resonance by jeniececheung

A propositional device that explores the conjunction of sound, mind, and nature

An Exposition submitted in fulfilment of the requirements for the degree of Bachelor of Industrial Design (Honours) Jeniece Cheung | s3545180 Department of Industrial Design School of Design College of Design and Social Context School of Architecture and Design RMIT University Semester 2, 2018 Course: GRAP1040 Industrial Design Honours Part B

Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the exposition is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed.

Jeniece Cheung 24 October, 2018

Abstract This project is a discursive design project that explores the conjunction between sound, perception, and nature. Design is a multifaceted practice, and it is often only understood from a visual point of view. However, sound saturates our lives as much as the visual, and it is often taken for granted or neglected. Through sound, this project does not seek to answer a question or solve a problem, instead, it provokes thinking and discussion around our relationship with nature. This project started with an investigation into the common dichotomy between the urban scape and nature. Most of us believe that nature only exists outside of the city, miles away in a national park. I am questioning and critiquing this common romanticisation: does a desk also count as nature if itâ&#x20AC;&#x2122;s made out of timber, which is a natural material? Resonance blurs the line between buildings and trees, and expands the possible perception of nature. The intention of this project is to recreate the pleasurable feelings of being in nature, by using manmade objects, processes, and soundscape. By taking the form of a work desk, Resonance uses electronics and sensors to imitate the unpredictable and uncontrolled behaviour of nature. Just like trying to catch a rabbit in the bush, the more you try to control it, the more it tries to get away from you.

Acknowledgements Supervised by Sophie Gaur; Prototyping help supported by RMIT workshop technicians; Timber supplied by Urban Salvage; Lighting supplied by Edison Light Globes; Brass supplied by George White; Water jet cutting supported by Ultimate Lasers; Desk Legs supplied by Hammer Smith; Electronic Technical Help supported by Alexander Radevski; Printing and binding by Impact Digital; More gratitude towards Sophie Gaur, Queenie Wong, Sara Kiew, Peijee Ng, KhymÂ Sarochinee, Bob McDougall, Joandita Centika, TianZhu Zhang, Yiyi Shan, Dion Pangkey, Yvonne Tao, Soumitri Varadarajan, Ronnie Lacham, Jordan Lacey, Chuan Khoo, Ron Ellazam, Jeannie Mulligan, Little Print, other fellow students, and (last but not least) my family

Contents Introduction 2 Background 3 Chapter One: Field of Practice Precedents Research Conclusion

Chapter Two: Context and Application Noises and the Urban Soundscape States of Mind Biophilia and the Nature Precedents Research Conclusion

Chapter Three: Methods Method One: Sensory Immersion Method Two: Photo-journal Method Three: Sound-journal Method Four: Card Sort Method Five: Nurture Method Six: Expert Interview Method Seven: Diorama Conclusion

Chapter Four: Research Research Methods Discoveries Exploration Initial Design Propositions

Chapter Five: Design Development 61 Diorama Model Making Sketches Concept Generation Concept Development Sound Exploration and Development Product Form Development Conclusion Chapter Six: Methods of Testing, Evaluation and Validation Mid-semester Presentation Concept Iteration Interview with Designers Interaction Iteration Validation Conclusion

Chapter Seven: Prototype Development Product prototyping Electronic prototyping

Chapter Eight: Design Outcome 109 Conclusion Reflection Appendices 121 Bibliography List of Figures

Introduction This is a research report that investigates into the conjunction between sound, mind and nature in an urban context. Framing my research in the inner city of Melbourne, people’s constant exposure to high level background noise becomes the starting point of my research. Sound is a crucial element in design that is often taken for granted. This project seeks to emphasise on the existence and power of sound. Through studying and experimenting on human’s states of mind under the exposure to different sound and environments, I further investigate into human’s understanding of nature, and whether nature is the key to enhance the state of mind.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Background Through my years of studying industrial design, I have developed a strong interest and vision in designing a tangible and experiential project. I have not previously taken any studio courses related to sound or nature, however I did learn and explore a range of projects in different fields of practice. I was exposed to the method of conceptual thinking during my Critical Creative Concerns studio, Furnitecture, and I am interested in carrying the method further in this project. This influenced me to steer the project away from problem centred design, instead I take the chance to explore and experience. I have experience and skills in basic programming and sound amplifying. These skills are learnt from two of my previous projects: a manual turntable and a interactive music system. The manual turnable project involves me designing and crafting a turntable, from the hardwares to the electronic components. I have gained basic skills in soldering and electronics. The interactive music system involves designing and programming a system that plays music according to the movement and sound levels in a space. It allows me to gain basic skills in programs like MAX MSP and Ableton Live. The choice of design direction is heavily influenced by my fascination to sound and what it is capable of. Though I have not grown up learning a musical instrument, I am always aware of sound and the information they carry. Growing up in aÂ fast-paced and unpredictable country like China taught me that focusing only on visual sensory is not enough. It is important to be aware of sounds coming from every direction, as it has the capability to carryÂ non-visual information like space, density, speed, and more.

Field of Practice

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Design is a multifaceted practice, and it is often only understood from a visual point of view. As a designer who is deeply intrigued and alerted by sound, I believe that sound can be a crucial element in design as well. Sound saturates our lives and it is often taken for granted or neglected. Especially when you live in an urban environment, surrounded by constant, unwanted noise. This project explores the use of sound as a medium in design in order to stimulate the aural senses. The field of research conducted in this project is around the use of sound in designs. The research context is inclined towards a public realm, however it is not limited. Personally, I have chosen this field of practice because of my passion in sound and music. Although I did not grow up learning an instrument, I hold curiosity and wonder in the creation of sound. I enjoy the search of delicate noises in nature, and the immersive experience of these incidental sounds. I often experience some degree of anxiety and stress, and I found that sound is a powerful tool to change one’s emotional and behavioural stage. During my everyday commute, I noticed that most people try to block out external noise by using noise cancellation headphones and investing all of their concentration into their smartphone screens. While sight is a sense that captures all of our attention and it isolates us from everything else, sound incorporates all other senses and creates an internal experience. (Pallasmaa, 2012) I would like to take advantage of this experiential sense and create an eco mind shift in my audience. In my previous design journey, I did not have much chance to work with sound closely. However I have designed and crafted a manual turntable, which involves learning about the process of basic mechanism and sound amplifying. (Figure 01) I have also designed an interactive music system that involves basic programming and triggering of sound. (Figure 02) With the skills I have equipped, I am confident to work with sound up-close and create an influential design.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter One â&#x20AC;˘ Field of Practice

(Figure 02: AIR Interactive System)

(Figure 01: Orbit turntable)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

“It is true that the eyes dominate the ears in our time.” - Karlheinz Stockhausen 9

Precedents Research

To start off the research, a map of sound related projects and designs has been created to gain a clearer overview of possibilities of this project. The collection have been divided into four categories of different mediums and purposes. (Figure 03) As shown on the map of Research and Inspiration, there is a large imbalance between the use of electronic sound and acoustic sounds. There are a lot of interactive projects like Yuri Suzuki and TeamLab’s works that incorporates human interactions to create sound and entertainment. There is also a number of artistic installations that are designed to provoke an emotional response using acoustic sounds, like Cameron Robbins and Lawrence English’s works. Apart from design projects and art installations, there are also a lot of everyday objects that worth mentioning. For instance, the ubiquitous traffic lights and bike bell sounds are some simple yet functional inventions that incorporates sound. Personally, I want to explore the use acoustic sounds over electronic. Electronic sound is limitless and full of potential, but it often lacks in emotional connection. Acoustic sound can often ‘sound like’ something else and create an emotional familiarity with the audience. Unlike art installations, this project has an intention and serves a purpose, and perhaps even creates a social impact. Therefore I believe that my design will fall into the category of service design using acoustic sound.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter One • Field of Practice

Electronic Tram Stop Announcement Microsoft 3D Soundscape Headset

TeamLab

Oculus

Sound Of Dementia

Lawrence English

Japan Train Station Songs The World’s Deepest Bin

Elevator Dings

Piano Stairs

Japanese Toilet Flush Sound

Yuri Suzuki

Samson Young

Mac Startup Chime Infinite Choir

MATMOS

Noisli Mesa Musical Shadows

Service

(Emotional) Installation

Federation Bells

Traffic Lights

Jasmine Guffond Experimental Instruments Incidental/satisfying Sounds

Cameron Robbins

Calvary 360° Car Horns Bike Bells Cane Tapping (Human Echolocation)

Endless Rain Record

Forest Megaphones

Orator Bird House

John Cage

Acoustic

(Figure 03: Map of Sound Curation)

Rolighesteorin: The Fun Theory

This project focuses on and responds to the contemporary ideas around the urban landscape and nature. The population of the urban society are often absorbed by materialism and consumerism. Though a lot of people are aware of the environmental damage and climate change, the fact that nature is not easily accessible and experienced impacts the innate human-nature connection. It is a challenge to bring the beauty of nature into a busy city scape. Drawing upon this problem, the project comes in place and re-establishes the relationship between the city and outer world. Swedish company, Rolighetsteorin, has designed a relevant example of this scenario. Rolighetsteorin believes that the easiest way to change people’s behaviour is to make it fun to do so, and by sticking to the theory, they created a series of projects called ‘The Fun Theory’. (Rolighesteorin, 2018) One of the projects, The World’s Deepest Bin, uses the element of sound to encourage people to throw their rubbish into the bin. The design involves a bin that has been modified with electronic triggers to play the sound of an object dropping over a long distance. The design plays with the user’s curiosity to capture their attention and encourage the action. The result of the design shows an obvious impact through a clear comparison between the amount of rubbish in a regular bin and the modified bin. My project extends on this form of user participation and translate the aim into bringing pre-modern elements into a post-natural landscape.

