 May 2004).

Post-digital

I have mentioned in the earlier writing and suggested that the ASMR experience occurs in response to specific triggering audio and visual stimuli. On social media sites, for instance, on Instagram, where media objects foregrounding touch and texture are shared via specialized accounts and hashtags such as #satisfy ingvideos, #mukbang, #asmreating, #asmreating, and #slimeasmr. Visual examples have presented in figure 7.

2.3 ASMR Media and Visual Communication ASMRDesignmedia,internet, and design – The Inspiring and Exciting Interdisciplinary Connection Between ASMR Media and Visual Communication Design

Figure 7 DesignCommunicationVisualandMediaReview_ASMRLiteratureandContext2

Figure 8. #soapcutting, resource via Instagram

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Figure 9. #asmrslime, resource via Instagram

ASMR media is often referred to as ‘bizarre’, ‘odd’, ‘strange’, or ‘weird’. In the Guardian’s interview, Davis was one of the researchers behind the first study on ASMR. He suggested in the Guardian interview that “ASMR is interesting to me as a psychol ogist because it´s a bit ‘weird’. – The sensations people describe are quite hard to describe, and that´s odd because people are usually quite good at describing bodily sensations. So, we want ed to know if everybody’s ASMR experience is the same and if people tend to be triggered by the same sorts of things.”(Etchells, P., 2016). For example, people are addicted to experiencing audio and visual content that is not about speed but focus and slowness, like close-looking, close-listening, and close-feeling. This intense

WEIRD SENSATION FEELS GOOD exhbition at ArkDes,

Photo via PostNew

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WEIRD SENSATION FEELS GOOD, curated by James Taylor-Foster, at ArtDes Stockholm in 2020, is the first museum exhibition about ASMR dedicated to this ‘strange’ feeling of the emerging field of creativity that has grown up around it (See figures 10, 11).

Figure 11. People at WEIRD SENSATION FEELS GOOD exhibi tion, photo via ArkDes.

ASMR Media and Exhibition Design

sense of intimacy makes people feel relaxed, satisfied, and some times even uncomfortable, awkward, and weird.

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Figure 10. Drawing of the scenography for “WEIRD SENSATION FEELS GOOD” at ArkDes by ĒTER Architects (2020). Image via AekDes, photo by Elsa Soläng.

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In the interview with Nowness, Taylor-Foster (2020) explained that The Weird Sensation Feels Good exhibition is an attempt to explore the internet in design and an opportunity to understand the possibility that ASMR affords in the creative area. The exhibi tion’s curator, Taylor-Foster, wishes people could perceive content from a multisensory level, including vision, hearing, and touch. A relevant background issue about this exhibition is that they started to understand how people cope with widespread loneli ness, anxiety, and insomnia and how technology relates to individual people. This technology includes standard devices such as mobile phones and screens and ASMR products such as binaural microphones or other designs. In addition, a project by designer Marc Teyssier, Skin-On Interfaces, presents a scene where people interact with the phone case as a skin (See figure 12).

Designers Dagnija Smilga from the architectural studio ĒTER designed the exhibition. Smilga explained in an online interview series Pillow Talk, part of the exhibition WEIRD SENSATION FEELS GOOD, on ArkDes’s Instagram account about ASMR and her design concept. She suggested that the different ASMR videos suggested many kinds of triggers, and they tried to use the triggers to create spatial language. With this idea in mind, she raised whether exhibitions are generally meant to be looked at, not necessarily felt. To argue this issue, she suggested that we can see a complete shift in how exhibitions, especially in archi tecture and design, have been developed into experiences over recent years. She wishes their bodies felt related when people walked into space. An alive experience people can touch, feel, relax, and lay on it. Smilga explained that the design concept

Figure 12. “Artificial Skin for Mobile Devices” (2019) by Marc Teyssier. Photo: Marc Teyssier

creates a cross-connection between the human body and technol ogy, exhibition and individual, nature and artificial. The design uses a one-kilometre-long pillow that has folded into a form that reminds the soft cables, body tissues, and inner body parts. It also has a pattern of symmetry that we can find in the human body and nature. (See figure 13, figure 14, figure 15).

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Figure 13. The exhibition plan was drawn by graphic designer Irene Stracuzzi. Image resource via ArkDes

Figure 14. People at WEIRD SENSATION FEELS GOOD exhibition, photo via ArkDes. Photo by Elsa Soläng

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Figure 15. People at WEIRD SENSATION FEELS GOOD exhibition, photo via ArkDes. Photo by Elsa Soläng

ASMR Media and Visual Identity Design

“An tity

for the first-ever exhibition about ASMR. Appropriating the sensorial lexicon of ASMR, five kinetic objects move in space, triggering synaesthesia-like sensations through materiality and movement.” (PostNew, 2020)

oddly satisfying visual iden-

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Damon van Drimmelen, from the Netherland, designer and co-creator of the Weird Sensation Feels Good identity with Irene Stracuzzi. During the Pillow Talk series, part of the exhibition Weird Sensation Feels Good, Drimmelen (2020) explained that ASMR media has a rich visual content source. With the Weird Sensation Feels Good identity (see figure 16), they wish this identity could represent ASMR and trigger the audience´s feelings when they see it. He suggested that because ASMR experiences are individual, the triggers differ from one to another. Having this in mind, they decided to create several visual characters inspired by the ASMR video content. Drimmelen suggested that Concrete Squeeze is a character inspired by some very satisfying videos where people put objects under industrial presses. (see figure 17). Spring Tension is a character designed based on individuals’ experience of feeling satisfied when seeing things fit in perfect ly. The character has an organic form and is animated in a slow movement (see figure 17). Another character he named, Tango String Tango, was inspired by the exhibition pillow set up. It gave it a fluid motion that made it feel like coral under the water. (see figures 17 and 18)

Figure 16. People at WEIRD SENSATION FEELS GOOD exhibition, photo via ArkDes. Photo by Elsa Soläng

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Figure 17, figures from left to right: Tango String Tango, Spring Tension, Con-crete Squeeze. Image via PostNew. Video:

video_02_V01.mp4https://www.postnew.xyz/wp-content/uploads/video/PN_arkdes_Figureeo_04_V01.mp4www.postnew.xyz/wp-content/uploads/video/PN_arkdes_vidhttps://18,TangoStringTango,imageviaPostNew,motiongraphic:

It is exciting to see how ASMR material has been used as an inspiration and made into surreal, bizarre things. Furthermore, it is interesting to observe that people seek multi-sensory experiences in the processing of receiving information and looking for an intimacy level with the digital platforms. The project, Visual ASMR, is a visual exploration of tactile texture in nature by Tokyo-based creative studio Oneal. The body of work delves into textural, tactile elements morphing and interacting with each oth er in surreal environments. It explored the relationship between human emotions, life, nature, texture, feelings, and vision from a philosophical level. Four atmospheres have been created: Air (see figure 19), Earth (see figure 20), Fungi (see figure 21), and rock (see figure 22).

