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© PORTFOLIO 2009<br />
02<br />
15<br />
26<br />
32<br />
35<br />
39
2<br />
IN-FORMED<br />
INFORMATION IN CONTEXT
3<br />
IN-FORMED / 2008-2009 / SELF-DRIVEN<br />
Much OF The knOwLedge and statistics in the world<br />
exists in places like books, newspapers and web sites. You read<br />
things like “In Britain, 20 million tons of food is thrown out<br />
each year.” Statistics like these may be striking when you first<br />
read them, but without context or placement in the physical<br />
world, they are rarely remembered and they rarely change<br />
people’s behavior. what if this kind of information crawled<br />
off the page and seeped into the products that surround us? In-<br />
Formed provides three case studies in embedding contextually<br />
relevant information into everyday objects.
4<br />
THE DAILY JOURNEY<br />
To begin, I chronicled a day in my life, paying attention to the<br />
everyday objects that exist in my environment. From these, ideas<br />
were quickly sketched and taped on the wall for constant reference.<br />
The concepts explored ways of representing information in tangible<br />
objects and how that information could change people’s behavior.
THE CONTEXT<br />
The kitchen is the nucleus of the home. It’s where we have the most<br />
control over the use of resources and provides a great opportunity<br />
for informing people of their consumption habits. These are the<br />
three categories of information I chose to delve into.<br />
1. CALORIC CONSUMPTION<br />
5<br />
3. WATER USAGE<br />
2. TRASH PRODUCTION
1. CALORIC CONSUMPTION / FORKS<br />
The data visualized in this fork is the caloric consumption per capita<br />
in various countries, each represented by the length of the fork’s<br />
tines. when the person uses the fork, the prongs that are longer are<br />
more likely to pierce the food, mimicking the discrepancies of food<br />
consumption around the world.<br />
6
7<br />
DATA DISHWARE<br />
An alternative to the forks, the plates represent the amount of<br />
calories consumed in proportion to the surface area of the plate,<br />
giving potential diners an informed choice as to how much food they<br />
want to eat.
8<br />
2. WASTE PRODUCTION<br />
This waste bin visualizes personal or household waste. The weight<br />
of the garbage changes the angle of the waste bin, making it less<br />
inviting and giving you a visual cue as to how much trash you<br />
are throwing away. The main body of the bin is constructed from<br />
polypropylene except for the middle section, which is a flexible TPe,<br />
allowing the top portion to swing back when weight is added.
9<br />
WASTE BIN PROTOTYPE<br />
A foamcore model was built to test the principle of weight-based<br />
articulation. A lid at the opening of the bin allows tall kitchen trash<br />
bags to be used.
The weight of the garbage upon the<br />
platform pivots the top back from the<br />
bent position via a connecting rod.<br />
11
12<br />
3. WATER USAGE<br />
The data visualized in this faucet is the amount of water consumed<br />
each time the faucet is used. As water flows out of the faucet, a<br />
small portion of the water gets redirected through a valve into<br />
a glass chamber, showing the person how much water they are<br />
currently using. The water in the chamber empties the next time the<br />
faucet is turned on.
Floating indicator<br />
A valve redirects a portion of<br />
the water into the chamber<br />
WATER CHAMBER CONTROL HANDLE<br />
14<br />
18<br />
16<br />
14<br />
12<br />
10<br />
8<br />
6<br />
4<br />
2<br />
gallons<br />
Pull forward to control water �ow
15<br />
BIBLIOFILE<br />
GESTURE-POWERED READER
16<br />
BIBLIOFILE / 2008-2009 / HIGH-TECH PRODUCTS<br />
ThIS eLecTROnIc BOOk ReAdeR uses page-turning<br />
gestures to generate the power necessary to update an e-paper<br />
display. These gestures provide cognitive, mechanical and digital<br />
feedback to the person using the device. The device’s Active<br />
Reading margin supports the reader by providing applications<br />
like a dictionary and word games in a way that doesn’t distract<br />
like reading texts on a computer does. By harnessing both<br />
human and computing power, Bibliofile provides a rich reading<br />
experience for avid readers.
