Susan Shi 史卓灵 | Out of Inner Chamber: A pop-up book about Young Chinese Women

Out of Inner Chamber is a pop-up book that combats China’s societal norms on women’s choices. The book allows audience to make choices for the protagonist and walk through a non-linear story experience by interacting with paper mechanisms.
 


Gender issue in Chinese society has been pervasive throughout history. Nowadays, gender stereotypes can be seen in all life aspects, from career choices to family roles, it largely hinders women’s freedom on life choices. Under this context, the pop-up book Out of Inner Chamber focuses on a key theme many young Chinese women face: parental control. Parents’ opinions are mainly shaped by the societal-wide stereotypes. ACWF (All-China Women’s Federation 中华全国妇女联合会) coined the term “leftover women” (剩女), which means single women above the “proper” marriage age. This label not only reinforces the idea that a woman’s value is no more than being a “good wife and wise mother,” but also causes anxiety in parents on girls making independent choices. Thus, parents tend to pressure their daughter into fitting social expectations and take full control of their daughters’ decision making. This projects combats the negative connotation that is associated with women who have the courage to break social norms and make decisions independently. It also aims to encourage young Chinese women to make their own decisions by following their true desires regardless of social norms and external judgements. Ultimately, the project would contribute to the formation of a more tolerant society towards women.

As a pop-up book, Out of Inner Chamber tackles this problem through an interactive non-linear storytelling approach. When the audience unfolds the first spread, a starting point is shown where the protagonist is admitted to a university and is struggling with her choice of major. Two options are provided and the audience can choose either one by unfolding through either direction. After the first decision is made, another problem appears, and the audience can keep choosing from two options. The story will separate into four different endings, all of which are happy endings, however the end states of the protagonist are very different from each other. As people may define happiness differently, the book does not favor any particular choices or judge any decision the audience made. At the end of each story branch, a mirror is provided for the audience to reflect on themselves. The mirrors metaphorically express the idea that anyone may be the protagonist and face the problems the protagonist faced.
This form of interaction fills the blank space between “choose your own adventure” books and traditional linear storytelling pop-up books. In addition to the essence of a book, it contains both physical interactive elements and non-linear story experience. The playful medium softens the shock of the sensitive topic and makes the central argument easier to take in. As the audience unfold the book, they also unfold the life of the protagonist. They are given the ability to choose freely unlike in real world. By using interaction to explore numerous possibilities, young women will feel empowered to look at a future outside of their parents’ or society’s desires. The intimacy embedded in the physical interaction connects the audience with the protagonist’s sufferings. In this way, the idea of the projects is conveyed subtlety.

The book utilizes affordable “2D materials” to create a “3D experience” in order to achieve an effect commonly performed in digital ways, which largely increases the accessibility and physical interactivity. The use of traditional materials challenges social obsession with digital approaches in art making. The project bridges digital design with traditional handicrafts, adding paper engineering to aesthetic design. This is an inspiring direction with large potentials for future projects to develop. At the same time, this project shatters people’s stereotype on pop-up books as “only for children” and without much value. The serious content and realistic stories ask people to re-evaluate this art form and do further study on both the medium and the content.

Video (.mov)
Final Presentation

Tags:#Pop-upBook#ChinaGenderRoles#PaperEngineering

 

Suhyeon Lee | Drowning into plastics: Data Visualization of Plastic Pollution

This project is to raise awareness of plastic pollution. And ultimately encourage people to reduce number of disposable plastic in their life in order to decrease the overall plastic wastes for everyone’s sustainable living.
 

uc?id=1DtLKocZtfD_Kogt3WgXQdEBCXXvAYJk0&export=download
From the top

Enlarge

uc?id=1oM02LxqwoihhkdQH6ew6CHsq0iRG0-bq&export=download
From the side

Enlarge

uc?id=16QyRJfBEB0Dj65B_KBbmSMES-E7-y7vP&export=download
From the top

Enlarge

uc?id=1NQLjBxwE6zPAgnFkNMUusxruOciFQdep&export=download
IMA show

 
 
 

