2. 32
ABSTRACT
ABSTRACT
The development of technology has fundamentally
changed our daily lives. Without it, we would not have
FaceTime to connect with loved ones when we first wake
up, Google Maps to check the traffic over breakfast, or
Pokemon Go to play on the way to work. As the quantity of
information increases, we shift our behavior to adapt to this
new digital environment.
As Diane Ackerman writes in her book A Natural History of
The Senses, “There is no way in which to understand the
world without first detecting it through the radar-net of our
sensors.”1
Each sense collects a different kind of informa-
tion, and the collaboration of multiple senses gathers and
stores information about the external world. Our brain then
processes this information and gives it order. Our senses
connect our inside selves with the outside world, and are
lenses which shape our understanding of our environment.
With the help of technology, we now receive more data
than before, but the sensory input is limited by the interface
we use, and often is just visual and auditory. By using more
senses than just sight and sound, can we get benefits from
data technology to explore neglected information? Can this
kind of information enhance feelings? Will we gain a new
understanding of ourselves?
Through my projects I wish to create multi-sensory
experiences to help people notice ignored information
and question the lenses through which information is
3. 54
gathered. These projects use algorithms that I have defined
to transform information without physical form, such as feel-
ings, the social atmosphere of a room, and the relationship
between individuals and a group. During the transformation
processes, I will observe how data is translated through
different senses, and how data enhanced by algorithms
influences people’s communication, behavior, emotions,
reactions and feedback. I hope that through these experi-
ences, people can have more opportunities to explore
themselves and their surroundings.
Photo of my prototypes at DMI the 15th Anniversary Night
6. 1110
BIG MOUTH
One of my projects was to build a useless
machine, the Big Mouth Scent Machine. It
was a dynamic interactive installation, shaped
like a mouth. When participants wrote about
their feelings using a hashtag “#” on Twitter,
such as “#happy,” the data were sent to my
computer and triggered the scent machine.
The machine generated a smell which repre-
sented that emotion. In this way, participants
could enjoy their friends’ emotions in a physi-
cal space following the smell out of the “big
mouth”. The shape of mouth was a metaphor
to show that the smell was related to a digital
stream of talk.
This project was created to reflect my under-
standing of communication. In my opinion,
communication is not only the way people
express their feelings, but also a way of ex-
changing emotions, opinions and ideas.
Big Mouth
7. CASESTUDIES
1312
Background
In my Design Symposium class in the 3rd semester, we dis-
cussed how technology has changed communication, and
asked questions such as: what new social phenomena are
created by technology? What is the role of the communica-
tion designer in our generation? These questions are not
only related to design, but also to the designer’s attitude
about society, communication, technology, beauty, and
identification. We approached these questions by discuss-
ing six topics: technology, networks, algorithms, selfies, the
Internet of things, and data visualization.
For designers, experimentation is always the best way to
help us understand our roles and think about how dynamic
media influences our lives. A practical project can push a
designer to observe his or her environment more closely,
learn more from participants’ reactions, and inspire more
thinking about what the role of a designer is.
In order to help us to think about these questions, we were
asked to build a machine without any practical function.
Useless machines were first created by Bruno Munari, the
famous Italian visual communication designer, who con-
tributed to the fundamentals of modernism, futurism, and
concrete art. He created his useless machines in the 1930s2
.
They were a series of works made with light materials such
as wood and paper, connecting with each other. Munari put
his useless machines in a vacant space, in order to observe
how the visual experience of the materials dynamically
changed with the influence of the environment and time3
.
The useless machines created beautiful shapes and
shadows in those spaces, but they didn’t have a function. In
this way, the useless machines provided an opportunity for
Munari to observe and describe the dynamic changes in a
space and develop his theory of the time-space continuum,
which he describes as “how to make a work of art that could
interact with the environment and change accordingly.”4
Munari’s work was at the vanguard of manipulating kinetic
movement to influence the experience of a space5
. Rather
than a project, the core purpose of a useless machine
is a new perspective, which allows people to create art
and design without the limitation of traditional physical
materials. The “useless machine” raises the question of
the meaning of dynamic media design, and how can these
machines become media for communication?