(Figure 04: The World’s Deepest Bin)

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter One â&#x20AC;˘ Field of Practice

Forest Megaphones

Forest Megaphones is another project that I take inspiration from and would like to explore on. It is a trio of gigantic timber megaphone that are placed in a forest of Southern Estonia. A group of interior architecture students want to create a project that meets contemporary architectural space with wild nature. These megaphones not only amplifies the natural sounds of the forest, it also doubles up as a space for contemplation and rest for travellers. (RUUP, 2018) This is a simple yet sophisticated project that highlights the existence of nature and invites people be a part of it. I wish my project can create an immersive experience and show the audience the beauty of nature using a similar manner to the forest megaphones. I like how this project doesnâ&#x20AC;&#x2122;t not involve any artificial materials or sound. It is placed in the forest harmonically while exhibiting the sound the nature to any incidental audience.

(Figure 05: Forest Megaphones)

Mac Startup Chime (Figure 06: Power Macintosh G3, the first Macintosh to adopt Jim Reekes’ Chime)

There are a large number of practitioners who are working in this field of design, as explored in the map of sound curation from above. A few of the precedents have caught my attention and inspired me. One of the works is the sound of Macintosh computer startup sound. It is a three second sound that has became a rare sound trademark. The original sound was based on the most inharmonic interval, tritone, also known as the ‘interval of the devil’. Jim Reekes, the creator of the startup chime, considered the association of the startup sound with the horror computer crashing and rebooting. He also considered the hardware and the speakers the sound will be played from. As the Macintosh models keep evolving, different sound frequencies and qualities will be played and he wants the sound to be uniform no matter where is it played from. (Reekes, 2018) From these considerations, he decided to change this inharmonic tone into a calming and refreshing sound that would fit all models of Macintosh and their speakers. The sound ended becoming a rich, fat C major chord that sounds recognisable however it is played. I am particularly interested in Reekes’ approach and design consideration during the process of designing this piece of sound. Not only did he consider the religious context of the original sound, he also reenacted the user’s experience when encounter the sound. And through such thinking, he creates the new design that seems simple, but involves a huge amount of testing and reworking.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter One • Field of Practice

Calvary 360°

Another one of the precedents that have influenced me is Calvary 360°. It is a large scale sound installation placed in Hadrian’s Wall, it is designed to pay respect to the Roman cavalry that guarded it 1,600 years ago. The installation is essentially a giant instrument that is played by wind power. The structure consists of 32 turbines and each has three rotating cups attached. As the wind rotates the turbines, the movement is transferred into sound through sets of 15 beaters, which creates a sound a imitates horses’ running across the field. (NEON, 2018)The circular form of the structure allows the audience to be surrounded in the centre of it, to enjoy the landscape as they acknowledge the history behind the view. I find this work extremely beautiful and influential. I admire how it uses natural energy to create an acoustic sound, which recreates another sound that reflects on the historic context. It is a perfect example of showing the emotional familiarity of acoustic sound as mentioned earlier.

(Figure 07: Calvary 360°)

Conclusion

The process of research on field of practice helps me gain insight into currently available projects. While there are a lot of electronic acoustic projects out there designed for entertainment and interaction, this project focuses on the incorporation and creation of acoustic sound. Acoustic sound is tangible, and has the elements of familiarity, participation, and control. The project intends to connect and impact the audience emotionally, and further lead to a response. Through looking into a few examples that showcases the relationship between nature and sound, I gained curiosity into presenting and exhibiting the nature in order to create a positive emotional impact. The particular example of the Mac startup chime illustrates the importance and power of sound as a response to triggers. Ultimately, this project explores and experiences the relationship between sound, nature and mind.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter One â&#x20AC;¢ Field of Practice

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Context and Application

Throughout this research on sound, multiple aspects of designing using aural sense as a way of communication are found. One of the aspects that have caught my attention is the design of spatial sound in an urban context. There is an urban uproar in the city we all live in. The roar contains the sound of cars racing by; construction works by the side of the road; trams rocking along the rail; air conditioners humming… This scene have been described by the Canadian composer and environmentalist, Murray Schafer, as ‘acoustically inhuman environment’. (Schafer, 1994) A busy urban noise environment is known to cause a number of health effects, including both mental and physical. (Adams, 2006) I personally also experience a certain level of stress and anxiety from my daily commute on public transport. One of the most primal and common way to combat psychological discomfort is through nature. As described by Alfred Russel Wallace, the co-discoverer of evolution with Charles Darwin, humans experience a ‘sensation of awe’ while facing the abundance of nature. (Shanahan, 2018) Drawing from these discoveries, this project continues to explore the connection between sound, mind, and nature in the urban context through the form of experimental and discursive design.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Two â&#x20AC;¢ Context and Application

Noises and the Urban Soundscape To further investigate into the current sound environment in an urban environment, I have tested the sound level of a few places where I spend most of my time in. The tool for the test used is a sound level meter application on my iPhone. The application may have some level of inaccuracy compared to the actual device. However for the nature of this research, the findings from the application is sufficient. According to my testings, a normal room has a noise level of 48dB; a quite street has a noise level of 61dB; the inside of a moving tram has a noise level of 82dB; and a busy city street has a noise level of 86dB. It has been found that a frequency level over 20,000 Hertz and noise level over 80dB can cause damage to human hearings. (Goodman, 2010) It is evident that our body fatigues from the constant bombardment of the urban roar. According to Schafer’s terminologies, common street noise can be categorised into three different types: keynote sound; sound marks; and sound signals. Keynote sounds are the common background sounds, like traffic and wind. They are so common that they have almost ‘imprinted’ themselves deeply into our minds. Soundmarks are the community sounds that are special to a certain place or scenario. Similar to landmarks, soundmarks are unique and deserve to be protected. Sound signals are the foreground sounds that are made to be noticed and deliver a message. Like the ambulance sirens, they are designed to be consciously listened to. (Schafer, 1994) Different people may have different reactions and opinions about all three kinds of sounds. Therefore I cannot rule out all urban sounds as undesired and disturbance.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Two â&#x20AC;˘ Context and Application

(Figure 08: Photo of me using the sound level meter app)

States of Mind

high

Our mind is constantly changing and thinking as we live, and there is no stable state of mind. According to psychologist and professor at University of Chicago, Mihaly Csikszentmihalyi, humans have eight states of mind beyond total boredom and peak of anxiety. Through mapping the states of mind on the scale of level of challenge against the level of skill required, Csikszentmihalyi discovered and studies the state of flow. (Figure 09) It is the highest form of concentration where a person is completely absorbed by an activities, and the rest of the world seems to have disappeared. And that is believed to be the crucial source to creating genuine happiness. (Csikszentmihalyi, 1990) I am particularly inspired by Csikszentmihalyi’s theory as I believe also, that the mind is constantly active, and achieving calmness may not necessarily be easy and effective. Moreover, I think that anxiety might be the ‘normal’ state of mind as we are continuously being exposed to unpredictable future. Entering the state of flow depends on the ability to engage on an activity, and with the amount of digital distractions we are exposed to, it becomes the most challenging yet valuable state of mind to achieve.

arousal

challenge

anxiety

flow

worry

control

apathy

relaxation boredom

(Figure 09: Mental states according to Csikszentmihalyi’s flow model)

low

skill

high

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Two • Context and Application