or drag from text<br />
input words with stylus<br />
search<br />
edit text<br />
ScReen InTeRFAce<br />
input words write<br />
dictionary<br />
PhYSIcAL InTeRFAce<br />
wikipedia<br />
erase input<br />
drag words<br />
fictional<br />
convergences<br />
select words<br />
favorites<br />
use stylus back<br />
author title subject date language<br />
random text<br />
hold button<br />
draw vector<br />
games<br />
use stylus<br />
books<br />
APPLICA-<br />
write with stylus<br />
newspapers<br />
use stylus<br />
select from menu<br />
TURN ON<br />
pull up page<br />
turn the page<br />
write number and<br />
magazines<br />
pull up page<br />
hold page 5 sec<br />
push down page<br />
blogs<br />
select from menu select from menu select from menu<br />
TOOLS TIONS<br />
select from menu - organize by<br />
slide slide slide<br />
ACTIVE<br />
READING<br />
select from list<br />
change font<br />
GET READ DISPLAY USERS<br />
TEXTS<br />
PREFER-<br />
ENCES<br />
INPUT MARK GO TO NEXT PREVIOUS TURN<br />
WORDS WORDS PAGE PAGE PAGE<br />
select from list<br />
text size<br />
OFF<br />
menu style<br />
select from menu<br />
select from list<br />
linear<br />
radial<br />
23<br />
17<br />
16<br />
Reasons why people don’t like reading on the computer and Bibliofile’s solutions:<br />
10<br />
8<br />
8<br />
7<br />
4<br />
4<br />
2<br />
1<br />
1<br />
1<br />
hard on eyes<br />
lacks tangibility of print<br />
cannot mark texts<br />
lacks portability<br />
doesn’t show progress<br />
myriad distractions<br />
requires electrical energy<br />
learning curve<br />
don’t own an object<br />
difficult to absorb info<br />
lacks authority<br />
lacks durability<br />
10<br />
INSIGHTS ON READING<br />
e-paper screen<br />
tangible interactions and book metaphors<br />
texts markable, marks searchable<br />
bibliofile is comparable to a medium-sized book<br />
screen edge graphically shows progress<br />
applications enhance education and reading experience<br />
power is generated throught page-turning gesture<br />
functions are limited<br />
product is owned, texts are bought<br />
marking tools promote active reading<br />
texts are same as print versions<br />
electronics protected but notthing is failsafe<br />
Before designing Bibliofile, I surveyed and interviewed people<br />
to find the reasons why people don’t like reading digital texts.<br />
Amongst the biggest complaints were the lack of tangibility and the<br />
need to charge a device. Furthermore, I studied how people read,<br />
specifically the way people turn pages. using these insights, I began<br />
structuring the framework for an e-book reader.<br />
3<br />
7
18<br />
PROTOTYPING<br />
My prototyping efforts were two-fold. On the one hand I developed<br />
a model with a rotational page-turning gesture that generates power<br />
and simulates the interaction using an Arduino microcontroller<br />
and a projector. concurrently, I generated tactile models that<br />
investigated the ideal gesture from a human factors standpoint. The<br />
final design balances the need for power with good ergonomics.
SYNTHESIZING<br />
Various elements of Bibliofile’s interface and hinge mechanism being<br />
designed on paper.<br />
HINGE MECHANISM<br />
ICONS<br />
FOAMCORE MOCK-UP<br />
PAGE TORN FROM<br />
A TALE OF TWO CITIES<br />
PAPER PROTOTYPING<br />
WIREFRAMES
THE FLIPPER<br />
The interaction that was developed for the final design has a margin<br />
that can be flipped up to go to the next page or flipped down to<br />
go to the previous page. The flipper’s taper allows it to be read<br />
comfortably on a flat surface.<br />
21
22<br />
MATERIALS AND TECHNOLOGY<br />
At left are alternative material combinations, including leather and<br />
cast cork bases. Bibliofile’s stylus has two buttons (one is the nib)<br />
that send a wireless signal to the device using the voltage generated<br />
by applying strain to a piezoelectric element. The stylus thus does<br />
not require batteries or charging.
