Thesis book - Midterm by Richard Clarkson

SUPER. Moments of Remarkable

richard clarkson Thesis 2014 Products of Design | School of Visual Arts

Table of Contents: Introduction of the Super and Remarkable as nouns.

Background, Goals & Opportunities.

Research, Research & Research.

Methodology 21 Audience, Markets & Stakeholders

Lenses, Scales and Layers

Looking Forward / Timeline

Notes 80 Bibliography 82

“Each [superhero] represented what I thought a superhero should be - a person who uses their power to protect good people from bad.” – Stan Lee

Introduction of the Super and Remarkable as nouns. The concept of the superhero and the idea of superpowers has existed in many forms throughout history; Achilles and Odysseus in Greek mythology, Moses and Jesus Christ in the Anglo-Saxon religious faiths, Shakti and Budda of Indian mystic belief. Stories of such characters provide powerful insights into a culture’s deepest desires, fears and problems. More contemporary viewpoints, including those from Professor Will Brooker argue that celebrities and Pop stars such as Steffani Germanotta (Lady Gaga,) Jeane Mortenson (Marilyn Monro) or Paul Hewson (Bono) should join those ranks.1 Even within the Comic book industry itself there is heated disagreement of what determines a superhero or what dictates a superpower. This thesis explores this territory through three core dichotomies; super vs. powers, heroes vs. villains and moments vs. life. I investigate these dichotomies across disciplines including psychology, philosophy, mythology, religion, history and pop culture.

These learning’s are then explored through a series of lenses through which different practices and products of design are applied and evaluated. From branding to instructing, each lens adds depth to the topic. Themes of empowerment, self-reflection, intimacy and experience emerge. These themes are then reflected in an interactive gallery of speculative objects entitled “Moments of Power.” These objects use fantastic gestures and temporal experiences with the goal of creating meaningful, self-reflection of the users own unique power. Writer and mythologist Joseph Campbell calls this ‘the heroes journey.’ 2

This thesis is exactly that: a heroes journey. Prepare yourself, for it is your journey as much as it is mine.

“Like superheroes, each of us may have at least one outstanding ability or skill that we may not be aware we possess—a superpower. When acknowledged and harnessed, that ability or skill can strengthen us, help us overcome obstacles, add meaning to our lives, and ultimately transform us and those around us.” – Robin S. Rosenberg

Background, Goals & Objectives. Robin S. Rosenberg is a clinical psychologist and writer of superheroes and other popular culture figures. Her literature explores the psychological phenomena their stories reveal. Her specialty is teaching participants to become aware of and then harness their own outstanding ability or skill â&#x20AC;&#x201C; their superpower. The goal of this thesis is two fold. Firstly to use design to create products which establish a feeling of power within the user. Secondly to expand those experiences to illicit a meaningful reflection of the users own personal power. Even as a young child I gravitated towards superpowers. I had various outfits of both Batman and Blue Power Ranger. I spent countless hours in front of the television sharing in their adventures. It wasnâ&#x20AC;&#x2122;t until later in my college education that I realized how deeply ingrained in me the teachings of these heroes had become. Inflated sense of justice, unfailing belief that good will prevail over evil and a never ending desire

to find my power. Like everyone I suspected an inner superhero, that when the conditions were right, would emerge and I would become powerful. I was not alone in the search for my power. Since the first publication of Superman in June of 1938, readers of comics have marveled at displays of physical and mental superiority. Dreams of possessing such powers and thoughts of what one would do with them play out in fantasies from childhood to adulthood. This leads to the first question: where does the overwhelming desire for powers come from? Initial research pointed to the concept of control. For instance, the lack of control of a social situation leads to a desire to become invisible. Lack of control over ones geographical situation creates a want for flight. Lack of spatial control leads to an aspiration for telekinesis. Tom DeFlaco, editorin-chief at Marvel Comics for over two decades claims that superheroes present us with what we wish we had.3 They are idealized versions