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Figure 19. Air, photo, and video resource via Onesal.

Figure 20. Earth, photo via Onesal, video avilable here: https:// www.onesal.com/work/visual-asmr .

Figure 21. Fungi, photo via Onesal, video avilable here: https:// www.onesal.com/work/visual-asmr .

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Figure 22. Rock, photo via Onesal, video avilable here: https:// www.onesal.com/work/visual-asmr .

There are also visual examples on Instagram: Studio Subframe, by Mikhail Sedov, claims itself as a studio that designs and creates visual experiences for future-facing brands. (see figure 23)

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Figure 23. Image recourse via Subframe_studio, moving content can be viewed at https://www.instagram.com/subframe_studio/

Ira Ivanov is a Berlin-based graphic designer, contemporary visu al artist, and design director at Studio Yukiko. Her exploration of contemporary visual art and graphic design has inspired me. One of the works for Driving the Human. A community focused on shaping a sustainable and collective future that combines science, technology, and the arts. In this work (see figure 24), using sound, motion graphics, video and typography, and colours has made this content especially interesting to look at. I am not sure of the in tention of the colour choice here, but based on my study in ASMR media, the RGB, red, pink, and blue, as well as neon green, neon pink, and neon yellow, have been trendy colour choices in ASMR videos (examples see Figure 25). Maybe is a coincidence? Or perhaps we are just unconsciously influenced by colours, formats, and video content we see on all digital media platforms. And maybe unconsciously, we are trying to build a seamless transition between the virtual and physical worlds. My intention here is not to appraise good or bad but a phenomenon worth looking into. Similarly, the phenomenon happens in fashion as well, Autuas Ukkonen, a Finnish fashion designer, his bachelor’s graduation project Poshlost, a collection of fashion styles that is designed to portray a digital lifestyle where a person is rarely seen in full (examples see Figure 26). Especially during the pandemic, online meetings and digital socialization over video calls have been part of people’s daily life.

More and more work by designers and visual artists shows the subtle use of digital culture, ASMR, and multi-sensory experi ence, both intensionally and unconsciously.

Figure 25 DesignCommunicationVisualandMediaReview_ASMRLiteratureandContext2

Figure

Figure 26, Design by Autuas Ukkonen, photographer: Sofia Okkonen. Model from left to right: Tani (The Sisterhood), Grace (As You Are), Grace (As You Are).

Figure 27, image via Ivanov´s Instagram account @i_ira, created by Ira Ivanova, design director at Studio Yukiko. Video is available from: https://www.instagram.com/p/CGhUiHhhFbJ/

A similar approach in one of Ivanov´s experiment practices (see figure 27) presented a move content that gave a zoom-in look on the small daily object we usually do not pay attention to. When I first looked at it, I watched it repeatedly to figure out where this wasp was going. This experience reminded me of when I was a kid. I spent hours watching ants moving food. Like the ASMR media experience, some people enjoy watching videos about the detailed documentation of the cooking process, zoom-in video documentation about pencil drawing on paper, and resent super popular miniature cooking videos.

example I would like to mention is a website project by Yehwan Song, an artist, designer, and coder from Korea. In her work, she focuses on building anti-user-friendly websites. It is interesting to hear Song use “it makes me feel really good” to describe the website’s user experience on the mobile device. Worldonawire.net (see figure 29) was presented during her talk at the Creative Coding Utrecht event: Iterations.

Studio Dumbar made the visual campaign for D&AD (see figure 28). The movement between the hyper-realistic pencil and flat tened typo text created a “perfect fit” when the pencil moved. In addition, an odd tension between two objects and the strength of confrontation between a 3d and 2d object created an interesting

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Figure 28. Visual compaign for D&AD, made by Studio Dumbar, Images are from Instagram account @ studiodumbar. Motion can be find here: https://www.instagram.com/p/CSMmvgEqFQT/

Anothercontrast.

Worldonawire.net is a website project for the first exhibition in a new partnership between Hyundai Motor Company and Rhizome of the New Museum to showcase leading digital art globally, for example, in Beijing, Moscow, and Soul. (World On A Wire 2021) Three languages are used: Chinese, English, and Korean. Song (Iterations 2021) explained that it is a generative website that rearranges itself as you explore based on a random number. Whenever a user enters the website, the website will look a bit different. The layout is made based on the generated number. The user experience with the mobile version, when you interact with the screen and try to scroll the web page, gives a visual feeling like a touching jelly texture that bounces back when you release the press. (See figure 30)

Figure 29. Image chaptured from the website: worldonawire.net, design by Yehwan Song.

Figure 30. The mobile version of the website: https://worldonawire.net/, image via Song´s Instagram account @yehwan.yen.song Moving content can be find here: https://www.instagram.com/p/CKwZrsdBM3b/

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This chapter explains the methodological choices I made in this thesis, how I picked my research material and resources and pre sented the implementation of my study and the methods and tools used. Three main parts of the content have been included in this chapter: diffractive reading, discursive design, speculative design, and practice-led research method. Furthermore, I have also ad dressed the interdisciplinary relationship among them.

Based on classic physics, diffraction is a physical phenomenon (see figure 31) in the bending of waves around the corners of an obstacle or through an aperture into the region of the geometrical shadow of the obstacle/aperture. The wave overlaps and extends into one another. (Geerts and Van der Tuin, 2016) “We can under stand diffraction patterns – as patterns of difference that make a difference – to be the fundamental constituents that make up the world” (Barad, 2007, p.72).

3.1 Diffractive Reading

Geert and Van der Tuin (2016) suggested that Diffraction is often employed figuratively in contemporary material feminist theory. It denotes a more critical and difference-attentive mode of consciousness and thought. Barad (2011) argues that “’ Diffractive methodology’ is a method via analytic techniques that read data ‘through’ other texts, personal experience, or other resources for social researchers to explicit these entanglements and differenc es (p.445)”. Barad’s theories about diffraction methodology are

3 Methodology and Methods

interdisciplinary and developed concerning quantum physics, poststructuralism, feminism, and queer theories, among others (Juelskjær, 2019)

“Once designers step away from industrial production and the marketplace, we enter the realm of the unreal, the fictional, or what we prefer to think of as conceptual design—design about ideas. It has a short but rich history, and it is a place where many interconnected and not very well understood forms of design happen–speculative design, critical design, design fiction, design futures, antidesign, radical design, interrogative design, design for

As a result, the research about ASMR from scientists, experts, and sociologists will be more acute and reliable.