EXPLODED VIEW<br />
The major internal elements. Of particular importance is the diode<br />
bridge, which allows current to be generated regardless of which<br />
way the generator is turned.<br />
SOLID STATE<br />
HARD DRIVE<br />
PROCESSOR<br />
BATTERY and<br />
PIEZOELECTRIC ELEMENTS<br />
23<br />
DIODE BRIDGE<br />
GEARS<br />
GENERATOR<br />
ACCELEROMETER<br />
WIRELESS ANTENNA<br />
CAPACITIVE<br />
TOUCHSCREEN<br />
E-PAPER DISPLAY
SORT BY AUTHOR<br />
Absalom, Absalom!<br />
The Adventures of Huck...<br />
Animal Farm<br />
Atlas Shrugged<br />
Blink<br />
Library<br />
REFERENCE<br />
Search<br />
Dictionary<br />
Thesaurus<br />
Encyclopedia<br />
Active Reading<br />
FICTION BESTSELLERS<br />
South of Broad<br />
Smash Cut<br />
The Help<br />
That Old Cape Magic<br />
The Girl Who Played Wi...<br />
The Eleventh Victim<br />
BiblioStore<br />
TEXT<br />
Text Size (10pt)<br />
Typeface (Sabon)<br />
Language (English)<br />
Preferences<br />
THE INTERFACE<br />
A Border Passage<br />
Catch-22<br />
Common Sense<br />
The Design of Everyday...<br />
Don Quixote<br />
Dress Your Family in Co...<br />
Dr. Jekyll and Mr. Hyde<br />
APPLICATIONS<br />
Notes<br />
Fictional Convergences<br />
Comprehension Quiz<br />
Book Club<br />
The Neighborhood<br />
NON-FICTION BESTSELLERS<br />
Culture of Corruption<br />
Outliers<br />
Liberty and Tyranny<br />
In the President’s Secret...<br />
Catastrophe<br />
The Wilderness Warrior<br />
CONTROLS<br />
Touchscreen<br />
Buttons<br />
Keyboard<br />
Stylus<br />
The Elements of Style<br />
Ender's Game<br />
The English Patient<br />
A Farewell to Arms<br />
The Fountainhead<br />
The Giver<br />
The God Delusion<br />
GAMES<br />
Word Search<br />
Lingo<br />
Speed Reading<br />
RECOMMENDED<br />
The Art of Looking Side...<br />
Critical Path<br />
Finnegan’s Wake<br />
The God of Small Things<br />
I Miss My Pencil<br />
Slaughterhouse-Five<br />
TECHNICAL<br />
Network<br />
Color<br />
Audio<br />
The Grapes of Wrath<br />
Great Expectations<br />
The Great Gatsby<br />
Gulliver’s Travels<br />
Hamlet<br />
The Handmaid’s Tale<br />
Heart of Darkness<br />
EDIT<br />
Re-write<br />
The Editor<br />
Fan Fiction<br />
FREEBIES<br />
Aesop’s Fables<br />
The Book of Jonah<br />
Beowulf<br />
Gulliver’s Travels<br />
The Invisible Man<br />
Jane Eyre<br />
FURTHER<br />
About<br />
Reset<br />
SORT BY AUTHOR<br />
Absalom, Absalom!<br />
The Adventures of Huck...<br />
Animal Farm<br />
Atlas Shrugged<br />
Blink<br />
A Border Passage<br />
Catch-22<br />
Common Sense<br />
The Design of Everyday...<br />
Don Quixote<br />
Dress Your Family in Co...<br />
Dr. Jekyll and Mr. Hyde<br />
The Elements of Style<br />
Ender's Game<br />
The English Patient<br />
A Farewell to Arms<br />
The Fountainhead<br />
The Giver<br />
The God Delusion<br />
The Grapes of Wrath<br />
Great Expectations<br />
The Great Gatsby<br />
Gulliver’s Travels<br />
Hamlet<br />
The Handmaid’s Tale<br />
Heart of Darkness<br />
The Hobbit<br />
Hound of the Baskervilles<br />
The Elements of Style<br />
Ender's Game<br />
The English Patient<br />
A Farewell to Arms<br />
The Fountainhead<br />
The Giver<br />
The God Delusion<br />
The Grapes of Wrath<br />
Great Expectations<br />
The Great Gatsby<br />
Gulliver’s Travels<br />
Hamlet<br />
The Handmaid’s Tale<br />
Heart of Darkness<br />
Library<br />
The Hobbit<br />
Hound of the Baskervilles<br />
Ideas: A History of Thou...<br />
Into Thin Air<br />
The Joy Luck Club<br />
The Last Lecture<br />
The Last of the Mohicans<br />
The Laws of Simplicity<br />
Life of Pi<br />
Lord of the Flies<br />
Massive Change<br />
Me Talk Pretty One Day<br />
The Metamorphosis<br />
Midnight's Children<br />
Moby-Dick<br />
Moll Flanders<br />
Mythology<br />
The Namesake<br />
Native Son<br />
The New Testament<br />
No Exit<br />
The Old Testament<br />
Oliver Twist<br />
One Hundred Years of S...<br />
On the Road<br />
Operating Manual for<br />
Spaceship Earth<br />
Outliers<br />
A Passage to India<br />
The Picture of Dorian Gr...<br />
A Portrait of the Artist as...<br />
A Prayer for Owen Meany<br />
Pride and Prejudice<br />
Processing<br />
The Red Pony<br />
The Republic<br />
Robinson Crusoe<br />