of ourselves, possessing the attributes, honor and courage we often lack. The lack of control vs. wish for power relationship is a feasible argument, but others argue it is based on a deeper, primal set of desires and unconscious fears. Author, actor and humorist John Hodgman conducted a social experiment offering people the choice between flight or invisibility. Hodgman found that flying comes from the ideal selfless, confident and unashamed hero complex. In contrast, invisibility reflects the fear of who we actually are- the fact that deep down we might be fearful and depressed.4 This thesis aligns with the theory of wish fulfillment as the origin of the desire for powers. Professor Will Brookers of Kingston University elaborates that superheroes, and thus superpowers, enable readers to imagine a better world with an alternate version of themselves.5 Chris Dais speculates that these alternate versions are born of a

given society’s values, struggles and beliefs. Therefore while wishes for power are the derivative of an imagined self, it is the societal context of the time that actually defines the alternative version. In Peter Coogan’s Essay The Hero defines the Genre, the Genre defines the Hero, Coogan states that the superhero genre specifically responds to changes in culture. The powers of Jerry Sigel and Joseph Shuster’s golden age Superman responded to wartime anxieties and industrial promise. Originally superman had enhanced superhuman powers such as the ability to jump over tall buildings or run faster than a speeding locomotive. It wasn’t until later years that his powers of flight and even time travel reflected that of the contemporary ‘Supergod.’6 From a philosophical viewpoint the context of superpowers explores questions central to the human psyche. Tom and Matt Morris cite such themes as ethics, responsibility, justice, identity, destiny, faith, love and courage among others, as questions society may face in radical new

ways in the near future.7 Understanding previous cultures affinities with various different powers will provide valuable insight into how to navigate new areas in the future. Advancing technologies in areas of genetic research, nanotechnology and robotics indicate that society’s modern day perception of superhuman powers has changed. Consider that the abilities generated from technologies such as Google, Skype, Gesture control and Personal Smartphones would most certainly have been perceived as superpowers just three decades ago. An opportunity presents itself here – to use ‘super’ as a method for better understanding current, past and future cultures on a societal scale. However, there is a second scale in this exploration; that of the individual, in which case ‘super’ can be used as a method for better understanding current, past and future versions of oneself. Both are supremely valuable moving forward in an ever-increasing global culture and both are integral to this thesis.

Action Comics’s No.1 1983. The first appearance of Superman.

“In the peak of my psychosis I was a superhero! [my superpower] is something I have had a lot of time to think about. I suppose its foresight, or vision. Some of my paintings were done in a dream state where I tapped into something. A gift I can’t take credit for.” -Issa Ibrahim

Research, Research & Research. While this is an academic paper I believe there is merit in describing the difficulties presented in the primary research. This thesis is inspired by theories and teaching of the comic book industry, but goes far beyond that of conventional graphic novels. There are certain limitations in basing research solely on comic book literature and analysis. In terms of reaching the goals of the experiential interaction of this thesis, I have found it is necessary to expand my reading beyond the realm of strictly superhero related material. This introduces the first question: which industry does this thesis actually exist in? Immediately I came upon a wicked problem. To find where this thesis belonged I needed to talk to the experts, but to find experts in this area I needed to find where this thesis belonged. So began the mapping process. I began to use my immediate networks to identify and make connections with those who could assist in helping to define what superpowers actually are. Each conversation

brought a new perspective to the table, and with each came increasing diversity of ideas and opinions. Within a topic as irresistible as superpowers, everyone has a strong opinion. Initial primary research proved exceptionally positive and helpful. Participants such as journalist Rob Walker and food designer Emilie Baltz reinforced assumptions about the importance of having heroes and recognizing powers. Conversations with ‘superhero’ artist Issa Ibrahim further reinforced these themes in relation to overcoming adversity. Further conversations became detrimental to my understanding of the topic. As each perspective was added to the definition of ‘super’ it further distorted it. As a researcher I was almost literally pushed and pulled in every direction. It was a conversation with design writer John Thackara that created a pivotal point. He specifically asked what this thesis was doing. This forced a re-framing of the topic into two areas, separate but integrally related.