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In other words, the diffraction methodology is a way to know the ASMR phenomenon and ASMR media and understand why and how it occurs and the effect it has on humans, instead of doing user research myself, like interviews, surveys, and questionnaires.

3.2 Discursive Design and Speculative Design

Figure 31. Computational model of an interference pattern from two-slit diffraction.

debate, adversarial design, discursive design, futurescaping, and some design art.” (Dunne & Raby, 2013)

Discursive design

Discursivethat:

design is a means through which ideas of psychological, sociological, and ideological import are embodied in, or deliberately engendered through, artefacts. The ideas (discourses) can sustain a complex of competing perspectives and values with the immediate goal of having audiences reflect upon them. Rather than discourse about design, or discourse for design, it is understood as a form of discourse through design. The relation between discur sive design, critical design, speculative design, and other related types can understand as the discursive design is an umbrella category encompassing similar forms of design, which comprises various species such as critical design, speculative design, and design fiction. They are the use of designed objects for intellectual ends. Discussion design encompasses existing forms of design and embraces new

Discursive design is a relatively new concept in the contemporary design world. It has been put forward by industrial designer and educator Stephanie Tharp and Bruce M. Tharp, who is the first industrial designer with a PhD in anthropology, as well as a professor at the School of the Art Institute of Chicago, the University of Illinois at Chicago, and currently at the University of Michi gan’s Penny W. Stamps School of Art & Design. On their website suggested

should acknowledge their responsibility in affecting the world and leverage their capacity for broader socio-cultural change. But we emphasize that reflection necessarily precedes deliberate action. Discursive design can drive intellectual reflection and be the key driver to action in the world. But immediate action is not always necessary, possible, or effective. Some issues are com plex enough, and some thinking is entrenched enough that deep and sustained reflection is necessary. Recalling Gil Scott-Heron’s poetic words, “the first revolution is when you change your mind.” We believe there is a place for design that focuses on conveying consequential discourses, as well as design that promotes more immediate action because of deliberate reflection, (Tharp, B.M, Tharp, S.M, 2018) debate, adversarial design, discursive design,

The discursive design aims to remind, inform, inspire, provoke, and persuade (Tharp, B.M. & Tharp, S.M, 2018). Unlike the tradi tional way of understanding design and thinking, designers focus more on the action, like providing solutions and solving prob lems, than reflection and diffraction. In my opinion, it is signifi cant value in design, no matter which designs are disciplinary, to understand where the problem is, why the problem happens, how did it happen, and to ask questions, to inspire others to re-think, critic, reflect and diffract. Like Tharp, B.M. & Tharp, Stephanie explained:Designers

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species to emerge as the field matures. (Thrap. B.M, Tharp, S.M, 2018)

74 futurescaping, and some design art.” (Dunne & Raby, 2013)

Dunne and Raby coined the term Critical design in the mid-nine ties when they were researchers in the Computer Related Design Studio at Royal College of Art. By then, using speculative design proposals, the definition of critical design was to challenge nar row assumptions, preconceptions, and givens about the role that products play in everyday life. (Dunne & Raby, 2013). In their book, Speculative Everything, Dunne and Rady explained most people believe design is about providing solutions and solving problems. Solving aesthetic problems is what expressive forms of design are about. The power of design is often overestimated, and sometimes people can have more effects as citizens than as designers. But they pointed out we cannot deny that many of the challenges we face today are unfixable and that perhaps the only way to overcome them is by changing people´s values, beliefs, attitudes, mindset, and behaviour.

“There are other possibilities for design: one is to use design as a means of speculating how things could be— speculative design. This form of design thrives on imagination and aims to open up new perspectives on what is sometimes called wicked problems, to create spaces for discussion and debate about alternative ways of being, and inspire and encourage people’s imaginations to flow freely. Design speculations can act as a catalyst for collectively redefining our relationship to reality.” (Dunne & Raby, 2013)

Speculative Design and Critical Design

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Specifically, speculative design and critical thinking have been approaches that I find helpful to use in my design practice. It often starts with a What If question and intends to open space for free discussing and debating, and the generation of ideas based on the technology and science possibility but not limited by it. Dunne and Raby (2013) explained what interested them the most is “the idea of possible future and using them as tools to under stand better the present and to discuss the kind of future people want, and, of course, one’s people do not want.”

In 2020, I travelled to Denmark and participated in a two-week Design Camp at Design School Kolding. DesignCamp2020 took digitalization and industry 4.0 as a theme. It explored it through speculation and design fiction on how new technologies such as, e.g. robotics, sensor technology, cyber security, and data tracking can enable an alternative future. The big ‘What if’ question for the theme was: “What if we look to the future to solve the problems of ‘the here and now? What if we realize we are not moving into our desired outcomes because we have been asking the wrong questions all along?” Each group is formed with six students from different design practices, including design for play, design for people, and design for the planet. There are different structures in dividing design subjects at design school Kolding. Their master’s design program is focused on cross-disciplinary study, paying attention to the ‘audience’ of design: Design for Play, Design for Planet, and Design for people. Students have different de sign backgrounds in, for example, visual communication design, product design, fashion design, and industrial design. This design

camp encouraged us to use a speculative design approach instead of focusing on developing a full-fledged ready-to-launch concept and product. But focus on turning our design practice inside out to engage with the social context challenging the boundaries of where technology meets human needs. The form of outcome was to transfer our design concept through video narration.

The name of our project was KIN, a short film made with Dennis Xiang, Emma Collins, Ewa Zybala, Solvita Akmene, and Emilie Bech. By using speculative design and storytelling/narration as approach angles, we developed a video and pictured a new-nor mal base on our existing technology, yet not limited by it. We set the timeline in 2030, where we speculate gender is no longer a limit to human reproduction; humans and nonhumans can share

Video is available at: DesignCamp2020_KIN

What if we made artificial wombs, but we do not have sperm

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What if a single robotic device could transform an everyday task or process within the healthcare field?

What if future technology can change the laws of nature and pre vent us from ageing, sickness, and death?

What if sex stops being part of reproduction? What if there was no romantic love, only kinship? What if gender is no longer the limitation for reproduction? What if humans and nonhumans can share the process of life

What if sex/romance was completely separate from reproduction? What if there are more than three genders or even more? What if we blend genders?

Whatcreation?ifa human baby is an object? A kinship?

the process of life creation. What if questions in our approach include:

How might design change our daily lives and possibly bring about ripple effects? What sort of critical challenges could a robotic device solve?

Whatanymore?ifsex and the human body are not part of human reproduction, and what if customizing your private part becomes a new fashion trend?

At 9:30, someone knocked on the door, and his boyfriend showed up with a big happy and excit ing face. They cleaned up their hand and started unpacking. They gently place it on a white table, following the instruction book and insert their saliva sampling into the artificial womb, set up hair colour like baby blue, eye colour is green, and adjust the temperature.