Biophilia and the Nature Biophilia hypothesis is a concept which claims that humanity needs to connect and focus on nature and other life forms. (Wilson, 1984) Drawing from the condition and needs, Jordan Lacey, a creative practitioner and sonic art researcher pointed out that we need a biophilic approach to design for this post-modern soundscape. This can be evident in several historic references that illustrates the indigenous relationship with nature via aural understanding. There is the soundscape mimetic song of Yawur people of West Australia; Nez Perce of North America who learned music through the sound of wind moving between reeds; and Bosavi’s connection between voice and geography. We need to understand the essence of the human-nature connection in order to design for a postmodern urban context. (Lacey, 2011) A more modern example is the Japanese forest bathing. Karoshi is a Japanese term that means death by overwork. The cause of the death is usually caused by heart attack and stroke due to high level of stress and starvation. To combat this social phenomenon, the Japanese adopted Shinrin Yoku, or a practice of mind cleansing and meditation through walking and submerging oneself in the forest. Researchers have found a link between the practice of forest bathing and drop in blood pressure and stress level. (ABC News, 2017)

“Sound is the vocabulary of nature. Noises are as well articulated as the words in a dictionary. ” - Pierre Schaeffer

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Precedents Research By converging all three concepts in my area of research, another map is created, curating a new set of design precedents. (Figure 10) These precedents are all designed for one or more areas in sound, mind, and nature. I have also tried to focus on designs and outcomes that have an experimental characteristic or provoke the audiencesâ&#x20AC;&#x2122; thoughts to someÂ level. Most precedents that I have found fall into two of the areas. The examples that target both sound and mind mostly focus on damping the sounds of urban roar to achieve a quite space for calmness and contemplation. The examples that target nature and mind largely focus on simulating the experience and senses of one being in the nature to achieve a certain state of mind. Finally, the examples that target nature and sound tend to create, amplify and resonate sounds of the nature as an expression. There are very few examples that I have found which incorporates all three areas.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Two • Context and Application

sound 4‘33“

Sound Healing ‘No Noise’ Initiative Ostrich Pillow Vank Wall Satifying Sounds Seeds Pods

Forest Megaphones Calvary 360 Resonating Forest The Sea Wailing Wind Room Dividers

Endless Rain Record Noisli Flow Indoor Garden Calming Stone Mindnosis Phabit Plating Device Forest Bathing ThePresent ‘Human Nature’ Carpet Tiles Mosslamp

mind

nature

(Figure 10: new set of precedents surrounding sound, mind and nature)

Endless Rain Record

Endless rain record is a vinyl record that features the soothing sounds of summer rainfall. The record contains a lock groove, which allows the rainfall to be played on the endless loop. I think this piece of work beautifully and simply combines all three areas through achieving inner calmness using the sound of nature. The features of recording the sound on an analogue medium and locking on a ‘physical’ replay adds a poetic beauty to the work. I think the physicality of it communicates to the users on a deeper level compared to digital automation.

Noisli

Another one of the examples is Noisli, a website that allows the user to play and mix calming sounds of the outdoor world to improve focus and productivity. Apart from the advertised effects, I believe by mixing certain sounds together, the website can also be used for meditation and mind relaxation. The website creates an easy access to a moderate amount of white noise, which can also be referred as the keynote sound mentioned earlier. According to Noisli’s blog post, white noise can have a positive impact on the listener’s mental wellbeing. Because it contains all levels of frequencies, thus has the capacity to mask other noticeable sounds. (Noisli, 2016) Noisli not only is a beautifully crafted website designed to improve the state of our minds, but also an inspiration for me to see the positive impacts of noises.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Two • Context and Application

Flow

(Figure 12: Endless Rain Record)

(Figure 13: Noisli)

(Figure 14: Flow)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Two • Context and Application

Conclusion

Further research into context and application shows more insights and possibilities to the potential of this project. It is found that the current urban noise in the CBD of Melbourne may have negative impact on people’s physical and mental health. And it is evident that taking elements of the nature and utilising a biophilic approach is an effective relief of anxiety. While relief from anxiety may seem to be an optimal mental achievement, there are more complexities to the state of mind. Many precedents have taken inspiration from nature’s form or use biomimicry to reconnect humans to an organic environment. The element of white noise has the ability to improve mental wellbeing. That is under the circumstances where the noise have a low level of decibels and a moderate level of frequencies. I believe that to achieve the best results from this project, it requires acoustic sound rather than digital sound. World Soundscape Project pointed out that only acoustic sounds can ‘improve the orchestration of the world soundscape’. (Lacey, 2011) These findings have refined the project aim to using acoustic sounds inspired by the nature to explore the states of mind.

Methods

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

To investigate further into the confluence of sound, nature and the state of mind in an urban context, I have chosen to conduct a series of research and design methods. While some of the methods are chosen to help me collect visual, aural and sensual elements that revokes a certain emotional response. Some other methods are also designed to experience, gain insights, and second opinions from a different perspective. A huge part of the methods are conducted in Mongarlowe, a village in South tablelands of New South Wales. It is 13km away from its closest town, Braidwood, and there is a total of 117 residents. This becomes the location of research because of its huge contrast to the city of Melbourne. There is no mobile reception in most parts of the village, which disconnects me from any form of electronic distractions in order to achieve a full immersive experience. The residents of the area lives a care-free and slow-paced lifestyle, and it is interesting to find out their responses to scenarios that I find significant and special.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Three â&#x20AC;¢ Methods

Method One: Sensory Immersion

Sensory Immersion is an experiential method that allows one to form a personal reflection to the surroundings around any research context using all senses. Different from photo-journal or other types of observatory methods, sensory immersion requires one to fully submerge into a place. Rather than focusing on the mental responses and reactions, it is more important to notice what our body receives and how it naturally feels. The aim of sensory immersion is not to solely focus on audio or visual receptions, it is informative for the project to also consider other senses including temperature, space, and even time. Sensory immersion allows me to understand and frame the overarching environment of the research, and define the the recipes for subconscious responses and emotions. It also helps to further understand the biophilic concepts through the bodyâ&#x20AC;&#x2122;s innate reactions.

Method Two: Photo-journal

Photo-journal is one of the most straightforward way of recording and visualising th e journey and thought process of a topic. The method involves one to record their own journey during a certain period of time in a place. I have decided to record my own journey of my field trip in Mongarlowe. The method is often conducted around a prompt, and in this case, are the activities throughout a day that evokes a certain mental state and emotion. Photo-journal is able to assist research in three ways: it allows me to record any significant events and discoveries; it also can act as an accessible memory for me to revisit the moment visually; and it is a personal method that reflects my own understanding of the surrounding and concept. From this method, I gain further insight and understanding into what elements are needed to recreate a certain feeling and emotion.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Three â&#x20AC;˘ Methods

Method Three: Sound-journal

Similar to photo-journal, sound-journal also records the aural element of a scenario according to a prompt. However, rather than record for the most primal sense in the human body, these findings are created for the ears. Through hearing, the mind is capable of creating a clearer reenactment of the scenario. This includes details like the types of insects hiding in the grass; the amount of wind and the temperature contacting the skin; and the amount of space around. Besides the three ways that photo-journal is able to assist in the research process, sound-journal can collect more detailed sensual information. Through these additional information, I can relate to any particular feelings more closely.

Method Four: Card Sort

Card sort is a simple exercise that can be conducted on anyone to identify the most important element for them. In the case of this project, the method is based on a cards that represent feelings and emotions. It includes emotions on different levels, ranging from extreme feelings like anger and despise, to neutral feelings like boredom and disinterest. The exercise involves me handing out these cards to a person at a particular time. While I record the time, location, and any noticeable discoveries in the environment, the person is asked to pick out 3 to 5 feelings that are closest to what they are experiencing. After cards are picked and sorted, the results will be recorded and the person might be asked to reason some of the findings. This method helps gather information about how most people will commonly react to a certain environment, and what matters the most to them. From the information, it is easier to determine what state of mind is achievable for this project, and further refine the aim to expand the possibilities of the design.

Method Five: Nurture

Nurture is an exploration method of experiencing and connecting with another organism. Mung beans is an easy and effective example for this method. The process is simply caring for the plant and recording the growth on a daily basis. The photos are to be combined and made into a stop-motion animation that illustrates the process in an effective way. The key to the method is to engage with the act of caring and reflect upon it. The method allows me to bring out the human nature of caring and preserving through responsibilities. It is valuable to notice the act of watering and reflect on the emotions when I see the progress and outcome. Ultimately, nurture helps to further understand the theory of biophlia and consider the types of interaction that are possible to incorporate into the design.