In order to help us to establish our view on current commu-
nication through making a useless machine, we were given
restrictions. First, we had to consider the ritual view of com-
munication, which is the understanding of communication
from our unique point of view determined by our environ-
ment6
. Second, the machine had to connect to a network
via Application Program Interface (API), have an output, and
have an observable change affected by an algorithm. In
this way, we reflected our understanding of communication
today in a dynamic way, which in turn helped to form a
personal definition of dynamic media in communication.
Useless Machine, Bruno Munari
8. CASESTUDIES
1514
Thought and Concept
When we talk about communication, it is impossible not to
look at technology. Ten years ago, I couldn’t imagine the
ways in which technology would change our fundamental
human interactions. We didn’t have Facebook, Twitter
or Instagram. I remember when I was a child, my family
needed to go to the telecom company to pick up a call.
Even five years ago, if I lost my phone, it meant I had lost
most of my connections in this world. Now I can easily find
my kindergarten classmates on social media. Technology
helps us keep in touch with each other.
Zeynep Tufekci discusses technology in his article, Social
Media’s Small, Positive Role in Human Relationships7
. He
states: “Social media is an enhancing human connectivity as
people can converse in ways that were once not possible.”8
I would go further to say that the Internet has decreased
the limitations of time and space, so that people now have
more opportunities to exchange information. Now my
friends don’t need to worry about “losing” me. Everyone
can locate me via an e-mail address. This convenience
of exchanging information brings people a quantity of
information, but does it enhance the quality of communica-
tion? When we text our friends, we can see only the written
words, without the help of other contexts such as facial
expressions, voices or gestures. Compared with in person
communication, the short message lacks sensory stimula-
tion, and transfers very limited emotional information
among people.
Several centuries ago, people used multi-sensory means to
express themselves and create a community. A traditional
East Asian Ko-do ceremony uses scent to enable the
communication of abstract information in an unexpected
physical form. During the ceremony, the leader prepares
jars with different scents made by burning. The participants
pass the jars, and take turns smelling incense. Participants
voice observations about the incense, and play games to
guess what is being burned. In the past, this was a common
means of social communication. Without speakers, monitors,
or projectors, people invented a multi-sensory way to
exchange thoughts and feelings. Some scents had a very
nice smell and always brought people pleasure. Friends
were invited to scent ceremonies to experience and share
the pleasure of appealing scents. In this way, communities
were created through non-verbal communication.
Ko-do is a slow, physical form of communication that
reflects an East Asian attitude about communication. In
Japan, people use the phrase “Read Air”. In China, saying
less is considered common sense. People tend to believe
that words are limited to express the quantity of informa-
tion beneath the surface. Instead of words, people create
poetic ways to build a bridge between people with the
help of different sensory experiences. The meaning of the
communication is not to tell people something precisely,
but to create a connection with others.
This slow communication connects people more inti-
mately than e-mail, Facebook and Twitter. I believe scent
has strong potential even today to enhance the process
of communication.
Asian Ko-do ceremony
9. CASESTUDIES
1716
Research
In his news article, Smell you later: Researchers find humans
can communicate through scent, Mark Prigg introduces a
theory from Dr. Gun Semin that a smell can trigger the same
emotion in multiple people9
. As such, two people may be
able to communicate their emotions directly through smell.
Smell can likewise trigger forgotten memories10
. The
memories related to smell usually are buried deeply and
a memory that can be stored for a long time. A smell can
easily bring up a deep memory. For example, the smell of
carrot soup evokes for me my lunch time in kindergarten,
and the smell of an orange perfume brings me an image of
my grandmother.
Scent can even alert us to danger. For instance, natural gas
has the added strong and unpleasant scent of rotten eggs
so that we can’t miss a hazardous leak. Our minds store
both smells we like and those we don’t, to remind us of the
beauty and danger in our lives.
As Diane Ackerman points out in A Natural History of the
Senses, we have trouble capturing a smell with precise
language. “Instead we tend to describe how they make us
feel.”11
According to Ackerman, “When we use words such
as smoky, sulfurous, floral, fruity, sweet, we are describing
smells in terms of other things (smoke, sulfur, flowers, fruit,
sugar).”11
The scent information is translated to our brain
without help of a verbal description. The interoperation of
smell is a good bridge to connect multisensory memories of
information decoded from other senses.