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A Short Story

At 9 am, he received a Pink package with a refined golden text written BLUE project. He felt very excited, picked up his phone, called his boyfriend, and told him about this fantastic news. They have been together for about four years, and both thought now was a good time to start growing a babe together.

He lives in an apartment on the second floor with six giant windows in 3 directions. The apartment always looks bright and clean. He painted every thing in the room white, but he only wore black. He was addicted to the smell of sandals and pine trees, so he decorated his home mainly with these two elements. He does not smoke but enjoys drinking a dry martini. His serial number is XII6745085, and people call him Danis.

Then they walked towards the kitchen and started to drink a dry martini.

Danis slid down one curtain from the east side and pressed the button START. The womb light up with subtle warm light.

One of the invited creative groups I found interesting was NOR MALS, a Berlin and Paris-based creative collective that works on the intersection of design and fiction. In their practice, they try to illustrate an anticipated future using visuals, literary, video-based, musical, prototypical, and functional elements. They have been well noted for their work on augmented reality fashion shown internationally from the NY fashion week to the National Taiwan Museum of Fine Arts and speculative public talks. One of the data-driving speculative fashion pieces, Apparel, is a conceptual project based on the context of the age of data accumulation and machine learning (Normals ©2019). The enacted scenario, based on the Apparel abstract case video, was a world in the year of **. People live a life free of labour, while the politics shifted to a collaborative, editable administration on the neural network named Stream. People do nothing all day but compete over trivial things. (See figure 32) A world is about how people look, above all things. People care about their clothes and fashion, but not fashion in the traditional sense, but to wear what people are (Nor mals ©2019).

Figure 32. Images via NORMALS.

“In that world, people all wear the APPAREL, a garment designed to co-exist physically and digitally using Augmented Reality technology. Augmented Reality, or AR, is a means of overlaying reality with digital contextual information, visualized through the head-worn display.” (Normals ©2019). (See Figures 33 and 34)

Figure 33. Images via NORMALS.

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Figure 34. Images via NORMALS.

My interest in this master’s research is not to provide design solutions and solve a specific problem. But to use design as a medium to ask questions, to generate a multi-dimensional diffrac tive discussion about technology, contemporary graphic design, ASMR media, and people, to encourage re-think, and to provoke tradition, hopefully, to inspire others and to facilitate discussion what its possibilities are in the future.

3.3

In this session, I explained practice-led research methodologies and why they are essential in my research project. Experimenting with new tools and programs often brings new possibilities that I would not know if I were not trying. For example, experimenting with creative coding, generative art, and embodied technology enlarged the possibility of what graphic design can do. For example, interactive graphics and an immersive storytelling experience. Practice-led and practice-based research is one of the creative art and humanities study methodologies. “It is a conceptual frame work that researcher uses to incorporate their creative practice, creative methods, and creative output into the research design and as part of the research output.” (ECU Library 1991) / (Edith Cow an University, 1991). Based on my experience, using new tech nology in visual art and design allows me to challenge today´s graphic design practice and push its boundary or break its limit. All kind of screens surrounds us in our daily life, and they come in different sizes, formats, and contexts. The digital surface, like our mobile phones, iPad, and iWatch, is used for physical display in museums, galleries, streets, shopping malls, etc. Static images and graphics are transferred into movable content, from gifs to motion graphics, short videos, and interactive real-time live expe riences. I will introduce some tools and methods I learned in my master’s study, and each project example will explain my thinking flow behind each project. A detailed design process documenta tion with an explanation will follow in Chapter 4: Design Process

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Practice-Led Research: Thinking and Learning Through Practice

3.3.1 Tools and Technologies

84 and Outcome. According to my previous experience, new ideas and outcomes often come out during the processing of making, creating, and experimenting.

My early work experience as a visual communication designer focused on printed matter, visual strategies, and identity. I pri marily focused on static content on mediums such as physical books, posters, billboards, and banners. And constantly deal with aesthetic issues on the information itself, like typography, colours, shapes, visual system, forms, and layout, sometimes strategies and stories behind them. I am more interested in how the content is displayed, the means of display matters, and the intersection between visual communication design, technology, interactive visual communication, people, and emotions. Studio Dumbar has always been one of my favourite design practices, one that I look up to, from their remarkable work on graphic design to motion, generative visual art, and interactive design. The way they apply technology to their graphic work has been inspiring, such as using creative coding to generate graphics that are applied in their branding work, cultural identity projects, and experimen tal practice. Their actions exceedingly provoked me and my live visual performance experience, VJing. In it, I found an interesting connection between real-time visuals and emerging new media technology. I started creative coding studies during my exchange study at Aalto ARTs.

During the first few classes, I struggled quite a lot, had difficulty understanding the logic behind the coding languages, and made many spelling mistakes in vocabulary. I cried in courses in the beginning, and friends told me that coding was complicated for some people at the beginning. Especially when you started without any earlier experience, still, It is possible to learn through practice and experimentation. Based on my experience, I have found that the only limitation is your imagination once you begin to understand it. All these learning processes are practices for using different tools, like processing, Arduino, and sensors. Later these learning experiences have become important in my design process, as introduced in Chapter 4.

Septemberbelow: 9th, 2020, shapes & colours

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In my first processing sketch, I was trying to draw a static yel-

Tools: Processing, P5.j5, Arduino Chronological documentation of my learning processing is listed

“Creative coding is a type of computer programming whose goal is to create something expressive instead of something functional. It is used to create live visuals and for VJing. And creates visual art and design, entertainment, art installation, projections, projection mapping, sound art, audiovisual, adverting product proto types, and much more.” (‘Creative Coding’, 2022)

Creative coding, Generative art, Interactive Art, and embodied interaction

low poster on a black background with the content of a graphical smiley yellow face.

September 14th, 2020, randomness

The online interactable sketch can be find here: https:// openprocessing.org/sketch/961397 PracticeThroughLearningandThinkingResearch:Methods_Practice-LedandMethodology3

I wanted to add movements and images based on the basics I learned from my first sketches. So, I tried something different in my second sketch. First, I wanted to create a black background with blue ellipses that show up in a random position with an ar bitrary size on the canvas, then add an eye image that follows the moment of the mouse.

September 16th, 2020, Bouncing Ball

sketch/963361

Online sketch can visit: https://openprocessing.org/

Online sketch can be view at: https://openprocessing.