Top left: Dr. Leon Gurevitch Bottom left: Dr. Robin S. Rosenberg Top right: Dean Haspiel Bottom right: Issa Ibrahim

Firstly ‘the super,’ a fantastic abstraction of oneself. This is based primarily on the wish fulfillment discussed earlier. Secondly ‘the power,’ an intrinsic understanding of oneself. This was accessible through the first area. If super is creating an artful means to attract people to this space, then powers became the method in which to continue the discourse. Indeed examples of this were found in the early primary research of this thesis. When interviewed, participants were encouraged to talk about themselves, their powers, weaknesses, heroes, villains and origins as if they were superheroes. This abstraction created enough of a disconnect that the participant was able to intimately converse about the ‘super-participant’ without compromising himself or herself. In fact this theme became so prevalent as to drive much of the interview questions for later interviews. A typical interview consisting of questions such as: What does the word super mean to you? Who are your superheroes? What is your superpower (real or not real)? Do you use your power for good?

While interesting discussions were had, this eventually perpetuated the original problem of distorting the essence of what it was to be super. The momentum of the discussion with Thackara dispersed with no more clarity than prior to it. Two things then happened simultaneously. I acknowledged this struggle, accepted it and made an effort to understand it. A more detailed description of this is available in the appendixes. Secondly I expanded my reading to include works beyond what I thought was relevant and it was in those readings I found real relevance. The power of Myth by Joseph Campbell was particularly inspirational, the following quote specifically helping to define what the research was beginning to reveal. “I think that what we’re all really seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive.” – Joseph Campbell.

Early primary research had pointed to the idea that discourses of the super can lead to a reflection of inner power, but it is Campbell’s reasoning that provides an additional method to reach that space. By operating through designed experiences one can access the same inward reflection as that generated by conversation or discourse. This notes a shift in the approach of this thesis from one of discourse to one of experience, and here is where the true power of design can be fully applied. In summary I moved from talking about superheroes to creating experiences of superpowers in order to reveal powers, with insights that the latter was a more powerful, opportunistic approach.

superhero world, from adoration, physical graphic elements and role-play.8 Montgomery also referenced experiential designer Andrew Friend whose 2010 Fantastic series allowed users to experience invisibility, lightning and disappearing at sea.9

To better understand this new change in methodology, research was conducted in order to evaluate how this thesis might use design to create these ‘super experiences’. Conversations with Futurist designer Elliot P. Montgomery of the Royal College of Art in London assisted in this regard. Providing advice to ‘just get making’ and references to existing projects such as Milan Metthey who directed, edited and produced a series of videos entitled Super. These three videos each explore different elements of the

While Morrison and Fukasawa are exploring a different theme the goals are the same as in this thesis ¬– using objects and products to rediscover what we already know. In the case of this thesis – that we are powerful.

At this stage the thesis was also strongly influenced by Jasper Morrison and Naoto Fukasawa’s literature Supernormal. The two designers compiled 204 everyday objects in effort to catalog the ‘exceptionally everyday’. “Super – Normal is not a theory. I believe it’s re-realising something that you already knew, re-acknowledging what you naturally thought was good in something.”– Jasper Morrison

Top left: Milan Metthey Bottom left: Andrew Friend Top right: Naoto Fukasawa Bottom right: Jasper Morrison

“Super – Normal is not a theory. I believe it’s re-realising something that you already knew, re-acknowledging what you naturally thought was good in something.” – Jasper Morrison

Methodology, Products & Design. This thesis embraces the fact that ideas and experiences can take many forms. These forms are shaped by views of context, stakeholders, needs and opportunities. Influenced by advancing technology, economics, media and societal structure. The definition for the word ‘products’, as outlined in Allan Chochinov’s Masters of Fine Arts program: Products of Design at the School of Visual arts encompasses an array of designerly outcomes. ‘Product’ is used as a term to describe objects, systems, services and interactions that emerge from multifaceted design processes. The benefit of framing outcomes as such ensures that the offerings and end results remain flexible, adaptable and relevant. As part of systems designer Richard Tyson’s class, entitled Systems, Scale and Consequence, students were encouraged to reframe the five most impactful designs. Throughout the process, students discovered that the problems and opportunities that each of the five designs were addressing could be impacted via a