Design
For my useless machine, I started by identifying the
input information. I chose a Twitter feed as the database,
because Twitter represents a new way of communication
for this generation. It only allows a reductive 140 characters
per message. Literally, when you share your ideas through
Twitter, everyone can see them.
Sherry Turkle criticizes Twitter as a place where people’s
words can be automatically heard by anonymous listeners12
.
Twitter gives people a platform for knowing what happens
among their friends, but it is not a platform for nuanced
give and take. Face to face communication allows for the
layered information given by facial expressions, context,
and ambiance.
I hoped that my useless machine would allow me to send a
sensory message that I thought would attract more atten-
tion from people than the message loading on our phones
or laptops. When the information is sent with multisensory
elements, the experience may help users have a different
perspective, deepen their online communications, and
even question the severely limited sensory input forced by
Twitter’s format.
I separated the task into several steps: finding usable
information inherent in Twitter, creating a prototype of
the scent machine, and connecting the database with the
physical machine.
Twitter API Arduino gets infromation Big Mouth is triggered
10. CASESTUDIES
1918
First, I defined my database. Tweets are marked by
hashtags to label the type of content. These metadata
labels can be used to group all related tweets for readers,
and allow developers to get real-time information. Using
the program Processing, I designed my scent machine to
connect to Twitter’s server via an API, and pull all messages
with the hashtags I defined, such as #feelinghappy. Once
people sent their messages with #feelinghappy, my ma-
chine would generate a scent which represented “happy”.
When I designated more words to described emotions, I
could create a corresponding scent.
The second step was to build a prototype of a physical
scent machine. I thought of using different perfumes to
represent different emotions. For example, a sweet cream
perfume could represent happiness. A bitter one could
represent sadness. In my prototype, I decided to use a
jasmine flower scent perfume as the example which could
represent “happy,” and a rotten egg to represent “sad.”
Emotions can hardly be separated from feelings. In order
to tell a story of emotions I used those scents which I
experienced with different emotions to trigger similar
feelings for my participants. I set up an early prototype
(not yet connected to the live feed) in an open space, but
it was hard to recognize each of the scents, as they diffuse
and evaporate quickly. So I redesigned the scent generating
process. In order to keep scents from escaping before they
were recognized, every update would trigger a little bit of
one scent generated from a blocked bottle. My participants
were supposed to sniff the smell by putting their noses
close to the bottle. In this way, I could differentiate the
different scents and the feelings they evoked according
to the Twitter feed information. I tried different physical
methods to squeeze the scent from the bottle. In the end,
an ultrasonic vibration helped me overcome the problem.
It worked like a humidifier, by sucking the liquid perfume
from the bottle and misting it into air. With the control of a
switch, I could decide which smell I wanted to disperse.
Next, I connected my laptop to the prototype. When
Processing identified a tweet with the appropriate hashtag,
it triggered the ultrasonic vibration under the appropriate
perfume bottle, thus replacing the physical switches.
It took me a long time to think about the proper form for
this project. Psychologist J. J. Gibson invented a word,
affordance, to refer to “the actionable properties between
the world and an actor (a person or animal).”13
Based on
this, I wanted to use my interface to show people what to
do as well as to express my thinking about communication.
After some thought I decided to use an open mouth shape
which represented Twitter, the platform where you can
say anything. The mouth was a symbol of a vivid, nuanced
physical experience, unlike Twitter’s blunt, digital broadcast.
Test of a mist module
The making process
Processing sends Twitter
feeds data to Arduino
11. CASESTUDIES
2120
Testing
When I tested my machine with my audience, they were
surprised by a gap they perceived between the romantic
idea and the creepy interface. They were attracted by the
strangeness of the form, and they thought it was ridiculous
to approach the “big mouth” with their noses. There was
a lot of laughing as users experienced the mood of each
tweet. Although they couldn’t figure out the correct mean-
ing of every tweet, the scent influenced their feedback.