The Satanic Verses<br />
A Seperate Peace<br />
Siddhartha<br />
Slaughterhouse-Five<br />
Things Fall Apart<br />
The Things They Carried<br />
A Thousand Splendid S...<br />
tee what domestic animal? Tee dash ar most courageous mariner.<br />
Good voice he has still. No eunuch yet with all his belongings.<br />
Listen. Bloom listened. Richie Goulding listened. And by the<br />
door deaf Pat, bald Pat, tipped Pat, listened. The chords harped<br />
slower.<br />
The voice of penance and of grief came slow, embellished, tremulous.<br />
Ben's contrite beard confessed. IN NOMINE DOMINI, in<br />
God's name he knelt. He beat his hand upon his breast, confessing:<br />
MEA CULPA.<br />
Latin again. That holds them like birdlime. Priest with the<br />
communion corpus for those women. Chap in the mortuary,<br />
cof�n or coffey, CORPUSNOMINE. Wonder where that rat is by<br />
now. Scrape.<br />
Tap.<br />
They listened. Tankards and miss Kennedy. George Lidwell,<br />
eyelid well expressive, fullbusted satin. Kernan. Si.<br />
The sighing voice of sorrow sang. His sins. Since Easter he had<br />
cursed three times. You bitch's bast. And once at masstime he<br />
had gone to play. Once by the churchyard he had passed and for<br />
his mother's rest he had not prayed. A boy. A croppy boy.<br />
Bronze, listening, by the beerpull gazed far away. Soulfully.<br />
Doesn't half know I'm. Molly great dab at seeing anyone looking.<br />
Bronze gazed far sideways. Mirror there. Is that best side of her<br />
face? They always know. Knock at the door. Last tip to titivate.<br />
Cockcarracarra.<br />
What do they think when they hear music? Way to catch rattlesnakes.<br />
Night Michael Gunn gave us the box. Tuning up. Shah of<br />
Persia liked that best. Remind him of home sweet home. Wiped<br />
his nose in curtain too. Custom his country perhaps. That's<br />
music too. Not as bad as it sounds. Tootling.<br />
272<br />
The Tipping Point<br />
To Kill a Mockingbird<br />
The Trial<br />
Ulysses<br />
The Unbearable Lightne...<br />
Uncle Tom's Cabin<br />
Universal Principles of D...<br />
The Visual Display of Qu...<br />
When You Are Engulfed...<br />
The Yellow Wallpaper<br />
EXPAND LIBRARY 1 RESUME ULYSSES 2<br />
using a color e-paper display that only consumes power when<br />
updated and a capacitive touchscreen, Bibliofile’s interface supports<br />
stylus or finger interaction. It was designed with the challenge of<br />
updating the display as little as possible to conserve energy.<br />
Press or circle Expand icon<br />
Underline or touch Ulysses with stylus<br />
Use stylus to write notes in the margin<br />
Pull �ipper up to advance a page<br />
tee what domestic animal? Tee dash ar most courageous mariner.<br />
Good voice he has still. No eunuch yet with all his belongings.<br />
Listen. Bloom listened. Richie Goulding listened. And by the<br />
door deaf Pat, bald Pat, tipped Pat, listened. The chords harped<br />
slower.<br />
The voice of penance and of grief came slow, embellished, tremulous.<br />
Ben's contrite beard confessed. IN NOMINE DOMINI, in<br />
God's name he knelt. He beat his hand upon his breast, confessing:<br />
MEA CULPA.<br />
Latin again. That holds them like birdlime. Priest with the<br />
communion corpus for those women. Chap in the mortuary,<br />
cof�n or coffey, CORPUSNOMINE. Wonder where that rat is by<br />
now. Scrape.<br />
Tap.<br />
They listened. Tankards and miss Kennedy. George Lidwell,<br />
eyelid well expressive, fullbusted satin. Kernan. Si.<br />
The sighing voice of sorrow sang. His sins. Since Easter he had<br />
cursed three times. You bitch's bast. And once at masstime he<br />
had gone to play. Once by the churchyard he had passed and for<br />
his mother's rest he had not prayed. A boy. A croppy boy.<br />
Bronze, listening, by the beerpull gazed far away. Soulfully.<br />
Doesn't half know I'm. Molly great dab at seeing anyone looking.<br />
Bronze gazed far sideways. Mirror there. Is that best side of her<br />
face? They always know. Knock at the door. Last tip to titivate.<br />
Cockcarracarra.<br />
What do they think when they hear music? Way to catch rattlesnakes.<br />
Night Michael Gunn gave us the box. Tuning up. Shah of<br />