number of higher-level system interventions. One example was that the birth control pill was found to be related to deeper issues faced by modern-day women’s aspirations, expirations and expectations within society. A conceptual solution became the Womba, an external womb that released mothers from the burden of carrying a child during pregnancy.10 Ethical arguments aside, the conceptual design could change the system, solving the current issues but perhaps creating new ones. The idea of a flexible definition of outcomes and offerings is important to the methodology of this thesis, especially when the vessel of theory is experience. Recognizing that a product will carry with it a set of consequences is also essential. This thesis has been instantiated through a series of deliberate lenses. Each lense surfaces different urgencies involved with the ‘super’ topic, and each carries its own set of consequences. The lenses have been, and continue to be, a way finding system, and a large component of the core methodology.

SVA Products of Design Publication material Assorted images of various types of design products

It is through these lenses that I was able to come to a product of design for super. The product of this thesis is founded upon models established by Jasper Morrison and Naoto Fukasawa and exemplified by Milan Metthey and Andrew Friend. Videography, curation, furniture design, literature, speculative objects, retail products and immersive environments are tools each have used to create products of their own design. The methodology of this thesis involves utilizing these very same tools, focusing primarily on speculative objects and constructed environments. These two in particular play to strengths and skills gathered throughout my upbringing and industrial design education. The two are both very powerful experiential devices, in that users are able to interact with them physically and emotionally. In the case of experiential design it is beneficial to start with the end, that is what

is the desired emotional experience of the user. In the case of this thesis the experience is two part: a sensory experience of being more than human, followed by a reflective experience of discovery. The extrinsic and intrinsic layering is what the success of each product will be evaluated upon. The first series of prototypes each demonstrate a different extrinsic or intrinsic emotional experience. Exploring various combinations of magic induced sensory elements and prompted inward reflection. This set of prototypes is called Moments of Power. Each of these prototypes is explained further in the Lenses section of this thesis. Each of these is a temporal experience inspired by a particular power. Using gestures, actions and postures associated with specific powers users can, for a brief moment, become powerful. Extrinsic powers referenced by these prototypes include, flight, telekinesis, time control, invisibility, magic and control over technology. Intrinsic powers explored include

identity, reflection and meditation. The series proved a huge success in regards to the extrinsic experience. Participants noted feelings of joy, elation, humor, wonderment and powerfulness. However, this particular series fell short in relation to the second layer of the intrinsic experience. One example was the Super Reflection prototype. Participants were instructed to kneel in front of a mirror with the words “super” in bold at the top edge of the mirror. They were then asked to stare deeply into the ‘super mirror’, and consider what makes them unique. Half of the participants were asked to state their ‘power’ and the other half instructed to shout their superhero name. Both sets of participants displayed notable signs of discomfort, and often gave redundant or unconsidered answers. Possible reasons for the failure of this prototype could be in the context, the overly public setting, or simply in the perceived ridiculousness of the act

itself. These failures provide as much insight as the more successful prototypes. Using an iterative process this thesis will refine these prototypes, add new ones and edit out unsuccessful versions. The goal is to collectively reach a point where the intrinsic experience is as powerful as the extrinsic.

“In the case of superheroes, its important to see that no matter how extensive their powers might be, they do not and cannot escape the very same questions about their potential for excellence that we must ask [ourselves].”11 – Jeff Brenzel.

Audience, Markets & Stakeholders Western generations X, Y & Z are told from birth that they can be anything, do anything, that they are special. The implications of this hyper-encouraging upbringing are only now beginning to be understood. With impossibly high expectations and harsh realities many young adults are left feeling dissatisfied, depressed and under empowered. I do not disagree with a supportive upbringing, quite the contrary. Film studies researcher Frank Verano suggests that a socially advantageous situation such as a loving family, strong role models and economic stability are key factors in defining what keep a hero from becoming a villain.12 The reason I isolate these generations is that the research points to them as being the most susceptible to avoiding ‘the heroes journey.’ This is a concept central to Joseph Campbell’s The power of Myth – where a hero must leave the realm of the familiar over which they have some control of, to a space where they do not. This concept is common among superhero origin stories, mythology and even in some African tribal cultures.13 Campbell explains the journey is