Most users didn’t care about the contents of the tweet
at all, but they were excited to guess what the author’s
emotion was. Through this wordless communication, people
seemed to care more about the lives of the Twitter users.
The scent caused people to slow down and consider each
tweet more thoughtfully. This project positively influenced
the relationship of the friends in a nonverbal way. As one
of my classmates Yanjun said, she expected to find that
her friend was feeling happy, and that their feelings could
trigger a nice smell when she used the machine.
Image of the Big Mouth
12. CASESTUDIES
2322
Conclusion
This project made use of the sense of smell to translate data
into an unexpected sensory experience, bringing a virtual
community back to a physical space. From the written
language that defines Twitter, I was able to create a more
abstract, slow experience of shared emotion. This vivid
experience brought more engagement than users’ verbal
expressions. The sample of users I tested understood that
the flower smell correlated to happiness, and this created
a shared understanding among the users. This experiment
supported my hypothesis that with the help of additional
and unexpected senses, designers can affect the quality
of digital communication. There is a potential to design
interfaces using our five senses. Stimulation of more senses
depicts a more vivid picture. For a further version of this
project, I want to see people’s reactions if I involve more
emotions in this project. I am also interested in testing
features of other senses for next projects.
Image of Big Mouth
13. CASESTUDIES
2524
Big Mouth
Chocolate Lift
The Birds on The Wires
Lighting Tutu
My work is centered on stimulating our five senses. In this
process, I used real-time information shaped by algorithms
as input, which generate sensory stimulations as output. In
some of the projects, I worked with an individual; in others,
with multiple people or communities. I compared my users’
feelings and reactions before and after the sensory experi-
ences. I used a chart to record participants’ feedback and
the changes I observed in each project.
Smell TouchTasteListenSee
METHODOLOGY
14. 2726
Big Mouth Chocolate Lift The Birds on The Wires Lighting Tutu
Big Mouth Chocolate Lift The Birds on The Wires Lighting Tutu
Twitter feed
Twitter
information
Happiness/
Sadness
Love/
Belief
Belonging/
Powerful
Encouragement/
Passion
Empathy Friendship/
togetherness
Sense of
community
Connection
InternetEnvironments
Existing Context
Input
Participants
Multi sensory experiences
(Changed) Perception
Feelings and emotions from participants
Two people in a
physical space
Crowd in an
open space
Concert hall
Chocolate/
Memories
Pitch of
sounds
Light
patterns
Bio-data Group size Motion
Before the multi sensory experiences
After the multi sensory experiences
How my multi sensory experiences work
PROJECTS SUMMARY Projects
15. CASESTUDIES
2928
Psychoanalyst D.W. Winnicott writes that “in childhood we
are watching the human being only gradually becoming
able to distinguish between the subjective and objective.”14
He analyzes the way infants learn about “me” and “not
me.” When babies develop a sense of proprioception,
knowing the parts of the body and how they work together,
they can begin to distinguish their inside feelings from
the outside environment. As we grow up, our responses
become automatic, so we become so familiar with this
body system that we are unable to distinguish how our
senses work to connect us to our environment. We have
lost the memory of how we learned about the relationships
between our senses and our surroundings.
Furthermore, no two people experience the environment
in the same way. As Mark Solms and Oliver Turnbull state
in The Brain and the Inner World,”emotion is … internally
directed, only you can feel your emotions.”15
All the recog-
nition of our environment is based on subjective feelings.
VALUE
WHO AM I
The shadow experinment in the You Are Here project
16. NOTES
3130
1. Ackerman xv
2. Antonello 317
3. Antonello 328
4. Robinson “Bruno Munari, The Man and His ‘Useless Machines’.”
5. Antonello 328
6. Carey 43
7. Zeynep 2012
8. Zeynep 28
9. Prigg 2012
10. Stafford “Why Can Smells Unlock Forgotten Memories?”
11. Ackerman 7
12. Turkle 2012
13. Gibson 1977
14. Winnicott 207
15. Solms 106
16. Kim ”Internet Encyclopedia of Philosophy: Wang Yangming”
17. Blakeslee 142
18. Eagleman “Can We Create New Senses for Humans?”
NOTES
17. WORKSCITED
3332
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