Method Six: Expert Interview

An expert interview allows me into a more professional view into the context of the design. For this project, I have chosen to talk to creative practitioner and sonic art researcher, Jordan Lacey. The reason to the choice of expert is because of Lacey’s accessibly and his field of research. A number of my previous research has been done on Lacey’s papers and surrounding the idea of biophilic designs. Lacey has a strong view and belief towards human’s relationship to urban noise. This expert interview is beneficial as I can hear about Lacey’s journey in the field and his approach to public interactions. More importantly, I can ask Lacey to talk about his practice through the lens of my design. This method helps me gain guidance and perspective on the project. An expert’s experience and knowledge is a valuable resource for a designer.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Three â&#x20AC;˘ Methods

Method Seven: Diorama

Diorama is a design method that displays a scaled scene through the use of layered 3D models and depth. Since the design has potential to have a spatial aspect to it, diorama is a quick prototype method to visualise a space. In this design, diorama will not only involve visual elements, but also sound elements to accompany the physical models. The models are to be made out of something quick and simple, preferably paper or cardboard. Photography will be used to record the scenes and compile them digitally. Diorama is a very handson method as it requires huge amounts of printing, cutting, arranging and observing. It is chosen over digital visualisations because the act of making allows the model to evolve gradually. Also, while making the models, my mind enters the state of flow with huge amount of concentration, which is reflected into the outcome. This is the emotional aspect of making a physical model that is unachievable through CAD. This method allows me to quickly visualise and experience the spatial effects and arrangements. The scaled sizes are easy to make and the depth can be visualised as full scale. The outcomes has the potential to be carried onto a more refinedÂ prototype.

(Figure 15: Example of paper diorama by Tatebanko)

Conclusion

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Three â&#x20AC;˘ Methods

The seven methods chosen to conduct will help develop the project both conceptually and physically. While methods one to six focuses on understanding the concept and gaining inspirations, methods two, three and seven focuses on developing ideation. Through conducting them, I hope to gain a deeper understanding into humanâ&#x20AC;&#x2122;s relationship between sound and nature; how our actions can relate to our feelings and emotions; as well as our innate ability and need to care about the nature. A lot of self assessments and reflections will also be involved during the process, this will result in some intimate findings that hopefully can communicate the concept easily and clearly.

Research

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Research Methods Discoveries Sensory Immersion

This project involves sensory immersions in a predominately natural village of Mongarlowe, and the inner city of Melbourne. The sensory immersion is recorded using photo and sound journal. (Figure 16) A number of field recordings can also be found via: https://soundcloud.com/jeniecece/. From the immersive experience, I found that a natural environment is more enjoyable under a passive experience, and the inner city is more interesting with active participation.

(Figure 16: Photo-journal)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Expert Interview

During the research process, an interview with sound researcher and sound art practitioner Jordan Lacey was conducted. Lacey points out that I need to be aware of the project being caught up in a dichotomy between urban and nature. The two environments are closely related and consequential. He suggested the theory that the urban environment is the offspring of nature, as it is created by humans, and humans are the creation of nature. The suggestion allowed me to think about the project differently and from a different perspective. In relation to the concept of the mind, Lacey suggested me to read his research report called ‘Sonic Placemaking’, the research of a urban sound resarcher, Francesco Aletta, and particularly the chapter ‘Creating New Natures’ in his book ‘Sonic Rupture’. Through reading the chapter ‘Creating New Natures’ in Sonic Rupture, I discovered a new engaging concept surrounding nature. The term ‘nature’ has been romanticised and idealised to something distant and beautiful in an urban context. However we often don’t consider the entire scope of nature outside of trees and flowers. Through my own understanding, humans mostly find tamed nature desirable. These may include gardens, national parks, beaches under our control. I think it will be interesting to blurred the lines around the concept of nature, and broaden the understanding to the affects of nature. I believe that it is worth exploring the characteristics of nature compared to artificial creations, and find out the affects that makes human romanticise and idealise over.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Four â&#x20AC;˘ Research

Card Sort

My results from the method card sort also shows some interesting outcomes. I invited people to conduct the activity in predominantly four different categories of environments: a quite space with mostly natural surroundings; a quiet space with mostly man-made surroundings; a noisy space with natural surroundings; and a noisy space with manmade surroundings. The results are shown in the diagrams on the following page. These results show that people tend to have a calmer response to both quite spaces in natural and urban environments, and they have a more irritated response to noisy spaces in both environments. From the results I can conclude that it is not the environment that determines our mental states, but it is rather the soundscape and the things that causes noise in the surroundings. The method of card sort further supports the idea of creating new natures.

(Figure 18: Card sort)

man-made

tio

control

worry

ty xie

i.e. bookshop, church

arousal

b oredo m calm

worry

tio

control

i.e. park, beach

ty xie

arousal

b oredo m

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Four â&#x20AC;˘ Research

ty xie

tio

i.e. busy street, highway

control

worry

arousal

b oredo m violent

ty xie

tio

i.e. thunderstorm

control

worry

arousal

b oredo m

(Figure 17: Results from card sort)

natural

(Figure 18: Progress of mung bean growth)

Nurture For the method of nurture, I grew a batch of mung beans over a period of ten days. The beans are placed in water so a clear stage of progress can be observed. (Figure 18) Over the period of ten days, I wake up everyday in the morning to change the water in the container and take a photo of the growth. I soon realise that this is the experience of nurture. Somewhere in the back of my mind is aware of this life form that I am responsible of, and the responsibility urges me to take care of the beans through a small gesture of observing. From this method, I discovered my innate urge to care and connect with another life form. This is an example and experience of the biophilia hypothesis mentioned earlier. It is interesting to consider this behaviour in a long and short term scenario. I felt a sense of reward and achievement on the tenth day of the method, but what would it feel like if the method is performed over a year? or ten years? This is something I can experiment on further on the side.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Four • Research

Exploration Spatial Sound Components To further explore the element of sound in connection to human’s states of mind, I began to explore the notion of spatial sound. During this process, I came across an interesting architectural audio journal called ‘ATTENTION’, and one of the issues is about how musicians think spatially. The journal points out that there are four components to spatial sound: size, location, reverberation, and noise. Size refers to the volume, power held within the sound to create an impact; Location refers to the direction of which a sound is coming from, typically not facing the audience only; Reverberation refers to the diminishing reflection that occurs after the initial sound, which creates a perception of distance; and noise refers to background noises that is variable to the environment. In order to gain further understanding into these terminologies, I created an example for each component using a music composing software, Ableton Live. The sound files of the examples can be found via: https://soundcloud.com/ jeniecece/sets/spatial-sound-componenets/s-qcMEr.

siz e

By keeping all of these four components in mind, musicians create more saturated, considered and intriguing sounds for the ears of the audience.

tio

lo spatial sound components

r ve

(Figure 19: The four components of

t ra be

spatial sounds)

ise

anechoic chamber

Architectural Precedents

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Four • Research

I also explored a range of architectural precedents that are renowned for their spatial sound effects. These include spaces with high level of reverberation like London’s St Paul’s Cathedral, the State Library Reading Room, the Prenzlauer Berg water tanks in Berlin, and the Ali Qapu Music Hall in Iran. These spaces all have their special sound effects for particular reasons. When human experience reverberation, they perceive a sense of distance and feel diminished. Most cathedrals are designed to create this effect in order to provoke respect. Reverberation is also a common effect to control the amount of noise people make. In the setting of a library, the sound that people create gets extended and amplified. They will consequentially become more aware of each sound and therefore try to create as little sound as possible. Some spaces are also designed to amplify and resonate the sound within, like the ancient Greek amphitheatres, the Melbourne Recital Centre, and the Tvísöngur in Iceland. These spaces uses the spatial sound effects to create a more theatrical and artistic outcome, and tries to invite more people to listen and engage with the sound.

(Figure 20: Architectural precedents)

Sound and Materials

Apart from the space, different materials also affect sound while they come in contact. The contacts can be categorised into four: transmission, reflection, diffusion, and absorption. Materials like air, metal and timber are good conductors of sound wave, they transmit sound cross the material to reach a resonating and amplifying effect. Brittle materials like hard concrete, tiles, bricks are prone to reflect sound, creating a reverberating effect. Uneven surfaces like rock and routed timber reflects sound but also scatters the waves, creates a diffusion. Soft materials like fabric and foam will dampen vibrations and absorb sound as a result. Through the research around spatial sound components, architectural precedents and materials, it has been found that the manipulation of sound plays a huge role. It is not only the sound itself, but different effects and their combinations creates different perception to the audience. These perception can often be reflected in nature, and they are often the key to provoking a certain state of mind.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Four • Research

“There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.” - John Cage

(Figure 21: John Cage sitting in an anechoic chamber)

Initial Design Propositions Proposition One

This proposition is a spatial design that may take form of an object, a confined space or an immersive experience in an indoor living environment. It aims to address the constant sound in the urban environment, and use nature as a function to enhance a particular state of mind. The design is potentially collapsible and allows to be carried around and placed in anywhere desired. This proposition is a pragmatic approach to the research and experiments I have conducted so far. Without problematising the urban roar, I hope to use nature or representation of nature to provoke positive states of mind like flow, control and relaxation. The sound from the urban roar will be addressed through methods like dampening, elimination, or adding sound with countering effects. Some human actions that have been found to provoke positive mental state could be included in this design, such as the act of nurturing a plant, or the process of active listening to a particular natural sound.