either physical or spiritual and often involves some form of hardship or challenge the hero must overcome. Modern generations have tendencies to be protected from these hardships, and thus protected from such a transformative journeys. This makes them prime audiences for the products of this thesis. It is also advantageous that these generations are already familiarized with the concept of superpowers. These generations even have their own set of new and reimagined superheroes. Spider-girl in particular is a creation of comic book writer Tom DeFalco, and embodies the struggles of contemporary generations. As Spider Man’s daughter she takes responsibility as a given, not struggling like her father Peter Parker with the choice between selflessness and her own desires. She instead struggles with living up to the expectations that others have placed upon her. DeFalco states, “her struggle is our struggle.”14

“Everything was about the experience of being more than I could be in my little body, yet at the same time about being the best of what I already was…” – Dana Anderson

Lenses, Scales & Layers The following lenses are explorations from a multitude of different vantage points. Collectively they are a holistic, integrated and divergent set of design approaches.

Initial Speculative Objects The initial exercise encouraged a â&#x20AC;&#x2DC;make before researchâ&#x20AC;&#x2122; approach. These objects began to hint at what this thesis could become. Of note was Super-Mask, a cardboard facemask that invited participants to write what their superpower was and where it came from. It was designed as a method to better understand where the desires for powers come from. The results of Super-Mask were broad, with answers ranging from sketching to invisibility, with few real answers about why or where the power came from. What was an interesting insight here was the variation in what different participants considered a superpower. I had anticipated that each

participant would enter a power based upon what they most desired. I was surprised to find that empathy, making people truthful, and sketching were be considered to be super or remarkable by the participant. The investigation of what is considered remarkable or exceptional would later help to differentiate between powers participants covert versus powers participants value.

Super Mask Collection of Super Masks

Super Smoothie was a second attempt at using an object to create discourse of the origin of powers. Participants were told that this smoothie would make them super. Feedback was received on the deliciousness of the smoothie but little was reflected upon feelings of actual â&#x20AC;&#x2DC;super-ness.â&#x20AC;&#x2122;

Set of Instructions Following an inspiring conversation with Emilie Baltz who encouraged the exploration of the form language of the super, I crafted a set of instructions on how to ‘sculpt your superpower.’ I gave half of the participants black clay and the other half white. Those with black were told to follow the instructions in regards to a power they deeply wished for but could never possess, such as time travel, immortality or super speed. Those with white were told to follow the instructions in regards to a power they already possessed- invidually unique powers such as those discovered in the Super-Mask experiment. All the participants were then led through a set of verbal instructions used to help shape the clay in the image of their respective powers. The structure of these verbal prompts was similar to the methodologies used by comic book writers when designing a new character. Prompts went as such: Think of a name for your super character. Give them a symbol. Give them a costume. Give them a backstory – where are they from, how did they become super, what is their personality. Give them a weakness. Give them an archenemy. Visualize a typical battle between the two, how does your character prevail?

The goal was to investigate if there would be a common form language throughout the clay models, and also to see if there was a notable difference in the forms of those with black clay as opposed to those with white. The findings were inconclusive but not invaluable. The forms varied vastly, some bulbous and organic while others jagged and sharp. There were references to animals and geometric forms, and some participants even combined their models into one larger form. The sheer diversity of form pointed to unique interpretation of power for each participant, indicating that true understanding of power must come from more personal discourse. I suspect that this experiment might be more suitable as a tool for a psychologist to inspire meaning full conversation.

Super Mask Collection of Super Masks

Thesis Positioning Paper Each of the three copies of the thesis positioning paper was bound in a method subtly inspired by three different powers, super stretch (rubber band), invisibility (hidden staples) and adaptability (hole punch). This lens forced the thesis to form an argument on the topic. It encouraged recognizing other experts contrasting viewpoints as well as themes such as needs, evaluation methods and relevant topics.