(Local time: 18:55, Bergen, Norway)

org/sketch/983806Version1 minutesminutesseconds Version 2 PracticeThroughLearningandThinkingResearch:Methods_Practice-LedandMethodology3

October 11th, 2020, Clock

Online sketch can be view at: https://openprocessing. org/sketch/993087

October 21th, 2020, sin and cosin

(Local time: 18:55, Bergen, Norway)

October 21th, 2020, sin, cosin, and interaction

Online sketch can be view at: https://openprocessing. org/sketch/993087

(Local time: 18:55, Bergen, Norway)

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Tools and Technologies

Soyun Park is a Korean graphic designer and new media artist based in the Netherlands. Her work explores the crossdisciplinary relation between technology, interaction, sound, and visuals. She started as a graphic designer focused on printing-related design. Later, she started her creative approaches in the exploration of technology and design. The tool she uses a lot in her work is TouchDesigner. Both in her artistic visual performance (see figure 36), installation work, and graphic design practice (see figure 35). I found her approach inspiring, exciting, and engaging.

TouchDesigner and Kinect Camara

TouchDesigner is a node-based visual programming language (visual programming system, VPL, or VPS) for real-time interactive multimedia content. It has been widly used by artists, designers, programmers, creative coders, software designers, and performers to create performance, installation, and fixed media works. (‘TouchDesigner’ 2021)

Figure 35. Visual identity and video work done by Soyun Park for Zwerm. Video avilable from: https://www.instagram.com/p/

visual performance from Soyun Park, video avilable from https://www.instagram.com/p/B8FWiWcBMy6/. Image on the right is Soyun park live visual performance on BedroomLive. Video clips avilable from: https://www.instagram.com/p/B-uZ_pMBmwt/

Another visual installation work she did and performed by using TouchDesigner during the art residency as a team perspective at Instrument Inventors in Hague, Netherlands. (See figures 37, 38)

FigureB73t7_9hiKd/36.Live

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My first live visual experimentation was during the Bauhaus Party at the Faculty of Art, Music, and Design (KMD) in 2019. (See figure 38) Later I became active in the live visual performance scene in Bergen and performed at different events and festivals in Bergen and Helsinki. By then, I was interested in generating a responsively live visual for another musical event, especially for electronic and techno music night events. I see an interesting and

Figure 37. Video available from https://www.instagram.com/p/

FigureCHx3pF6H_u6/37.Documentation of working process. Project made togeth er with students from KMD at KMD in 2019.

Figure 38. Documentation of working process. Project made togeth er with students from KMD at KMD in 2019.

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similar approach to composing techno and electronic music and generative live visual art. I enjoy a lot the sound that a computer or synthesizer generates. Similarly, in visuals, there is an astatic that is bizarre, weird, yet fascinating, futuristic, mysterious, and cool. Nejjjj is a collaboration project with a Ber-gen-based record label: Mhost Likely. “Mhost Likely is a Norwegian house and techno label, studio and party series.” (Mhost Likely ©2022). Nejjjj is an album that includes four soundtracks from four artists, Natt Lampe, Trussel, SYNK, and Minus Magnus. I was com missioned to design the album cover for the Nejjjj release. After finishing the cover design, I proposed the idea of transferring the visual into a live visual performance at the HOT Festival in Bergen. Later this project got exhibited at Møllergata 39 (Grafill) in Oslo.

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The usage of the sound takes inspiration from the strange inter net phenomenon on the internet: ASMR addiction. The sound samples are from 8Dio, recomposed by me with adding sound elements, for example, the deep whispering, rubbing the plastic paper, slowly shaking a water bottle, squeezing the air out of a milk bottle, etc.

The sound truck is available at: com/album/nejjjj-incl-remixes-mhost-likely-blackhttps://nattl4mpe.bandcamp.

Live visual sets at Hot Festival 2021. Videos can be find (from left to right): 1, https://www.instagram.com/reel/CQWuoIuBLyR/ 2, https://www.instagram.com/reel/CbVBk_iAgfQ/ 3, https://www. instagram.com/reel/CQW0xLUJiXR/ 4, https://www.instagram. com/reel/CbA9Pklge4A/ More can be seen at: https://www.insta gram.com/theqinjuan/reels/

Reel videos on Instagram. Videos available at: https://www.insta gram.com/mhostlikely/reels/?hl=en

In the previous examples, I used the term live visual to describe my visual activities at club nights and festivals. I think there is a term essential to mention: Audiovisual (AV) Art, a subject dealing with audio and visual matters. It is a subject that explores abstract art and music or sound sets concerning each other (‘Audiovisual Art’ 2022). Before, people liked to call this activity Vjing, and the person who works in the field VJ, but in today’s contact, they

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often use audiovisual performers to describe themself. The topic covered include but are not limited to experimental video art, real-time video, generative art, and projection mapping. I see an exciting potential connection between visual communication design and audiovisual art. To deal with visual information in a multisensory context, in a real-time set-up. It is about the entire experience around you, which you can see and hear, touch, smell, and feel, both information communication and entertainment.

Mask-021 is a 5-minute-long experimental audiovisual piece that explores embodied interaction, face tracking, body tracking, real-time live visuals, visual programming, experimental sound, and projection mapping. Project created together with Simon Lemont and Valentina Pippia at Aalto Media Lab, Aalto Arts. Facial expression has always been an essential factor when com municating with others. It expresses an individual´s emotions, like sadness, disappointment, anger, happiness, excitement, hesitation, satisfaction, etc. With the outbreak of the coronavirus epidemic, people in many countries worldwide have started wearing face masks to protect themselves and others they encounter. However, the subtle emotional facial expression has been hidden under the Mask. We wanted to combine visuals, sound, and body move ment to ‘revival’ the missing facial expression with an artistic approach. One of my personal goals in this project was to learn to use TouchDesigner and explore its possibilities for visual genera tion, interactivity, and embodiments. It is exciting to see so artists, programmers, and designers on the internet and social media using TouchDesigner as a tool to create exciting experiments and inspiring projects.

There are a few things we found challenging during the process 1,are:to map the visuals on the mask and make it track the body movement, which means the mask follows the body movement.

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2, Generate visual graphics by programming. In my previous experience, I often used Adobe creative packages, like photoshop, illustrator, and InDesign, to generate graphics. Unlike these programs, TouchDesigner has a different logic when thinking about “drawing” visuals. It took me a while to understand other opera tors, such as building blocks, parameter sets, and flags.

4, Connect the program to Ableton and map the sound to the body movement. One example can be when the left hand and arm raise, it will increase the base level, and when the right-hand raises and reach the far-left end then will trigger a glooming sound effect.

5, Map different visual clips to the Midi controller and prepare for a live show. (I was nervous.)

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The video is available here: https://www.youtube.com/ watch?v=864YwXFhDaQ

3, Map the visual to the sound, which means certain sounds will affect how the graphic has been displayed, for example, the increase and decrease in the size of a specific visual element, the speed of the moment, and the noise level of the video.