Persia liked that best. Remind him of home sweet home. Wiped<br />
his nose in curtain too. Custom his country perhaps. That's<br />
music too. Not as bad as it sounds. Tootling.<br />
TAKE NOTES WITH STYLUS 3 GO TO NEXT PAGE 4<br />
1<br />
2<br />
3<br />
4<br />
272
5<br />
6<br />
7<br />
Push or pull �ipper while pressing right button.<br />
Underline “crocus” while pushing button on stylus.<br />
Touch stylus in application to release word there.<br />
Write “140” adjacent to page number and use �ipper.<br />
Brasses braying asses through uptrunks. Doublebasses, helpless,<br />
gashes in their sides. Woodwinds mooing cows. Semigrand open<br />
crocodile music hath jaws. Woodwind like Goodwin's name.<br />
She looked �ne. Her crocus dress she wore, lowcut, belongings<br />
on show. Clove her breath was always in theatre when she bent<br />
to ask a question. Told her what Spinoza says in that book of<br />
poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap<br />
in dresscircle, staring down into her with his operaglass for all he<br />
was worth. Beauty of music you must hear twice. Nature woman<br />
half a look. God made the country man the tune. Met him pike<br />
hoses. Philosophy. O rocks!<br />
All gone. All fallen. At the siege of Ross his father, at Gorey all his<br />
brothers fell. To Wexford, we are the boys of Wexford, he would.<br />
Last of his name and race.<br />
I too, last my race. Milly young student. Well, my fault perhaps.<br />
No son. Rudy. Too late now. Or if not? If not? If still?<br />
He bore no hate.<br />
Hate. Love. Those are names. Rudy. Soon I am old.<br />
Big Ben his voice unfolded. Great voice, Richie Goulding said, a<br />
�ush struggling in his pale, to Bloom, soon old but when was<br />
young.<br />
Ireland comes now. My country above the King. She listens. Who<br />
fears to speak of nineteen four? Time to be shoving. Looked<br />
enough.<br />
-- Bless me, father, Dollard the croppy cried. Bless me and let me<br />
go.<br />
Tap.<br />
Bloom looked, unblessed to go. Got up to kill: on eighteen bob a<br />
week. Fellows shell out the dibs. Want to keep your weathereye<br />
open. Those girls, those lovely. By the sad sea waves. Chorusgirl's<br />
romance. Letters read out for breach of promise. From Chicka-<br />
273<br />
PROMPT ACTIVE READING MARGIN<br />
5<br />
Brasses braying asses through uptrunks. Doublebasses, helpless,<br />
gashes in their sides. Woodwinds mooing cows. Semigrand open<br />
crocodile music hath jaws. Woodwind like Goodwin's name.<br />
She looked �ne. Her crocus dress she wore, lowcut, belongings<br />
on show. Clove her breath was always in theatre when she bent<br />
to ask a question. Told her what Spinoza says in that book of<br />
poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap<br />
in dresscircle, staring down into her with his operaglass for all he<br />
was worth. Beauty of music you must hear twice. Nature woman<br />
half a look. God made the country man the tune. Met him pike<br />
hoses. Philosophy. O rocks!<br />
All gone. All fallen. At the siege of Ross his father, at Gorey all his<br />
brothers fell. To Wexford, we are the boys of Wexford, he would.<br />
Last of his name and race.<br />
I too, last my race. Milly young student. Well, my fault perhaps.<br />
No son. Rudy. Too late now. Or if not? If not? If still?<br />
He bore no hate.<br />
Hate. Love. Those are names. Rudy. Soon I am old.<br />
Big Ben his voice unfolded. Great voice, Richie Goulding said, a<br />
�ush struggling in his pale, to Bloom, soon old but when was<br />
young.<br />
Ireland comes now. My country above the King. She listens. Who<br />
fears to speak of nineteen four? Time to be shoving. Looked<br />
enough.<br />
-- Bless me, father, Dollard the croppy cried. Bless me and let me<br />
go.<br />
Tap.<br />
Bloom looked, unblessed to go. Got up to kill: on eighteen bob a<br />
week. Fellows shell out the dibs. Want to keep your weathereye<br />
open. Those girls, those lovely. By the sad sea waves. Chorusgirl's<br />
romance. Letters read out for breach of promise. From Chicka-<br />
273<br />
Brasses braying asses through uptrunks. Doublebasses, helpless,<br />