One-Hour Hack Given the brief of: in one hour create a representational object of your most current subtopic exploration. At the time I was exploring the area of good versus evil. I was researching if having powers would change individualâ&#x20AC;&#x2122;s perceptions of good or evil. The image of Tao, the yang and the yin in which there is always a balance. Thus in one hour I created a set of jewelry that reflected this balance, acknowledging that we are all both and that one cannot exist without the other. The jewelry enables the wearer to choose between a good or evil state

representative of the wearerâ&#x20AC;&#x2122;s own mood at that particular instance. Using elements of color and symbolism, this jewelry places a conscious awareness of ones outward facing energy. The use of jewelry as a vessel to explore this was an exciting development within the thesis topic as a whole.

Within this discussion of good and evil is a question of agency. Specifically as designers, how much agency should be left up to the user, and who are we to say what is right and what is wrong. I continue to search for answers to these and other ethical quires, aiming to find some form of midpoint under the ethics lens of semester two.

Social Innovation Using concepts from Aaron Hurst’s The purpose economy and Everett Rogers’s Diffusions of Innovations, this lens presented the opportunity to frame the thesis topic as a problem space with a definable metric and market segmentation formula. The problem space I used was this:

There are a large proportion of people not currently empowered to use their natural superpowers for the good of society. This is due to vast populations of people who are either unaware of their power or unsure of how and/or why to use it. This creates a severe underperformance and loss of ‘collective productivity’ both economically and emotionally.

The metric being the Collective percentage of true potential reached as measured by an adaption of the PERMA survey.15 My offerings to solutions to the barriers were a electromagnetic glove, an advertising campaign encouraging super, a mandatory therapy session on powers and the addition of Empowerment to the PERMA to become PEREMA.

Video. Video is an extremely powerful tool for spreading concepts and ideas. This lens is situated to become a highly visible communication resource for spreading interest in this thesis across digital media. I was interested in developing the concept of choice structures within discovering powers, inspired by the decision making process of one of Batman’s foes Harvey Dent aka ‘Two Face.’ The supervillian is obsessed with chance and flips a doubleheaded coin to decide the fate of his victims. I use a similar choice maker when making difficult but not important decisions. The theory is that one will become aware of his or her preference once the coin lands by recognizing disappointment, relief or impartialness. Certain board games use a similar device of chance progression; Milton Bradley’s The Game of Life is one such game. I created an adaption of this game titled: The Game of Super-Life. This in itself

proved to be a beneficial exercise, not so much in the outcome but more in the theory behind it. In my adaption I had to define what the ‘currency’ of the game was. To do so was to delve deeply into what it is that Superheroes really want. I speculated that this could be a currency of love. A personal mission, rather than a financial reward or even fame, is what drives superheroes. I argue that it is love, love for their city, love for their fallen mentors or love for their enemies that dictate that mission. While the final video did not effectively reflect this, it was useful in developing the understanding of what it means to become a superhero.

Brand I treated the Branding lens as an opportunity to shape an exercise I had been planning for some time. I had been encouraged to create a larger body of work through which to develop my thesis. It was recommended that I try a â&#x20AC;&#x2DC;design-anobject-a-dayâ&#x20AC;&#x2122; type experiment. I came to a conclusion that eleven objects in eleven days was a suitable trial of this method. In numerology the number 11 symbolizes the potential to push the limitations of the human experience into the stratosphere of the highest spiritual perception; the link between the mortal and the immortal; between man and spirit; between darkness and light; ignorance and enlightenment. Using a series of branding filters I generated mood boards, a branding triangle, brand elements. The most beneficial exploration was the brand triangle, which helped to refine the core essence of what I was alluding to â&#x20AC;&#x201C; that of being unique. I arrived at a set of words to describe this phenomenon; empowere, more, special, powerful, unique and super. During the feedback for this lens it was pointed out that I might use this as a template to help others create their own super-hack. It was a point of clarification

for what this thesis was really about-helping to make people feel special and unique. However I felt that this was too great a departure from the extrinsic experience I had found to be so valuable. Similar to the agency argument I was uncomfortable letting the user do too much, in danger that the very essence of the exercise might be lost. While the goal of this thesis is to use the extrinsic to reach the intrinsic, it was important here to make the realization that the extrinsic itself is a delicate balance of magic, humor and beauty. Often represented by moments of joy, laughter, happiness and wonderment, the extrinsic experience must not be allowed to be pushed aside or forgotten by mistreatment or underrepresentation.