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I intend to argue can visuals be touched, heard, and felt. Also, how can the audience become a part of the storytelling and information display? Finally, to be inspired by ASMR, how and what visual communication designers can learn from it, and how it can become a soothing tool to improve mental stress and help people relax during information acquisition.

Multi-Sensory Lab – Look, Listen, Touch, and Feel

Four conceptual experiments are included in this chapter. ASMR media as inspiration and a creative way of using new media technology. I manifested three experiments and explored the exciting connection between sensory experience and graphic design. They are Mukbang - Follow Me, The Pillow Project – Have A Good Sleep, Strange Phenomenon Weird Sensation – Feel It, and Au diovisual Live Performance: `Ah, I just had goosebumps!´.

OutcomeandProcessDesign4

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Suppose we can rethink the information display process and understand it as an interactive experience among humans, ob jects, and information. In that case, there is a real new world just open. Therefore, an interesting discussion can follow: How can an immersive learning experience improve how we learn and what we learn, despite age and gender, and learn better, faster, and have more fun? The multi-sensory experience is an inspirational subject for design in general, and how can future design help us live better, happier, healthier, and more sustainable? A series of discussions, questions, and topics that I found essential for us to reflect on has listed in Chapter 6.

4 Design Process and Outcome

I would like to introduce this experiment by presenting a series of pictures first. All the images I collected are the research result on Instagram with #mukbang.

“Mukbang, also called meokbang, is known as an eating show, an online audiovisual broadcast in which a host consumes various quantities of food while interacting with the audience.” (“Mukbang” 2022). The Mukbang is under the category of ASMR video content, and it began in South Korea in 2010, and now it has

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4.1 Mukbang – Follow Me

In my experimentation, I came up with the idea of making a Mukbang interactive installation that includes visual, sound, and

become a global phenomenon on the internet. It often appears as one person sitting in front of a large amount of Food and zome-in looking at the chewing movement and chewing sound. The food divers vary, from noodles, seafood, fruits, candy, ice cream, sushi, drinks, jelly, and more. All the chewing sound difference depends on the different type of Food. For example, a crisp sound might come from cold chocolate, ice cube, fresh apple, ice cream that coasted with a thin layer of chocolate, or caramelized strawber ries. And babble and fizz sounds might come from pouring and drinking liquid, like iced cola, beer, coffee, milk, hot chocolate, etc. Also, turn the voice down and talk like whispering, making the audience feel close to them and very intimate. The move ment is often simply repeatable, and the food display is usually placed in front and close to the camera, which gives a feeling of being super zoomed in, and you can almost see all details. Simon Stawski, a food and travel blogger, told Today Food in 2018 and suggested that a widespread desire for companionship while dining is the origination of Mukbang. Are people trying to search for an intimate relationship through a screen, a digitalized virtual

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there a quite some similarities in each different eating video. For example, a close look at the Food that repeats stacking Food in front of the screen (see figure 39), exaggerated size comparison between objects for eating and the human body, the chewing sound follows the eating process through the screen.

Iworld?noticed

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body interactivity. A window screen display is set up in a public place, and people’s movements trigger the visuals and sound. The number of images and the speed of the sound follow the people´s movement, which means the faster people move, the quicker the sound will become, and the more images will appear, and vice versa. I made a quick sketch to demonstrate the idea (See figure 40). Processing and body tracking techniques will be needed, and a Kinect camera will read the data on where the human body is situated. Due to time and budget limitations, I made a demo version to present this concept. I used my computer screen to replace the big outdoor window display screen, and hand control of the mouse movement on my computer will replace body movement. Hopefully, I will get enough financial support and technical help to realize the initial full-scale concept in the future.

Figure 39

The visuals are a collection of popular food in the Mukbang show, and the sound is a food chewing sound I collected from the internet. The language I used here is Java, and the primary function I have used here include PImage, int (can be understood as integers), if, else, and imageArray. And in the end, I used mouse Pressed to realize the interactive experience. I wanted to archive here to create an interactive experience that when the mouse is pressed, the image will become visible, and it will follow where the mouse moves, as well as the play speed of the sound, which will affect where the mouse is on the screen. So, the audience can choose which “food” they find enjoyable to view. At the same time, people can adjust the play speed of the sound and control the visual outcome based on each preference by moving the mouse.

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Figure 40

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3,problems?Whatif the means of experiencing ASMR media become a fashion-related trend?

1, What if the habit of experiencing ASMR media becomes a wearable piece that people can carry around and use whenever and wherever?

By exploring these What-if questions, I would like to introduce my conceptual piece: The Pillow Project – Have a Good Sleep.

4.2 The Pillow Project – Have a Good Sleep

2, What if ASMR media becomes a general cure for sleeping

Barratt, E.L., and Davis, N,j.’s (2015), Pedrini C., Marotta L., and Guazzini A (2021)’s research indicated that people engage in ASMR to seek a relaxation experience, which helps them to feel relaxed, uplifting their mood and pain symptoms. Their study also suggested ASMR media affects inducing sleep and reduces anxi ety. I have been experiencing an addiction to viewing and listening to ASMR (Autonomous Sensory Meridian Response) related content on the internet for a long time. Almost every evening, the last thing I will do to put myself to sleep is watch eating videos. Seams like this have become the cure for my sleeping issues. Based on the scientifical research and my own experience with ASMR, I started with a few What-if questions:

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The Pillow Project – Have a nice Sleep, is an interactive, wear able installation piece with sounds triggered by human body movement. The bigger the body moves, the louder the sound is. In contrast, the smaller the body moves, the lower the sound be comes. As a result, the sound will gradually fade out when people stay still and fall asleep. With this wearable fashion item, you can comfortably receive ASMR treatment whenever and wherever.

LookManifesto:atit, touch it, listen to it, close your eyes, relax, and have a good sleep.

The tools I used in this project included Processing, Arduino, Ar duino Uno, and a weight sensor to realise the idea. The usage of sound takes inspiration from the strange internet phenomenon on the internet: ASMR addiction. The sound samples are from 8Dio, recomposed by me by adding sound elements, such as deep whispering, rubbing the plastic paper, slowly shaking a water bottle, squeezing the air out of a milk bottle, etc.

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Documentation photographs, special thanks to Dinan Yan. Process documentation at Aalto University.

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Full video is available here: The-Pillow-Projecthttps://qinjuan.work/

Final Work

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After I published this project on my social media, I soon got con tacted by Aalto ART, which featured my project on their official Instagram account.

Based on my perilous research about ASMR media, I have collected some main features and transferred them into a visual, textural interactive installation. Strange Phenomenon, Strange Sensation – Feel It is an interdisciplinary experimental project exploring the inspiring connection between new technologies, internet intimacy, and a strange internet phenomenon: ASMR, con temporary art, and modern design. It pushes the boundary of and challenges the traditional graphic design, visual art, and creative creation process and to rethink the potential of new media art, contemporary graphic design, and visual art in today’s scenario. The themes covered in this installation include, for instance, loneliness issues, ASMR addiction, senses, and relaxation sensation, mental health, and internet intimacy.