Proposition Two

This proposition aims to explore and question the outcome of the concept of ‘new nature’. As mentioned earlier in the research chapter, the word ‘nature’ has been romanticised and idealised to be something distant and pleasurable. However it is not merely trees and birds that make humans feel a sense of pleasantness. This proposition aims to recreate the pleasurable moments of being in nature and rediscover the definition of new nature in an urban soundscape. This proposition is essentially introducing the concept of ‘new nature’ to the audience. Rather than making an impact on the user’s mind, I hope this proposition provokes thoughts and questions. Through considering nature from a different perspective, the users will find new ways of enhancing their mental states.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Four â&#x20AC;˘ Research

(Figure 22: The Australian Pavillion by Baracco+Wright)

I am more interested in pursuing the second project proposition. This is a more challenging choice, but it also contains a lot more potential. At the current stage, I am framing the proposition through investigating into a few possible areas. One particular area has caught my attention, which is the topic around man-made sounds that alters mental states. Some examples surrounding this concept may include the sound of rain falling on a tin roof; the sound of popping bubble wraps; or the sound of train moving along the rail. These sounds may induce positive emotional responses like satisfaction, calmness, or security. However they may also induce negative or neutral responses like apathy or anxiety. What intrigues me in this topic is the confluence of man-made and nature, and how combining the two can alter our state of mind more effectively. I would like to proceed with this proposition in the form of a sound curation. Through collecting and curating a series of sounds around this topic, I will present them to the users as a new option to enhance a particular state of mind.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Design Development

design development

diorama

model making

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

During the stage of design development, all the design methods are carried out. Aiming to generate an effective concept, each method narrows down the possibilities of this project step by step. This essay starts off with some broad methods such as diorama making and sketching to map out different possibilities and explorations. The ideation stage consists of some thought experiments and idea justifications to pin down what exactly I am doing to best express my intention. Finally, when I have generated a well developed concept and plan of execution, some more specific methods of development are conducted to develop the details of this project.

sketches concept generation

thought experiment

sketches concept refinement

model making

sound exploration

Diorama As a part of the initial ideation, diorama is the chosen method to experience a hands-on making process of recreating a scenery. I have created three dioramas: a bonfire in the woods, a deep forest with no man-made elements, and a city scape with trees in the foreground. (Figure 23) Along with the visual experience, I attached materials like acetate and plastic bag to the diorama to create sound that is related to the visual. This adds a participatory element to an object that was only for observation. I find the process of playing and imagining the sound helps the audience imagine and situate themselves into the environment depicted.

(Figure 23: Dioramas)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

Model Making

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

(Figure 24: Model making)

In order to start developing in a three-dimensional form, I made a series of models in various materials I found in a junk shop. (Figure 24) The forms of these models are not planned or designed, I simply allowed the materials to guide the form and structure of the models. This method of making is chosen as an act of random sketching, forcing me to consider new forms and spaces. Using models to work backwards rather than as a consequence of sketching. While making the models, I kept thinking about it in terms of a space rather than an object. In order to show that, I also put a 1:75 scaled human in each model to help visualise the models as a space. Apart from visualising, the humans also help the audience to imagine being in the space. Looking at the spontaneous forms of each model, I started to imagine the sound of being in there. For example, the pink domes allows me to imagine a space with heavy reverberation or even echo. This helps me further develop the project in terms of the relationship between space, sound and the emotional responses.

Sketches Some rough sketches of quick ideas help me generate a framework of where I want to head towards in this project. I took some pragmatic approaches, like a sound dome that may dampen or amplify a specific sound. I also took some critical approaches, like a planting device that controls the growth of the plant inside according to the sound level it detects. There is also a planter that gives a sound as a reward for watering and caring for the plant. Having these sketches available helps me understand the scope of this project. The project is not simply a curation of sound or a product that makes sound. Having a rough area of research is not refined enough to begin the stage of ideation. Clarification of intention and context is an important step before moving onto the ideation stage.

(Figure 25: Sketches)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

Concept Generation In order to generate concepts, it is essential to pin down the core intention and narrative of the project. The intension of this project is to introduce the concept of new nature in addition to the traditional understanding of nature. This is achieved by recreating feelings of being in nature in an urban environment. And sound is used as an assistive medium throughout the interaction. By developing concepts closely relating to the core intension, I am able to generate ideas that are tightly linked to the background research and thoughts in the project. During the process of concept generation, I stumbled upon an exhibition on show at The Substation, which really inspired me. The exhibition is NONCOMPETE by Alisdair Macindoe, which is described as a ‘post-human music, sculpture and installation’. (The Substation, 2018) As Macindoe is trying to portray digital technology as a new life form, the behaviour of the sculptures seems like an imitation to wild life forms that I am familiar with. The sound in the exhibition seems to occur randomly as I tried to trigger the sounds by walking and being in front of the sculptures. This experience inspires me and resonates strongly with the intention of this project, and it becomes the base of the concept that I would like to pursue.

(Figure 26: Alisdair Macindoe, NONCOMPETE)

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Five • Design Development

(Figure 27: Concept Visualisation)

The concept plays on the presence of human and the existence of sound. It essentially looks at the effect of playing sound when no human presence is detected, and the elimination of sound when a human walks by to examine. The sound is created mechanically using manmade materials. It captures the passive, unexpected, and uncontrolled characteristics of nature, resulting in some sort of a personification. Just like the scenario of trying to get a glimpse of a rabbit in the bush: it hops around the rattles the bush when you are not looking, as soon as you try to find it and take a closer look, it runs away and disappears. This concept can be developed further to explore the philosophical thought experiment of ‘If a tree falls in a forest’ to raise questions around observation and perception.

Concept Development Thought Experiment

Before starting to further develop the concept, the concept is tested through a simple thought experiment in order to understand the depth and potential of it. The experiment is to enlarge the scenario of the concept and questioned the effects of it in a larger context. For instance, if everything in the Design Hub has a minds of its own, and cannot be controlled by human anymore, what would it be like? The lifts will be going up and down by itself, not stopping even if I press the button. The lights were on, but as soon as I entered the building, they shy away and turn off. As I slowly find my way up the stair case, I trip and make a loud noise. The lights suddenly turn on as they got frightened by the sudden noise, and quickly they run off again. The chairs in the building has got legs of their own, I have to chase after them and sit on it to hold it still. This thought experiment portrays the building like an entire eco system, where every object is alive and have a mind of its own. Urban is the optimal living environment built by humans, and everything within it serves a utilitarian purpose for humans. Nature is not controlled by humans because everything within is trying to survive. When humans visit a natural environment, we tend to stop trying to control everything. Instead, we sit back and watch nature do its magic. The key of this concept is to challenge the audience to not try and control the object, but to simply coexist with it.

(Figure 28: RMIT Design Hub)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Concept Implementation The concept of personification needs to be implemented on a product in the final outcome. If the product is merely a non-utilitarian art installation, it will create less of an impact on the audience. However if say, a chair, makes sound and interacts, it becomes a much more engaging and effective personification. This is a crucial step during the decision making process as it will determine what type of product I will create to prove my concept. Some possible implementations are generated. The possible implementations are chosen for the nature of the objects and the method of interaction they have with the user. One of the possibilities is a mirror, because it is a product that encourages self-reflection and selfabsorption. The sound of the mirror could be a sharp, metallic sound. It is triggered by eye contact made between the user and its reflection to raise a slight discomfort. Another of the possibilities is a desk. Desks are designed to be sit at over a long period of time. When users work in front of a desk, they tend to enter the state of flow, which is mentioned in earlier chapters. The contrast between the state of flow and the restless movement around a desk could be an exciting point of exploration. I imagine the desk to create some solid, one-off sounds that is triggered by the distance between the product and the user. The last of the three possibilities is an Anglepoise lamp. The Anglepoise lamp has a very specific functionality and a unique gesture associated with it. The act of turning on and positioning the lamp offers an emotional engagement, which indicates the user is ready to enter a working mode. (Sudjic, 2008) The psychological and cultural association with the gesture is also an act of controlling the environment one is within. Having the sound triggered by performing this gesture on the lamp could achieve a strong, yet ironic effect.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

It is a hard choice to decide on one single possibility to pursue, as all three options are well thought out and they each explores a different direction of the concept. However I am keen on exploring the idea of playing with the state of flow, because it links back to the earlier research I have done. Pursuing one single option amongst the three may not be enough to explore the concept, therefore I think it is possible to combine all three options into one implementation. A work station that contains a desk, a lamp and a drawer could be a great implementation for this project. The desk and the lamp both encourages the act of working and relates to the state of flow. The drawer is chosen because it is seen in combination with the other two more often than a mirror. Also, a draw is a place of storage, the act of opening a draw is the process of revealing. This can relate to the famous experiment of Schrodingerâ&#x20AC;&#x2122;s cat, and encourage the user to question the contents within the drawer.