Gallery Moments of Power is a collection of experiential objects. Together these objects represent a series of referenced gestures, actions and postures, which allow participants to feel powerful for a brief moment. It is a curation of prototypes, designed for the experiential interaction.

The Password Lamp enables users private control of the object. Only they have the ability to turn the lamp on or off. Using a keyboard to type in their unique password is a reference to the secret entrances of superhero lairs. Also referenced is the Passcode lock used on smartphone devices. However what is interesting here is that for such a utilitarian object as a desk lamp to become inaccessible to others pushes the boundaries of ownership into the absurd.

The Chameleon Chair is a simpler experience, hinting at the control of a users environment. The user has the ability to change the color of the chair at will by paging through the felt layers. Participants often selected colors that matched their outfit in effort to blend in with the chair. This particular experience was much less of an intrinsic reflective one in that it has the potential to be better suited to entire environmental color manipulations in later iterations.

The Power Glove is a direct reference to Ironmanâ&#x20AC;&#x2122;s Repulsor beams on his gloves. To activate the Power Glove the user must take the stance of Ironman â&#x20AC;&#x201C; a wide foot stance with the gloved hand held straight out in front of the body. The user then flexes the gloved hand wide open and a bright light is emitted from the center of the palm.

Super Mirror ÂŹThis was aimed at an intrinsic experience but proved to be unsuccessful. See the example given in the Methodology section of this thesis for more detail.

The Bulb was perhaps one of the most interesting objects, partly due to the theatrical element I used to present it to the participants. The object itself was very simple-a clear incandescent bulb suspended by a bright blue electrical cord. Participants were in groups of two or three. I selected a participant to â&#x20AC;&#x2DC;give the power toâ&#x20AC;&#x2122; â&#x20AC;&#x201C; a power transfer gesture involving full contact of the hands. That participant was then instructed to make a gesture of immense power and focus towards the filament of The Bulb, which lit up when they did so. As the participant took their hands away, The Bulb turned back off. The wonderment began when a participant who did not have the power tried this and failed to make the bulb turn on. After much frustration, the participant would generally request the power from the user who did have it. The transfer gesture was made, and suddenly The Bulb worked for the participant who now had the power. What was intriguing here was that the concept was just

believable enough to be accepted as possible. Indeed similar interactions could be made with relatively simple technology such as heat capacitive and motion detectors, or advanced technology such as feature recognition and gesture control. As participants searched for answers they were left wanting, as the simple construction of the device hid no such electronics. What was happening here was somewhat of a sleight of hand, a reference to magicians and illusionists. If participants had followed the electrical cord back to the socket they would have found the remote controlled power-switching device allowing me to subtly control the bulb from my pocket. The take away here is not that I was able to fool people, but the realization that there is a balance between what is just real enough to be accepted and what is magical enough to not be real.

The Time Control Clock was aimed at a similar experience as that of the Bulb. The difference in this experiment was that unlike The Bulb, no actual manipulations were made to the mechanism. The physical form however was adjusted to include an infrared proximity sensor behind the face of the clock. This was in full view to provide participants with the â&#x20AC;&#x2DC;just real enough to be trueâ&#x20AC;&#x2122; factor. Participants were then asked to lean into the clock, close their eyes and upon the count of three open them and freeze time. Although the clock never fully stopped, there was an instant before the next tick of the second hand that in that moment, the participants could believe they had stopped the clock, and thus by reference, time itself. For later iterations this particular experience might benefit from some of the theatrical elements used in The Bulb.

The Low Altitude flyer was more of a playful interaction than a meaningful experience. The form of the platform that participants must lie upon is shaped to replicate that of Superman in flight. The participants take the posture of Superman and fly across the floor at an altitude of three and a half inches high. This was particularly joyous when small groups interacted with the object, pushing each other across the room. While the intrinsic experience was almost non-existent in this version, it did prove successful as an enjoyable interaction.