 
According to a study by 2050 the number of plastic waste in the ocean will outnumber number of fish in the ocean. Additionally, in the article “When Will We Hit Peak Garbage?” the prediction from World Bank report with various experts’ opinions concerning garbage peak is well described. In between 2075 to 2100, the overflowing landfill will hit the peak. There wouldn’t be any place to landfill mismanaged wastes(meaning not properly recycled) anymore, which means more wastes will possibly throw away into the ocean and left over all around the ground.
Most of the plastics are non-biodegradable will result in the plastic lasting for more than hundreds years. And all these mismanaged plastics over years will be broken down into micro plastic pieces, which will disperse into our ecosystems. These unnoticeable micro plastics are consumed directly by animals and plants that at the end can be found in our body. Therefore, all the plastics that we mismanaged turn into micro plastics over time and come back to threaten our daily meal, diet, and health as well as disrupt our leisure and work by interfering travel destination and food choices and changing industrial focuses on plastic wastes problems, .
How the micro plastics are over dominating the ocean and the frightening outcomes that we will encounter in the near future is described in the book called Plastic Ocean: How a Sea Captain’s Chance by Moore, Charles, and Cassandra Phillips, Captain Moore. The author narrates this book through his voyage to The North Pacific Subtropical Gyre, “Great Pacific Garbage Patch” where he brings up the conclusion of his research that shows plastic debris outweighs the zooplankton in the ocean. And he also talks about his anxiety towards this issue that not a lot of people realizes.
As purpose of this project is to make people realize about plastic pollution, this project will present a data visualization of plastic waste by each continent over 15 years of period, 2010 to 2025. Data visualization is using gathered data to describe in a visual content to help people easily see the concept and catch the message without going reading over tonnes of numbers and words. This data visualization project will use specific data from Our World in Data. With the data sets and information gathered from researches, this project will include a clear art installation and interactions where people will quickly see the severity and feel the urgency towards plastic pollution.
In addition to conveying the message of accumulation of plastic wastes, this project will make users feel scared, guilty, and motivated. As the message of the project is: earth is drowning into plastic wastes, users will come away feeling scared and guilty but also motivated. Users should feel scared or afraid about the near future of plastic wastes threatening our environment, guilty of what they have done, and finally motivated to take a step in reducing plastic wastes.
Everyone uses plastic every day without realizing its severe consequences that will bring into our life. My project is not to make people feel helpless but encouraged. Everyone who uses disposable plastics without noticing those consequences should reconsider about plastic products and what is it like to live sustainable. And they should now know what plastic pollution is and its consequences. Therefore, it is important for us to learn the fact that plastic wastes brings an uncontrollable pollution problem that we already went too far and unless we stop using them right now the plastic wastes will be keep on accumulating and continually threaten our lives.

 


Tags:#PlasticPollution#DataVisualization#Over15years

 

Ashley Friedland | What on Earth Happened: An Auditory Video Game

What on Earth Happened: An Auditory Video Game places audio as the focus and visuals as supplementary. Players explore an area containing 5 narrations; how they interact with these stories will affect their interpretations of what on earth has happened.
 

uc?id=1veur7090Sf8Jkgh3A8YetM1Cv58y8wRf&export=download
Start Menu Screen

Enlarge

uc?id=1qSy3Ndmi7ZI2_iW8ZEKTuwGd5cjvlaBj&export=download
Credits

Enlarge

uc?id=1Pu3K38KuPeljWqB5VfXNRl-aiO09zL6w&export=download
Light on the floor

Enlarge

uc?id=1uWnF0HNicLwDLkwIZqlnhnzwuX6lEFiQ&export=download
Light on the wall

 
 
 