gashes in their sides. Woodwinds mooing cows. Semigrand open<br />
crocodile music hath jaws. Woodwind like Goodwin's name.<br />
She looked �ne. Her crocus dress she wore, lowcut, belongings<br />
on show. Clove her breath was always in theatre when she bent<br />
to ask a question. Told her what Spinoza says in that book of<br />
poor papa's. Hypnotised, listening. Eyes like that. She bent. Chap<br />
in dresscircle, staring down into her with his operaglass for all he<br />
was worth. Beauty of music you must hear twice. Nature woman<br />
half a look. God made the country man the tune. Met him pike<br />
hoses. Philosophy. O rocks!<br />
All gone. All fallen. At the siege of Ross his father, at Gorey all his<br />
brothers fell. To Wexford, we are the boys of Wexford, he would.<br />
Last of his name and race.<br />
I too, last my race. Milly young student. Well, my fault perhaps.<br />
No son. Rudy. Too late now. Or if not? If not? If still?<br />
He bore no hate.<br />
Hate. Love. Those are names. Rudy. Soon I am old.<br />
Big Ben his voice unfolded. Great voice, Richie Goulding said, a<br />
�ush struggling in his pale, to Bloom, soon old but when was<br />
young.<br />
Ireland comes now. My country above the King. She listens. Who<br />
fears to speak of nineteen four? Time to be shoving. Looked<br />
enough.<br />
-- Bless me, father, Dollard the croppy cried. Bless me and let me<br />
go.<br />
Tap.<br />
Bloom looked, unblessed to go. Got up to kill: on eighteen bob a<br />
week. Fellows shell out the dibs. Want to keep your weathereye<br />
open. Those girls, those lovely. By the sad sea waves. Chorusgirl's<br />
romance. Letters read out for breach of promise. From Chicka-<br />
273<br />
SEARCH<br />
DICTIONARY<br />
cro·cus (kroh-kuhs) n.<br />
1 Any of the small, bulbous<br />
plants of the genus Crocus, of<br />
the iris family<br />
2 A deep yellow; saffron.<br />
[ME < L < Gk krókos saffron]<br />
— cro·cused adj.<br />
FICT. CONVERGENCES<br />
WORD SEARCH<br />
SKIP TO PAGE 140<br />
SEARCH<br />
DICTIONARY<br />
FICT. CONVERGENCES<br />
WORD SEARCH<br />
7<br />
Same blue serge dress she had two years ago, the nap bleaching.<br />
Seen its best days. Wispish hair over her ears. And that dowdy<br />
toque: three old grapes to take the harm out of it. Shabby genteel.<br />
She used to be a tasty dresser. Lines round her mouth. Only a<br />
year or so older than Molly.<br />
See the eye that woman gave her, passing. Cruel. The unfair sex.<br />
He looked still at her, holding back behind his look his discontent.<br />
Pungent mockturtle oxtail mulligatawny. I'm hungry too.<br />
Flakes of pastry on the gusset of her dress: daub of sugary �our<br />
stuck to her cheek. Rhubarb tart with liberal �llings, rich fruit<br />
interior. Josie Powell that was. In Luke Doyle's long ago,<br />
Dolphin's Barn, the charades. U.p: up.<br />
Change the subject.<br />
-- Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.<br />
-- Mina Purefoy? she said.<br />
Philip Beaufoy I was thinking. Playgoers' club. Matcham often<br />
thinks of the masterstroke. Did I pull the chain? Yes. The last act.<br />
-- Yes.<br />
-- I just called to ask on the way in is she over it. She's in the<br />
lying-in hospital in Holles street. Dr Horne got her in. She's three<br />
days bad now.<br />
-- O, Mr Bloom said. I'm sorry to hear that.<br />
-- Yes, Mrs Breen said. And a houseful of kids at home. It's a very<br />
stiff birth, the nurse told me.<br />
-- O, Mr Bloom said.<br />
His heavy pitying gaze absorbed her news. His tongue clacked in<br />
compassion. Dth! Dth!<br />
-- I'm sorry to hear that, he said. Poor thing! Three days! That's<br />
140<br />
Same blue serge dress she had two years ago, the nap bleaching.<br />
Seen its best days. Wispish hair over her ears. And that dowdy<br />
toque: three old grapes to take the harm out of it. Shabby genteel.<br />
She used to be a tasty dresser. Lines round her mouth. Only a<br />
year or so older than Molly.<br />
See the eye that woman gave her, passing. Cruel. The unfair sex.<br />
He looked still at her, holding back behind his look his discontent.<br />
Pungent mockturtle oxtail mulligatawny. I'm hungry too.<br />