Super Meditation was another object based on an intrinsic experience, in this case meditation. Participants were encouraged to rest and take a moment to think about the experiences they had just undergone.

The Super Swing proved too dangerous to fully trial. It was an effort to recreate the takeoff moment when a superhero takes flight for the first time. A pulley system was rigged up to the ceiling and to a harness attached to a crouched participant. Additional participants were on hand to pull on the cord when the participant was instructed to quickly stand. The participantâ&#x20AC;&#x2122;s own momentum combined with the lifting force of the other participants would, for half a second, simulate the feeling of taking off. There were concerns that the pulley system was not correctly fixed to the ceiling and the experiment was cancelled. This experience is still something I plan on doing, but only when it is safe and appropriate to do so.

As learning devices for the development of this thesis these objects were a huge success. I was enormously pleased when some of the participants made verbal sound effects while interacting with the objects. That in itself showed a level of connection both with the object and with the topic.

Looking Forward, Timeline & Midway Conclusions. From this point the thesis will expand on and then refine certain areas of research such as experiential design, further exploration of what denotes remarkability in different cultures, and methods for better reaching inward reflection through sensory experiences. This thesis will be set through another series of lenses including; information architecture & systems, services, screens, events & experiences, strategies, business models, ethics, professional practice, and further writing exercises. The next few months involve continued iterations of the speculative objects and constructed environments leading towards reaching the goal of a sensory and meaningful experience for the specified audiences of modern generations. This will

be done in parallel with continued primary and secondary research with a more direct focus on experiential design. Most importantly I have a renewed excitement and enthusiasm for this thesis as it enters the second phase. I have led you to the start of your heroesâ&#x20AC;&#x2122; journey. So take a moment, consider your power, and eventually return to society with the message that you are powerful.

“Furthermore, we have not even to risk the adventure alone, for the heroes of all time have gone before us. The labyrinth is thoroughly known. We have only to follow the thread of the hero path, and where we had thought to find an abomination we shall find a god. And where we had thought to slay another we shall slay ourselves. Where we had through to travel outward we will come to the center of our own existence. And where we had through to be alone, we will be with all the world… and then come back with a message.” – Joseph Campbell.

Endnotes 1. Will Brooker of Film and cultural studies department at Kingston University. With a Pd.D. focused on the cultural history of Batman earning him the title Dr. Batman. 2. Joseph Campbell, The Power of Myth 1988 3. Tom DeFlaco, Superheros Are Made. (Rosenberg and Coogan 2013) 4. This American Lifeâ&#x20AC;&#x2122;s #178 Superpowers Podcast. Act One. Invisible Man Vs. Hawkman. 5. Will Brookers, We Could Be Heroes. (Rosenberg and Coogan 2013) 6. Comic Book writer Grant Morrison. (Morrison 2011) 7. (Morris and Morris 2005) 8. (Metthey 2010) 9. (Friend 2010) 10. Systems, Scale and Consequence Class of 2013. 11. (Reynolds 2008) 12. Frank Verano, Superheroes Need Supervillians. (Rosenberg and Coogan 2013) 13. Campbell alludes to the ceremonious act of transition through leaving the tribe as a boy to embark on a journey and returning a man. 14. Tom DeFalco, Superheroes are Made. (Rosenberg and Coogan 2013) 15. Martin Seligmanâ&#x20AC;&#x2122;s concept of positive psychology uses the acronym of PERMA to represent: Positive Emotions, Engagement, Relationships, Meaning and purpose, and Accomplishments. (Seligman 2002)

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SUPER. Richard Clarkson is a New York + New Zealand product & furniture designer. Currently a Masters candidate at School of Visual Arts in New York, Richard has a Bachelor of Design Innovation in Industrial Design from Victoria University of Wellington. With a family background in farming and metal working industries Richardâ&#x20AC;&#x2122;s designs offer an innovative perspective on traditional material ideologies and combine them with new technologies and opportunities. This thesis explores the space of superpower experience. The remarkable is explored the research and creation of both extrinsic sensory experiences and intrinsic reflective experiences. Driven by mythology, psychology, philosophy and design this thesis itself is a heroes journey.