(Figure 29: Koloro Desk by Torafu Architects)

Sound Exploration and Development

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

Sound is a crucial part of this project, therefore the process of experimentation and selection of sound is essential. To explore possible acoustic man-made sounds, I use the the contact between different materials as the starting point. On the table below records the experimentation on plastic, glass, and metal materials. This method of exploration involves placing small objects in various materials into a small container of glass, aluminium, or plastic. The objects placed inside also are made of various materials, ranging from metal thumb tacks to water. After exploring a whole range of sounds, this experiment provides me an index of different sound that I can recreate easily in the final prototype. Videos of each sound can be viewed via: goo.gl/69Xsnq

(Figure 30: Photo series of sound exploration)

Product Form Development The contrast between sitting still and moving restlessly around a working space have lead me to decide on implementing the concept into a workstation. After deciding on the product, it is important to plan out the form of it. I start off by generating some conceptual drawings and modelling them out in scale using simple cardboard. This gives me a general idea of how I want the product to look, both in 2D and 3D. Knowing that the design involves a working space, form development also helps me nailing down the right ergonomics and positions of each element. I have created three basic forms of a working station: one as a traditional office cubicle, one as a typical domestic desk office, and the other in portable workstation style. Three options display three different types of working style. This decision can be made according to the context my design sits in and the constrains the interactions may have.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Five â&#x20AC;˘ Design Development

(Figure 31: Form development models and drawings)

Chapter Five â&#x20AC;˘ Design Development

Conclusion This stage has developed a project from a very abstract, broad idea to a specific point of interest that this project is now aiming to explore. It has been a process going back and forth between hands-on practical experiments and conceptual thinking. Starting off with methods like making dioramas and models helps me map out all the potentials this project has. Methods like the thought experiment helps me further engage with the conceptâ&#x20AC;&#x2122;s narrative and potential. Once the concept is decided, more methods of exploration are used to make specific decisions on the project. These decisions are important to make before moving on to the next stage of design.

Methods of Testing, Evaluation and Validation

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

The process of testing and evaluating allows me to put my design ideas out there and seek opinions and feedback about them. Due to the discursive nature of my project, the method of testing is based on the feedback from designers, industry professionals and general public. This stage is a chance for me to evaluate my current design, and return to further development based on the its impact.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Six â&#x20AC;˘ Methods of Testing, Evaluation, and Validation

(Figure 32: Render of first design iteration)

(Figure 33: Cardboard mockup of first design)

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Six â&#x20AC;˘ Methods of Testing, Evaluation, and Validation

Mid-semester Presentation My initial method of testing is through product prototyping and gaining feedback from designers. Before creating a prototype, I created a CAD model of the proposed design, which incorporates the portable work station with a fold-out lamp and a drawer. The back panel of the work station is clear, allowing the audience to see through and understand the mechanics within the design. From the design, I created a rough 1:1 cardboard prototype with lasercut 5mm cardboard. The purpose of this prototype is to test out the dimensions and ergonomics of the design. The outcome allows me to conduct my own evaluation first. The process of making reveals a number of unexpected flaws and calculation mistakes. Because the CAD model was not built with appropriate joinery and material thickness, some panels have incorrect sizing and need to be trimmed down during assembly. The prototype as a product appears dull and lack of character compared to the CAD model. However I am happy that it can be assembled and the mechanics of the fold-out lamp works very well. I further presented the prototype and the design to my mid-semester presentation panels, who are professional designers, to gain feedback and comments. One of the feedbacks I gained was that the proportions of the design turns the interaction into a game. I focused too much on the physical object and the logics behind the interaction, which leads the design to appear childish. If I intend to play with the audienceâ&#x20AC;&#x2122;s perception and understanding of the law of nature, I need to break the conventional logic and pattern.

Concept Iteration After the initial testing and evaluation, I am back to the drawing board with a fresh perspective on the design. To improve on the current design, I decided to focus on the audienceâ&#x20AC;&#x2122;s experience before deciding on a form. I turned to focus on the experience of interacting with another living creature. This direction can bring out the uncertainty, and unconventional responses that one may expect from a work station. I started by thinking about what I want my audience to hear, feel and think when they are approaching, staying, and leaving the object. As the improved proposal, I decided to design a full size desk instead of a miniature, laptop work station. The small work station does not interact well with the audience due to its size, and the movement around it is very limited. I also narrowed the interactions down to four: a low volume sound that plays and stops randomly; a motor that rattles two beads inside a glass container and stops upon a user approaches the design; a tactile metal embedment that turns on and off the lamp; and a mallet underneath the surface that knocks when it senses a knock on the work surface. Rather than creating sound purely for the sake of interacting, these reconsidered interactions are created to imitate the behaviours of nature. Some sounds occur when no one is around, and disappears when it is frightened; some sounds occurs out of no particular reason and pattern; some sounds only occur in response to someoneâ&#x20AC;&#x2122;s presence.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Six â&#x20AC;˘ Methods of Testing, Evaluation, and Validation

(Figure 34: Further form ideation through sketches)

Interview with Designers With the new and improved concept, I seek feedback again from more designers as the secondary testing. I had another meeting with researcher and sound installation artist, Jordan Lacey. I raised questions around how to frame the field of my design. During the mid-semester presentation, one of the panel who is not familiar within the field of discursive design could not understand the purpose of the project. Jordan asked me to consider that the project may have a potential purpose for providing an ambient soundscape for a workplace. Apart from meeting with Jordan, he also recommended me to talk with lecturer and researcher, Chuan Khoo, who is currently working on a project in a similar realm as me. Chuan suggested me to look into the field of human-computer interaction, and specifically the concept of an ambient interface. He believes that my project is very much about the interaction between human and computation, and it is important to blend the two seamlessly and allow the users to interact with the product with calmness. Chuan also suggested me to look into the study of semiotics. I raised the question about how do I hint the users about the existence of each interaction while making it subtle. Semiotics is a very powerful in communicating without stating the obvious. Once I can pin down the analogy that is suitable for the use between nature and sound, the users will be able to ‘find the last piece of the puzzle’.

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Chapter Six • Methods of Testing, Evaluation, and Validation

Interaction Iteration Through talking with Jordan and Chuan, I returned to the project to refine the details within each interaction. I decided to focus more on the interface, as it is the contact point between the electronics and the audience. Over this process of iteration, the mechanisms of the sensorcontrolled motor and the low volume sound are brought to the surface of the desk, where they can be visible to the audience. I also have further refined the mechanisms so that they appear captivating and interesting to the audience, both from afar and up-close. Alongside with the two mechanisms, the lamp has also been brought onto the surface. I considered the problem where people might not know where the switch to the lamp is, and a simple metal inlay might not be enough to indicate. Therefore through this iteration, I have decided to intentionally wear out the area with metal inlay. The worn-out area will suggest a sign of age, as well as the notion that it is ‘okay’ to touch. Similar to the lamp, I also afraid that the audience are not aware off the ‘knocking’ interaction on top of everything that is happening on the surface. After brainstorming the possible indications that asks people to knock, I decided to place percussive object on the surface that will create an urge to pick up and knock the surface.