Flakes of pastry on the gusset of her dress: daub of sugary �our<br />
stuck to her cheek. Rhubarb tart with liberal �llings, rich fruit<br />
interior. Josie Powell that was. In Luke Doyle's long ago,<br />
Dolphin's Barn, the charades. U.p: up.<br />
Change the subject.<br />
-- Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.<br />
SEARCH<br />
-- Mina Purefoy? she said.<br />
Philip Beaufoy I was thinking. Playgoers' club. Matcham often<br />
thinks of the masterstroke. Did I pull the chain? Yes. The last act.<br />
-- Yes.<br />
-- I just called to ask on the way in is she over it. She's in the<br />
lying-in hospital in Holles street. Dr Horne got her in. She's three<br />
days bad now.<br />
-- O, Mr Bloom said. I'm sorry to hear that. DICTIONARY<br />
cro·cus (kroh-kuhs) n.<br />
-- Yes, Mrs Breen said. And a houseful of kids at home. It's a very<br />
SEARCH<br />
DICTIONARY<br />
cro·cus (kroh-kuhs) n.<br />
1 Any of the small, bulbous<br />
plants of the genus Crocus, of<br />
the iris family<br />
2 A deep yellow; saffron.<br />
[ME < L < Gk krókos saffron]<br />
— cro·cused adj.<br />
FICT. CONVERGENCES<br />
WORD SEARCH<br />
DEFINE “CROCUS” 6<br />
LEFT-HANDED USE<br />
SEARCH<br />
DICTIONARY<br />
cro·cus (kroh-kuhs) n.<br />
1 Any of the small, bulbous<br />
plants of the genus Crocus, of<br />
the iris family<br />
2 A deep yellow; saffron.<br />
stiff birth, the nurse told me.<br />
-- O, Mr Bloom said.<br />
1 Any of the small, bulbous<br />
plants of the genus Crocus, of<br />
the iris family<br />
2 A deep yellow; saffron.<br />
[ME < L < Gk krókos saffron]<br />
— cro·cused Same adj. blue serge dress she had two years ago, the nap bleaching.<br />
Seen its best days. Wispish hair over her ears. And that dowdy<br />
toque: three old grapes to take the harm out of it. Shabby genteel.<br />
FICT. CONVERGENCES<br />
She used to be a tasty dresser. Lines round her mouth. Only a<br />
year or so older than Molly.<br />
See the eye that woman gave her, passing. Cruel. The unfair sex.<br />
He looked still at her, holding back behind his look his discontent.<br />
Pungent mockturtle oxtail mulligatawny. I'm hungry too.<br />
Flakes of pastry on the gusset of her dress: daub of sugary �our<br />
stuck to her cheek. Rhubarb tart with liberal �llings, rich fruit<br />
interior. Josie Powell that was. In Luke Doyle's long ago,<br />
WORD Dolphin's SEARCH Barn, the charades. U.p: up.<br />
Change the subject.<br />
-- Do you ever see anything of Mrs Beaufoy? Mr Bloom asked.<br />
His heavy pitying gaze absorbed her news. [ME His < L tongue < Gk krókos clacked saffron] in<br />
compassion. Dth! Dth!<br />
— cro·cused adj.<br />
-- Mina Purefoy? she said.<br />
-- I'm sorry to hear that, he said. Poor thing! Three days! That's<br />
FICT. CONVERGENCES<br />
140<br />
Philip Beaufoy I was thinking. Playgoers' club. Matcham often<br />
thinks of the masterstroke. Did I pull the chain? Yes. The last act.<br />
-- Yes.<br />
-- I just called to ask on the way in is she over it. She's in the<br />
lying-in hospital in Holles street. Dr Horne got her in. She's three<br />
days bad now.<br />
-- O, Mr Bloom said. I'm sorry to hear that.<br />
WORD SEARCH<br />
-- Yes, Mrs Breen said. And a houseful of kids at home. It's a very<br />
stiff birth, the nurse told me.<br />
-- O, Mr Bloom said.<br />
His heavy pitying gaze absorbed her news. His tongue clacked in<br />
compassion. Dth! Dth!<br />
-- I'm sorry to hear that, he said. Poor thing! Three days! That's<br />
140
CAMERA FOR THE BLIND<br />
TANGIBLE INTERACTION DESIGN<br />
26
27<br />
CAMERA for the BLIND / 2007 / UNIVERSAL DESIGN<br />
deSIgnIng A cAMeRA for the visually-impaired seems<br />
like an absurd idea. however, many blind people will share<br />
photographs of vacations, loved ones and other memorable<br />
things to sighted people without being able to see the image<br />
themselves. This camera’s simple, physical interaction allows<br />
the visually-impaired to take digital images with accompanying<br />
audio messages for sharing with others. Additionally, the<br />
photographs could be vectorized and laser cut, creating a new<br />
service of developing physical pictures that can be “seen”<br />
through touch.