 
“What On Earth Happened: An Auditory Video Game” explores the inversion of audio and video in narrative video games. It investigates the use of audio as the driving function of a video game instead of graphics.
Games today are heavily based on graphics. Audio is often seen as a supplement to them. There have been several studies done on the influence of music in video games. Literature like Rod Munday’s “Music in Video Games” and Helen Mitchel’s “Plug-In to Fear: Game Biosensors and Negative Physiological Responses to Music” illustrate just how powerful music can be. If that’s the case, why does audio seem to take a backseat to visuals? Games like “What Remains of Edith Finch” and “#WarGames” started to put more emphasis on their audio. The first has the main character narrating throughout, acting as a guide. The second is several narratives playing at the same time, allowing the user to choose which ones to watch and listen to.
Players will put on headphones and play this game. An introduction narrative will play to provide a small amount of context. The player will then be allowed to maneuver the play space. Five different narrations will play in the space, starting and ending at different time intervals. Each describes a natural disaster that the person has experienced. After about four minutes, all narrations will be complete and the player will be called back by the introduction narrative voice. An ending narrative will play, closing out the game. Each player will experience this game differently, because each person will maneuver this space differently. Throughout the whole game, there will be limited visuals. The first 33 seconds show only a black screen while the introduction plays. A flashlight then turns on when it’s referenced. The player then moves around with this flashlight, lighting a small circle of light on the ground, plus any wall they come into contact with. Once the ending narration starts, the flashlight is turned off and the player is plunged back into darkness until the end narration finishes, ending the game.
Players must rely on the audio to play this game; the visuals are supplementary. This is to explore if audio can truly be the main focus. Confusion and frustration can bubble up from the lack of visuals, but that is expected and welcomed. Hopefully, those players will reflect on how heavily visual the games they play are. This project sits in the friction of the relationship between visuals and audio. It continually produces questions about this relationship, not only in games, but in films, art, and social media. With VR becoming increasingly popular, what will audio’s role in it (de)evolve into?
One thing that was an unexpectedly large part of this project was the prompting of players to move. Originally, it was something that was set to the side, expecting users to on their own have the urge to move and explore. Because this was proved to not be the case, certain visual and audio effects were put in place to help prompt the users to move. Visually, a “flashlight” was turned on near the end of the introduction. For the audio, the first narration was placed farther away so it was quieter. These ended up helping most of the users.

 


Tags:#audiovideogame#storytelling#apocalypse

 

Bin Xue | Whale-Being Park: Exploring Whales Evolution in VR

Whale-Being Park is a VR immersive experience game where players can learn about the evolution of whales. Traveling across times, players not only learn through walking in the forest with the extinct animals but also audio and visual guides.
 

uc?id=1U7KLpV0JXfm88j9IcA0Pzyf2oOl6z4lC&export=download
Underwater World

Enlarge

uc?id=1yueCUpSEIRskEW6vzO3nzL81xixC51Kr&export=download
Gate To The First Wale STage

Enlarge

uc?id=1UAFCq187qGg9LIa1jIaXMRw9t1dnnJ3w&export=download
Dolphins

Enlarge

uc?id=1wPBqGM-l2C1QnWv4IiTvqIto1xO2jger&export=download
Dinosaurs

 
 
 

 
With a fun narrative and new media technology, Whale-Being Park aims to create an immersive, gamified educational experience. It targets children in K-8 schools (age 9 – 14) starting their scientific education, aiming to stimulate a curiosity for science by creating a unique, exploratory experience in VR.
Comparing to other games that purely use ocean and evolution as a theme for a game, and educational videos that aim to compress knowledge in the shortest time possible, Whale-Being Park develops on these concepts to make the education more fun. Players are allowed to explore the world of evolution at their own pace, but the over-all progression is monitored and well-curated, ensuring that critical knowledge is delivered before the game progress further. For example, the game is curated in different stages. The concept of geological timescale and background knowledge of evolution is taught and tested to allow the user to advance to the next era of time.
The game is divided into the following stages: the tutorial stage, the background knowledge briefing stage, the stage where the first whale appeared, the Oligocene stage, and the final stage to conclude the game. In each stage, the geological landscape, fauna, climate, and animals are curated true to the corresponding time period. Along the journey, an audio guide will be guiding the tour with instructions and scientific knowledge. With interactive elements and game mechanism to help proceed to the next stage, the users have more incentive to learn about the background and related topics to whale evolution.
The project title, Whale-Being Park, not only implies the theme of the project evolving around whales but also invites the users to care more about the well-being of the Earth coming out of this experience. The project idea of integrating science education and new media technology was inspired by the Plankton Populations Exhibit at Exploratorium Museum, where people from all age ranged were fascinated and curious to learn more about plankton, a fairly difficult science knowledge because of the way it was presented with the help of new media. It adds playfulness to a serious topic and gives people more incentive to study and explore the nature around them.
To best focus on education with new media, I decided to choose evolution as my project theme. Since evolution is a concept that not only teaches us about what happened in the past but also helps us to speculate the future, it will be a good topic to raise environmental awareness. More importantly, I want to harness the potential of VR as the technological approach to help raise empathy, to help people be compassionate about the Earth we are living on today. Inspired by the movie series, Jurrasic Park, I want to recreate a VR experience to allow users to go through different time periods. By looking at moving animals, the children can be more engaged in the experience.
Even though the game was designed for children, but in the actual user testings with children, I do find that there are many other factors to be taken into account in game design. First of all, children around 5 years old are too young to be able to wear a VR headset. Their heads were not strong or big enough to hold a VR headset. Secondly, there is such a huge height difference in their height, which affects their ability to reach and user interface. However, all children at the IMA show loved the game. I see the potential of a more flexible system for different heights.