Tools: Processing, Teensy, Illustrator, After Effect Conductors: water, aluminium foil, Texture: bubble wrap, (vegan) fur, Electric: Arduino UNO, connection wires, projector, and a laptop

4.3

20% of the work is made in After Effect, Illustrator, and Blend er (3D) (See figure 41), and the rest is made with code. Three canvases are displayed together with three different visual content (See figure 42). I want to give it a number to make it easier when I explain. So, from left to right, canvas 1, canvas 2, and canvas 3. I found it quite challenging to generate a fluid effect with code, so

ItFeel–SensationWeirdPhenomenonOutcome_StrangeandProcessDesign4

Strange Phenomenon Weird Sensation –Feel It

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Figure 41. I was using Blender, a 3D program, to make visual for this project, at Aalto University, Helsinki, Finland.

118 in canvas 2, I first made the liquid effect as a video in after effect and then imported it to Processing as an mp4 file. Code has a lot of advantages in generating abstract visuals, but when coming to more specific visual content, it has its limitation. Most graphic designers are familiar with programs including adobe creative packages like photoshop, illustrator, sometime after Effects, and Premier Pro. These programs have both advantages and disad vantages when compared to creative coding. Depending on the project, sometimes a combination use of the different programs can provide more possibilities and bring a lot of good surprises to the outcome. For example, in canvas 1, two images are used, and the final visual result is generated by code. It changes based on how people interact with it. Similarly, visual content in canvas 3 is two still images, but interactivity and movement are added to the code.

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Figure 43. Original code can be viewed here: https://openprocess ing.org/sketch/1102219

Functions I used in my code are including: create graphics (PGraphics), im-porting image (PImage), importing video(import processing.video.*), if and else statement (if(){}else{}), condition and integer (for (int i=0;i<n; I++){}), interactive (mousePressed, mouseReleased). (See figure 43)

ItFeel–SensationWeirdPhenomenonOutcome_StrangeandProcessDesign

Bubble connected to the visual displayed in canvas 1. (See Figure 46). When the audience presses the Bubble, the plastic Bubble will explode like the blue Bubble on the canvas.

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After the code is finished, I transfer the mousePressed to the sensors to three tangible interfaces that allow touching. The first one is bubble wrap (see figure 44). It is a material that has been frequently reported as the experience of squeezing the air bubble makes them feel good. Therefore, I would like to name this tex ture character: Bubble. (See figure 45)

Figure 45. Character: Bubble

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There is a lot of interesting discussion about how water makes people feel calm, like the sound of raindrops, the sound of drink ing water, the sound of a stream, etc. Water is all around us and also part of our human body. But have you ever thought about how the water feels? Have you ever paid attention to its texture and temperature, touched it, and how does it feel to you? Relaxing? Refreshing? Calming? So, in the second container, I fill it up with water. Water is one of the most common conductive materi als in nature. Therefore, I name the second character Fluid.

Figure 47. Character: Fluid

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Fluid connected to the visual displayed in canvas 2. (See figures 47) The visual will play when the audience touches Fluid, and sound will follow.

123 surface, gentle stroking will affect the man’s movement. So, the ItFeel–SensationWeirdPhenomenonOutcome_StrangeandProcessDesign4

124 audience can decide whether to save him from falling into the phone by giving a delicate touch to Fluff. Or, let it go and let he

Figure 50. Canvas 3 connected to Fluff

125 ItFeel–SensationWeirdPhenomenonOutcome_StrangeandProcessDesign4 Character 1: Bubble Character 2: Fluid Character 3: Fluff

The full video can be found here: https://qinjuan.work/Strange-Phe nomenon-Weird-Sensation

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This project was first exhibited at Aalto university in 2021. It was shown together with four other projects in a dark room. Visitors told me this was inspiring to think about connecting the content they see and feel. Although some visitors told me the Fluid works well for them, and some told me the Bubble works well for them, the experience difference depends on everyone. When visitor experience walks into the room, they often ask me if they can touch or are supposed to touch it. During this exhibition, most visitors were people ages 20 to 38 years old. They are interested in becoming part of the exhibition experience and storytelling and wish to use their different senses to gather information. In the future, I wish to invite a broader age group to participate. For ex ample, I am every curious about how kids and teenagers respond to this experience.

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In April 2021, I contacted Aavistus Festival and got invited to pre pare a live visual set for one of their live programs: Aavistus on Air. I transferred part of the visual content of Strange Phenome non, Weird Sensation – Feel It into a real-time visual performance with DJ Automat. At the show’s end, Aavistus interviewed me after one of my live visual sets. The audio and video interview file are available, which you can find here: https://www.aavistusfesti val.fi/aavistus-on-air

Says Miriam Ypsøy, one of the audience at the event.

4.4 Audiovisual Live Performance: “Oh, I Just Had Goosebumps!”

“Oh, I just had goosebumps! I feel like I can watch this all night!”

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Goosebumps!”hadJustIPerformance:”Oh,LiveOutcome_SAudiovisualandProcessDesign4

After I moved from Helsinki to Bergen in 2021, I was invited to different festivals and events to perform live visuals. For exam ple, festivals like Hot Festival 2021, events with Mhost Likely at Landmark, Editing Room with Konsept X at Landmark, reopening for Landmark, etc. An interesting comment from one of the audiences at the event says, “Oh, I had goosebumps when I saw the visuals! I feel like I can watch this all night long.”

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Live Visual performance at Landmark. Organized by Koncept X in 2022, Bergen, Norway.

Videos available here: https://www.instagram.com/theqinjuan/.Livevisualperformanceat Hot Festival 2021, Bergen, Norway.

Audiovisual performance at VilVite Loop exhi bition opening in 2021, Bergen, Norway.

Then I was invited to do a real-time audiovisual performance for the exhibition opening at VilVite, which Haltenbanken supported. Visual elements in this performance are from the video I made during my work at Haltenbanken for VilVite’s Loop exhibition. The performance is composed live and is audio-responsive. The audio was created by Bergen-based Norwegian composer and DJ Johannes Hallanger.

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Goosebumps!”hadJustIPerformance:”Oh,LiveOutcome_SAudiovisualandProcessDesign4

132 5 Results and Reflection 5.1 Showroom: Strange Phenomenon Weird Sensation – A Multi-sensory Soothing Lab

133 LabSoothingMulti-sensoryA–SensationWeirdPhenomenonStrangeReflection_Showroom:abdResults4

Thoughts about this exhibition:

TouchManifesto:thevisual, listen to the texture, come closer, slow down, sense it, feel it, relax, and have a good time.