Validation After several iterations from the first design, I decided to put the improved design to test, and validate the final iterations through people’s reaction to the design. The two motor mechanisms have a strong tendency of capturing the audience’s attention. When the two motions are shown to my audience, they were immediately intrigued, both by the sound and the motion. When the sound and motion stopped, the audience tries to turn them on again and observe up close, but they had no control over them at that point. After the initial motor mechanisms, the audience has already approached the desk. Their attention then moved onto the details on the desk top: the knocking mechanism and the lamp. The audience’s attention first lands on the lamp, as it is installed in the same dome as the motor mechanisms. They were initially confused about how to switch the light on, but they soon started playing with the desk by running their hands along the surface. As their hand reached the metal inlay, the light turns on and caught them by surprise. The last piece of the puzzle is the knocking mechanism. The audience were initially unsure about the percussive object on the desk, but they tried to pick it up and the spring installed naturally sprung back and hit the surface of the desk. The percussive sound soon is followed by a responding knock. By observing the audience’s interaction, I am confident about the complexity and interactivity in my design. Though the interaction time is not long, but it is enough to lead the audience into an experience of decoding the mechanisms behind each sound.

(Figure 35: CAD model render)

Jeniece Cheung / s3545180 • Bachelor of Industrial Design Honours GRAP1040

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Six • Methods of Testing, Evaluation, and Validation

Conclusion The methods of testing, evaluation and validation has helped shaping the design into a more well-rounded discursive experience. From speaking to my mid-semester panel members, I understood to not purely focus on the interactions and the making of sound, but to turn the mechanisms into a discovery journey. Through interviewing with industry designers, Jordan and Chuan, I obtained further feedbacks about how to articulate the experience and interface. Finally, by showcasing a rough prototype to a group of general public audience, I am able to validate the design and the details. From the designer’s point of view, this design has a welldeveloped depth of research and consideration. The physical product is captivating at a glance, yet interesting over a period of observation. Though the audience may not understand or question the design as I intended straightaway, the interaction and the process of solving the ‘puzzle’ encourages thoughts that I intend to communicate.

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Prototype Development

This chapter records all the processes and challenges I encountered and overcame during prototyping. The stage is separated into two sections: product prototyping and electronicÂ prototyping.

100

Jeniece Cheung / s3545180 â&#x20AC;˘ Bachelor of Industrial Design Honours GRAP1040

Chapter Seven â&#x20AC;˘ Prototype Development

Product prototyping Product prototyping is mostly the making of the desk itself. I started the prototyping with a piece of 1900*700*30mm Victorian ash timber. Firstly, I cut the timber to the desired size. Using hole saw and a trim router, I created four slots for the glass domes and brass inlay to sit. Then I chamfered the edges to 45 degrees to minimise the visual weight of the desk top. The edges are rounded off using hand sanding. Additional holes are drilled by hand for threading of cables and wirings. Finally, the top is finished with a natural look using wax. The brass inlay was initially cut using an angle grinder. However the manual process created an uneven edge and it cannot fit perfectly into the slot. I then turned to water jet cutting to create an accurate size and edge for the inlay. The legs of the desk is outsourced, they are also made out of victorian ash to create a more cohesive look. The legs are angled 45 degree outwards using a leg mounting plate. I sanded the base of the legs off to ensure the base sits flat on the ground.

(Figure 36: Product prototype processes)

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Electronic prototyping The electronic prototyping is mostly done using Arduino. With additional assistant from friends and previous student, Alexander Radevski, I am able to realise all of the interactions. Before executing any electronics, I tested out the production of sound. I first tested out the sound of the beads rattling inside the glass dome using fishing wire and glass beads. However I was concerned about the durability of the dome, having glass beads hitting it repetitively may cause fatigue within the material. The fishing wire also has the potential of tangling with itself, and eventually end up with a knot. Therefore I replaced the glass beads with wooden beads, and the fishing wire with thin leather strap. The sound created also became less distracting, as wood is a softer material and dampens the sound slightly. I then tested out the motion of the foam beads and the fan. I initial aim was to create a soothing sound, like the sound of sand running in a small plastic container. However the momentum of the circular motion does not rattle the sand at all. Therefore I turned to the method of using foam beads and a fan. This method is very effective. It did not require much iteration after the first attempt. The sound is very soft and distinctive, which also fits my initial aim.

(Figure 36: Electronic prototype processes)

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I then tested out the knocking mechanism within the design. I initially used a servo motor and programmed it to turn 45 degree when a knock is sensed. I strapped a small mallet at the end of the motor arm to create the feedback knock. However the servo motor does not have a very strong torsion force. I later replaced the servo motor with a solenoid motor, which involves pulling and pushing motion using a spring. The solenoid is able to create a louder and more distinctive knock in comparison. For the capacitive switch lamp, I purchased an existing touch lamp from Kmart. This minimises the amount of work and time I need to spend on the programming. By simply changing the lamp fittings and the light bulb, I am able to create a custom lamp with the desired interaction.

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Design Outcome

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Conclusion This project explored a range of subjects, including sound, mind, and nature, along with the conjunction between each. The aim of the project started from simply exploring the subjects, to asking the audience to reconsider the definition of nature. Starting from the extensive research into the topic, it has been found that the urban soundscape is what people generally refer to as ‘noise’. Noise in the urban environment may have the potential to create negative mental health impact. People tend to turn to the wild, or ‘nature’ for remedy of what we experience in the city. These research results identifies a dichotomy between the man-made and natural environments. This typical perception is explored deeper through my own testing method. It is found that the difference between nature and man-made is not the key to alter a person’s state of mind, however whether an environment is calm or violent plays a huge role in altering states of mind.

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Chapter Eight â&#x20AC;˘ Design Outcome

From the results of research, this project criticises this common dichotomy and asks the audience to reconsider the perception of noise and nature. This is achieved by using man-made objects to imitate the behaviours of nature using sound. My research finds that people find nature attractive due to its unpredictable and uncontrolled nature. This project captures the passive interaction with nature and implies it into an everyday product that we interact with over a long period of time. The result of this project aims to make the audience interact with a man-made object in a similar manner to how they interact with nature. It takes the audience onto an experiential journey, while trying to predict the pattern within an unknown automation. Through interacting with this project, the audience can reconsider the boundaries between nature and man-made, while using their aural sense to experience the power of sound.

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Reflection Through the extensive research into sound, mind, and nature, I have found the bridges in-between the three. Sound is not merely about what we physically hear, but more about what message it delivers and what impacts it makes. Our mind does not simply be happy or sad, but our perception of things plays a huge role in our daily lives. Nature does not have to be trees and birds, but it has to be the origin that made everything the way it is. Through designing this year-long project, I have the opportunity to explore the field of discursive design personally. I have learned that design does not always have to serve a purpose or be utilitarian. Design can be a more powerful method of asking a question or spreading a message. The process of articulating the reasons behind every decision made is designing. Through the process of making, I have learned the importance of being a designer-maker. Drawing with pen and paper can efficiently generate ideas and concepts, but it is not a good method for realising an object. Objects might seem to work perfectly on a computer screen in a CAD program, but the physical material may not be able to bear the weight. I donâ&#x20AC;&#x2122;t have to be a maker, but I have to understand the methods and process of making. Though the process was frustrating and full of challenges, I am glad to have learned and experienced the electronics aspects of design making. It is the method that enables what seems to be the impossible. Having a basic understanding of the method allows me to know its capacities and expand the possibilities of what can be done in the future.

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Appendices

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Bibliography Field of Practice Jim Reekes. (2018). The Story of Sosumi and the Mac Startup Sounds | Jim Reekes. [online] Available at: https://reekes.net/sosumi/ [Accessed 8 Mar. 2018]. This is Jim Reekes’ personal blog, in which he write about his creation of the iconic Macintosh startup sound through a personal point of view and experience. I have learned about his complete design thought process while creating the sound. This source also mentions the hurdles he has to overcome to achieve the results. NEON. (2018). CAVALRY 360. [online] Available at: http://www.seeneon.com/#/cavalry-360/ [Accessed 8 Mar. 2018]. This source provides a clear description and overview of the installation, Calvary 360. The designers themselves have explained the project in detail and provided the process behind each mechanism and how the sound is achieved. Pallasmaa, J. (2012). The eyes of the skin. Chichester, West Sussex [U.K.]: Wiley. This source writes about human’s multi-sensory system and how it relates to an architectural space. I found the chapter about sound particularly useful as it describes how human receive and digest sound as an information. The source further written about how sound connects to other senses, such as time and space. Thefuntheory.com. (2018). The World’s Deepest Bin | The Fun Theory. [online] Available at: http:// www.thefuntheory.com/worlds-deepest-bin [Accessed 8 Mar. 2018]. This source provides a video of the making and testing process of the project ‘The World’s Deepest Bin’. It clearly shows the success of the project. The audience interaction captured in the video shows how well ‘The Fun Theory’ works in a real life scenario. Wooden Megaphones “Ruup”. (2018). Wooden Megaphones “Ruup”. [online] Available at: https://www.ruup.ee/en [Accessed 8 Mar. 2018]. This is the official site of the forest megaphones. It describes the design and also provides the inspiration and design thought process behind the megaphones. There is also an interview with the makers of the project that draws out all the details that are considered when making it.