 


Tags:#whaleevolution#VRexperience#education

 

Shannelle Chua | Kayang Zero Waste : Zero waste is possible

Kayang Zero Waste is a personal statement website in regard to the state of affairs of zero waste in the Philippines.
 

uc?id=1wOJTNb4weOumC1dgr4CVnxyG99DNF7g0&export=download
Home page

Enlarge

uc?id=1jTq-TCeK_MNXf3KIq8rFByRN9Umnm7JJ&export=download
Challenge generator result

Enlarge

uc?id=1k5BxYJjsQXTYzKshgkruHDhi9PlQhkly&export=download
List of other resources

Enlarge

uc?id=1uQeKxFvqfUcuPMvdjH0jc3anN56LnulZ&export=download
Gallery of recommendations, accessible through list of recommendations

 
 
 

 
Zero waste is the philosophy that any items produced are able to be reused or recycled, thus leading towards zero waste. And in the past few years, the zero waste lifestyle movement in the Philippines has grown from being supported by small local brands to being supported by large corporations as well. While it is helpful for awareness that mainstream businesses are starting to visibly display more eco-friendly options, awareness without proper education by itself could be detrimental to the movement. Some viral tweets have documented well-meaning yet misinformed actions to be zero waste. Furthermore, examining the social media responses to items being marketed under the guise of being environmentally-friendly revealed there tended to be an overwhelmingly positive response. These activities prompted my further study of local zero waste businesses and communities.
The conclusion that I came to was that smaller and more independent brands tended to educate their followers on social media, while larger businesses did not. The response and engagement from the followers on these larger brands, then, tend to lack critical thinking; as previously mentioned, people did not think deeper into the contradiction of products being unnecessarily manufactured and then marketed as “environmentally friendly.” And in interviews that I conducted, it was revealed that the fact that businesses being responsible for driving awareness had led to some people mistakenly thinking that owning certain items were conflated to be zero waste. One interviewee, when asked if he was interested in zero waste, asked for clarification if that meant reusable straws; when pushed further, he explained that owned one, but he never used it. The project was created in response to these different factors.
The website’s overarching theme is to say that zero waste is possible without buying items. As the website is geared towards addressing Filipinos specifically, the home page starts with some explanation of my background and why I care, meant to establish some relatability to my audience. Building off of that first page, the second page makes it clear that it is possible to be zero waste just by using what you already own, and I illustrate this through examples from my own experiences. The third page, then, is a game meant to not only provide people with concrete zero waste examples, but to also push people to apply those examples. The final page is a compilation of tangentially-related resources and communities for those who would like to educate themselves further. All the main pages are focused on providing examples of not only how zero waste is possible, but how it’s possible without buying items.
An earlier iteration of the project was meant to be a directory of zero-waste products, but after compiling a variety of items, it became clear that a lot of items were economically out of reach, exceeding well past the ₱537 minimum wage in Metro Manila. In consideration of the criticisms about the zero waste lifestyle being accessible only to the privileged, corroborated by how the issue of cost also appeared in interviews, the project shifted to its current focus.
Due to the very personal approach of the current version of the project, the natural extension of the project would be to develop it into a blog if I were to work on it further. As the website was personally built using HTML and CSS, as well as a Content Management System, I would be capable of building any additional functionality and easily adjusting the content.

 


Tags:#zerowaste#philippines#website