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In the year of XX, experiencing ASMR media has become a new normal and part of our daily lives. Just like you can get chocolate from the candy store, people extend the ASMR patience to a new level, virtually and in a physical setup. You might hear people telling you that if you feel stressed and in a bad mood, a piece of chocolate will help. But today, an alternative solution for you is the ASMR treatment! In cooperation with the concept, there are a few test labs that are going to operate in the city. The first test lab, a multi-sensory soothing bar, will launch this summer. The location is on the second floor at Møllendalsveien 61. Later, more test labs will open, for example, the ASMR hair salon and Muk bang Kitchen.

To experience this, you need to register on the website, and once we confirm, you will receive an email invitation. Then you will need to appear on time. Each therapy is about 10 to 20 minutes; of course, you can determine if you start feeling uncomfortable. Our therapist will invite you for feedback on your experience at the end of the session and maybe schedule a new session next time.

Speculated scenario

I want to present an exhibition as part of the study outcome. This exhibition firstly aims to demonstrate this study’s research process

How is it work?

LabSoothingMulti-sensoryA–SensationWeirdPhenomenonStrangeReflection_Showroom:abdResults4

135 and progress. Three experimental projects are presented in this exhibition: Mak-bang - Follow Me, The Pillow Project – Have A Good Sleep, and Strange Phenomenon Weird Sensation – Feel it. The angles of each project are different, but they all share the same context and background, which is related to the ASMR me dia and ASMR-consuming culture.

Furthermore, I would like to use this exhibition to create a dia logue around the relation between visual communication design, ASMR, digital intimacy, and people’s feelings. And to argue that visual communication design is not limited to visionary expe rience but combines sound, texture, and sometimes even taste and smells. Therefore, it can involve a multi-sensory experience. In this exhibition, Strange Phenomenon Weird Sensation – a multi-sensory soothing lab would like to present the exhibition as an experimental laboratory where people can view content, touch the objects, listen to the sound, and feel relaxed. Based on the research from Barratt and Davis, they suggested that experiencing ASMR content can relax people and provide temporary relief to individuals with depression, stress, and chronic pain. (Barratt, E.L.;Davis, N.j., 2015). What is not clear to me in his research is the specific thing that triggers people’s attention and touches their feelings. From a visual perspective, is it the slowness of movement? And how slow does the movement then need to be? Or is the close-up view that showcases the details, creating a feeling of nearness and intimacy? Or is it the abnormal colours that apply to daily objects, and exaggerated eating behaviours, like purple cake, neon green drinks, mint jelly, a big chunk of cook pork belly eaten by a slime beautiful young woman, etc.? Although

The actual exhibition might look a bit different than the exhibition sketch. For example, the object’s placement and display methods might need some adjustments depending on the accessibility of the equipment etc.

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Do not get scared of coding. Please give it a bit of time and be patient with yourself. Be open and brave about new things and changes, and embrace our past.

ASMR is still a very new field with many mysteries, the reported effects on mental health and stress release are inspiring, espe cially for people working in visual, sound, and sensory studies. In this exhibition, the visual form and the means of interaction are inspired by ASMR-consuming culture. The outcome of the exhibition is not only about what has been displayed but also the visitors’ behaviours during the exhibition. Therefore, visitors have become a part of the visual communication process.

5.2 Reflection

I still remember the fear I had before I started learning to code. Before I began to learn design at Academy, I painted, starting from 8 years old till I was 19. Tools I use are brushes, ink, pa per, pencils, and colours most of the time. Later at China Central Academy of Art, in my second year, I decided to become a visual communication designer and started learning the basics, such as layout, colours, typography, etc. And most of the time, the

ASMR is a field worth further research. It is not just an internet

used and learned are not that new for people who have worked with them for years, but they are new to me on a personal level. Because of the basic knowledge of creative coding, Touch Design, or AR technology, I experienced coming up with ideas and solutions that I would never even think about or imagined. Later, people started telling me that they found my work interesting and inspiring. This also brought up more oppor tunities for me, and I got several job offers from design consultan cy agencies, individual contacts for collaboration, and exhibition invitations in galleries.

137 Reflection_ReflectionabdResults4

The new tools and methods open more possibilities and Perhapsopportunities.thetoolsI

tools I use in practice are Photoshop, InDesign, illustrator, and sometimes in combination with hand drawings. Some designers and visual artists use creative coding in their approach, which is impressive and inspiring. I wanted to try it myself, but fear often stopped me from trying. I feel there is always a voice on the backside of my head saying, this is not something for me, and it is complicated to learn. And though it is comfortable to use the tools I already know, they work, and why bother to learn something new and different? I want to thank the support and encouragement from my fellow students and tutors at Aalto University for always being helpful and supportive. I feel proud that I overcame my fear of a subject that I thought was too challenging to try. I believe this experience will be helpful in my future career and life in general.

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trend that comes and goes. And it is a phenomenon born digital that will tell a lot about where design is heading in the future.

ASMR suggested many exciting effects on many aspects of peo ple´s daily lives. For instance, the proposed effects release stress and make people feel relaxed, help them fall asleep, make them feel good, help them concentrate, and give them a feeling of being intimated and close by, etc. This opens exciting questions to think about: How can AMSR help to learn? How does ASMR improve social and cultural berries and bring people together? How to use the material that stimuli the ASMR feeling and apply it in today´s product design. For example, a pillow or a bed to help people who suffer from sleeping difficulties falling asleep or a wearable piece that people use when they feel stressed and need help to calm down?

• How can a multi-sensory experience provide a more exciting learning experience and help one learn better?

• How can visual communication designers cooperate with phycologists and provide an alternative therapy for people suffering from mental stress and chronic pain?

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This research is, for me, not finished at all but is a beginning of a possibly life-long study. I would be interested in future research on the following questions for example:

During my master’s study, I researched the internet phenomenon of ASMR and its reported effect on providing temporary relief to individuals with depression, stress, and chronic pain. I found that ASMR can help people feel relaxed, but it is not for everyone. In Barratt and Davis’ study, 80 percent of participants suggested it gave them a feeling of relaxation, while the remaining 20 percent thought did not. Some types of ASMR work well for one person but might not work for another. So, the experience differs from one individual to another. ASMR media’s visual and audio stimuli aspect provides interesting exploration possibilities for visual communication design research. Still, it is not limited to, for example, the usage of colours, movement, texture, body move ment, and multi-sensory experiences. I believe these topics are worth exploring for people who work within but are not limited to the field of visual communication and sound and for scientists, designers, and artists who work with texture, interaction, spatial, textile, and mental health.

• Can multi-sensory experience become part of visual communi cation design?

6 Conclusion

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