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Context and Application Corinne Purtill. (2016). Turns out “sound healing” can be actually, well, healing — Quartz. Retrieved March 22, 2018, from https://qz.com/595315/turns-out-sound-healing-can-beactually-well-healing/ This is an article that illustrates the experience of the ritual of sound healing. I find the article interesting in the way it describes both the ritual and the other people who attend the session. It gives me an image of how it works, and the processes involves. Csikszentmihalyi, M., & Csikszentmihalyi, M. (1990). Flow : the psychology of optimal experience. Harper & Row. This is the book written by Csikszentmihalyi about the mental state of flow. The book points out that flow is one of the crucial element to achieve happiness. It also discusses the ways of achieving the state through interviews with various professionals who engage with their line of activity with great concentration. Goodman, S., & Goodman, S. (2010). Sonic warfare : sound, affect, and the ecology of fear. MIT Press. This is a book about using sound as weaponry and to create the element of fear. I think it is unfortunate a lot of the ways people are using sound as torture. However, the book gives a clear definition and difference between noise and silence. As well as the effects noise have on humans and their aural senses. Lacey, J. (2015). We need a new relationship with urban noise. Retrieved March 18, 2018, from https://theconversation.com/we-need-a-new-relationship-with-urban-noise-46207 This piece of article gives a clear overview about Lacey’s views on urban noise. As he pointed out that there is no escape from the noise, and the only way to combat it is to actively reshape it. The article suggests designers to think about how to engage the audience to be a part of the noise, in order to be a part of the chaos and embrace it. M Adams. (2006). Sustainable Soundscapes: Noise Policy and the Urban Experience, 43(13), 2385–2398. Retrieved from http://journals.sagepub.com.ezproxy.lib.rmit.edu.au/doi/ abs/10.1080/00420980600972504 This is a report about the research in urban noises. It covers the different impacts of noise to the human body. Also, it provides details in noise regulations in different countries, as well as an up close interview gathering information about citizen’s reactions to noises.

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Noisli. (2016). White Noise: what is it and why is it so powerful? - Noisli Blog. Retrieved from https://blog.noisli.com/what-is-white-noise-and-why-is-it-so-powerful/ This is a blog post from the white noise generation website, Noisli. The blog talks about how white noise can improve focus and productivity, as well as achieving calmness and reduce stress. The language of the blog is easy to understand and provides great scenarios to illustrate the theory. RMIT University. School of Architecture and Design., J., & Harvey, L. (2011). Pre-modern design of post-natural soundscapes. Kerb: Journal of Landscape Architecture, 19, 114–119. Retrieved from http://researchbank.rmit.edu.au/view/rmit:17996 This journal article talks about how to achieve biophilic design in a modern society. Through research and information about the history of biophilia, the article is able to come to the conclusion that we need to understand the essence of human’s connection to nature. Schafer, R. M., & Schafer, R. M. (1993). The soundscape : our sonic environment and the tuning of the world. Destiny Books. This is one of the most influential books about soundscape and ecologies. I have found numerous sources referencing this book. The book talks about the aural senses and human’s reactions to sound. As well as the different kinds of sound and nosies that are audible in an everyday life. It allows me to think about sound from a new perspective. Shanahan, M. (2018). Why Forests Give You Awe. Nautilus. Retrieved from http://nautil.us/blog/ why-forests-give-you-awe This article talks about human’s innate reaction to forests. It explains the psychological reasons to why we feel diminished when walking amongst tall trees. For me, this is an evidence to reflect on the theory of biophilia. Tom Fedorowytsch. (2017). Shinrin yoku: A forest bathing experience to wash away life’s stresses and pain. Retrieved from http://www.abc.net.au/news/2017-06-18/shinrin-yoku-forest-bathingexperience-to-help-with-stress/8626042 This article talks about the ritual of forest bathing. From introducing the reason of this ritual’s existence, I was able to understand the importance of exposure of nature. Over working is a common issue not only in Japan, but also all around the world. And the nature has the ability to cleanse the body and mind.

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Methods 2016 Census Quickstats - Mongarlowe. (2016). Retrieved from http://www.censusdata.abs.gov. au/census_services/getproduct/census/2016/quickstat/SSC12678 This is a census check of the village of Mongarlowe, providing a brief overview of the citizenship. The data provides the number of population and their statuses.

Research Byrne, D. (2013). How Architecture Helped Music Evolve. TED Talk. Retrieved from https://ed.ted. com/lessons/how-architecture-helped-music-evolve-david-byrne This is a TED Talk by one of the most influential musician of this era, David Byrne. Being a fan of his I found the information in this talk very interesting. He talks about the change in music in terms of space and how musicians adapt to people’s listening habits and their platform of performance. Lacey, J. (2018). Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations. https://doi.org/10.1017/S1355771816000078 This is Jordan Lacey’s research that investigates into the sound installations and how people’s states of mind are changed. I found the categorisation of installation in this report especially interesting. The installations are categorised into approaches and attributions, which helps break down the intention of these artworks and how audience reacts to them. Symanczyk, A. (2015). The Sound of Stuff – Archetypical Sound in Product Sound Design. Journal of Sonic Studies, (10). Retrieved from https://www.researchcatalogue.net/ view/221835/221836 As pointed our during the feedback of my first presentation, I found an interesting aspect in product design that perfectly tunes the sound of products to enhance users’ experience. This article exposed me to some basics of this area of design, and I believe it will be useful during the design process of this project. Thomas Howells. (2015). Inside a Room Built for Total Silence. Retrieved May 7, 2018, from https://motherboard.vice.com/en_us/article/ypwx77/inside-a-room-built-for-total-silence This article explains the structure of an anechoic chamber and describes the experience of being in it from a personal perspective. I also learned that John Cage was once in an anechoic chamber, which inspired him to write the famous 4’33’’. The existence of a room like this inspired me to investigate further into spatial sound.

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How Musicians Think About Space. (2018). ATTENTION, (4). Retrieved from http://attention. princeton.edu/issues/How-Musicians-Think-About-Space This is a very informative audio journal written by a group of architecture students. This journal inspired me to look at sound from an architectural point of view, or more broadly, from a spatial perspective. This issue categorised spatial sound components into four factors: size, location, reverberation, and noise. This becomes the base of my further research, and helped me understand how sound is transformed through time.

Design Development NONCOMPETE ~ The SUBSTATION. (n.d.). Retrieved August 18, 2018, from https:// thesubstation.org.au/whats-on/noncompete/ This website documents Alisdair Macindoe’s exhibition NONCOMPETE. It briefly describes the intension of the artist and the meaning behind the sculptures. It provides me a good amount of insight into the artwork that inspired me. Sudjic, D. (2008). The language of things. Allen Lane. This book talks about the cultural and psychological values behind everyday objects that we don’t think twice about. It is inspiring to look at objects differently and associate them with their unique narratives that we take for granted. I find the chapter about design archetypes especially interesting and it is where I learned about the gestural language behind an Anglepoise lamp.

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List of Figures Figure 04 Rolighetsteorin The world’s deepest bin, 2009 Figure 05 Tõnu Tunnel Wooden Megaphones “Ruup”, 2015 Figure 06 Apple Computer, Inc. Power Macintosh G3, 1997 Figure 07 NEON Cavalry 360, 2017 Figure 12 Kouichi Okamoto Endless Rain Record, 2009 Figure 13 Noisli, 2016 Figure 14 Studio Ayaskan Flow, 2015 Figure 15 Tatebanko Hiroshige (Kambara, Evening Snow), 2010

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Figure 20 a) Phillipe Body, Ruins of The Theatre of Ephesus, 2010 b) Igor Prahin La Trobe Reading Room, 2015 c) Visit Victoria Melbourne Recital Centre, 2009 d) Roman März / Singuhr Hoergalerie Klanglumineszenz II, 2010 e) Mohsen Ghasemee Ali Qapu Palace Music Hall, 2015 f) Matt Biddulph St Paul’s Cathedral from the Whispering Gallery, 2009 g) Visit Seyðisfjörður Tvísöngur, 2012 h) Chris&Steve Former Melbourne Stock Exchange building, 2008 Figure21 Erich Malter in courtesy of John Cage Trust John Cage, 1990 Figure 22 Rory Gardiner ‘Repair’ at the Australian Pavilion, 2018 Figure 28 Earl Carter Design Hub | RMIT University, 2011 Figure 29 Torafu Architects Koloro Desk, 2012

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