ITERATIVE PROTOTYPING<br />
Through a series of increasingly sophisticated prototypes, I explored<br />
size, material tactility and methods of interaction. The camera’s<br />
simple intersecting geometries can be identified easily without sight.<br />
28
USER-TESTING<br />
FEELING IMAGES<br />
PICTURE TAKING PICTURE VIEWING<br />
29<br />
PRIMARY RESEARCH<br />
Interviews and user-testing with the visually-impaired was done at<br />
the Library for the Blind and Physically handicapped in Pittsburgh<br />
In addition to garnering feedback through physical models, I<br />
explored and tested different methods for how the blind might be<br />
able to “see” images through touch.<br />
I found that blind people could read outlined edges (like that of the<br />
hand shown) better than a raised image relief, and formulated the<br />
concept of a service for developing touchable pictures.<br />
SCENARIO<br />
A blind person, Marie, locates a statue using her four strong senses. She<br />
sets up a shot to record the moment, taking a photograph and recording<br />
an audio message about her thoughts on the statue’s cold, hard form.<br />
Later that day Marie uses the camera to lead her sighted friend, Ben<br />
through her trip. She uses the audio messages accompanying each<br />
picture as a guide and catalyst for further conversation.
1. SETUP THE PICTURE<br />
Rotating the outside ring changes the camera mode between<br />
Off, Picture-taking and Picture-viewing. Raised<br />
thumb indicators confirm what mode you’re<br />
in. In setting up a shot, the user can pull<br />
the lens toward the subject to zoom in<br />
and use the face-recognition software<br />
to compose the image.<br />
2. RECORD THE MOMENT 3. SHARE THE STORY<br />
default button position Push button down to<br />
take a photograph<br />
Button releases to a<br />
higher position<br />
Push and hold to record<br />
an accompanying audio<br />
message<br />
30<br />
In Picture-viewing mode, photographs can be cycled through<br />
by spinning the outside ring slightly in either direction, moving<br />
through the pictures and audio tags like a strip of film.
A TANGIBLE MODEL<br />
The final model used moving parts to demonstrate the interactions.<br />
It had to be quite durable to deal with all the touching it was<br />
subjected to.<br />
31
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 39,851 Calories from Fat 14,076<br />
Total Fat 1564g 1618%<br />
Saturated Fat 566g 1756%<br />
Cholesterol 18,051mg 6017%<br />
Sodium 12,029mg 501%<br />
Total Carbohydrate 1525g 407%<br />
Dietary Fiber 262g 875%<br />
Protein 4786g<br />
Vitamin A 547% Vitamin C 1352%<br />
Calcium 282% Iron 7132%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
32<br />
THE FOOD OF ART<br />
NUTRITION FACTS IN PAINT<br />
Frans Snyders
33<br />
The FOOD of ART / 2007 / DATA VISUALIZATION<br />
ThIS SeRIeS AnALYzeS twelve still life masterpieces for<br />
their nutritional content through the creation of nutrition<br />
<strong>Facts</strong> labels. Though the piece is obviously humorous, the data<br />
is rich and often indicative of the artist’s socioeconomic status.<br />
For example, compare the court painter Frans Snyders’ 39,851<br />
calorie feast on the previous page to Vincent Van gogh’s wine,<br />
tobacco and three meager onions.<br />
THE FRAME GALLERY / PITTSBURGH
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 145 Calories from Fat 3<br />
Total Fat 0g 0%<br />
Saturated Fat 0g 0%<br />
Cholesterol 0mg 0%<br />
Sodium 0mg 0%<br />
Total Carbohydrate 39g<br />
10%<br />
Dietary Fiber 7g 23%<br />
Protein 2g<br />
Vitamin A 37% Vitamin C 26%<br />
Calcium 2% Iron 4%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 5914 Calories from Fat 873<br />
Total Fat 97g 179%<br />
Saturated Fat 52g 161%<br />
Cholesterol 320mg 107%<br />
Sodium 3300mg 138%<br />
Total Carbohydrate 1007g 269%<br />
Dietary Fiber 128g 426 %<br />
Protein 83g<br />
Vitamin A 128% Vitamin C 1221%<br />
Calcium 147% Iron 326%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 429 Calories from Fat 267<br />
Total Fat 30g 45%<br />
Saturated Fat 9g 45%<br />
Cholesterol 1269mg 423%<br />
Sodium 420mg 18%<br />
Total Carbohydrate 3g<br />
1%<br />
Dietary Fiber 0g 0%<br />
Protein 39g<br />
Vitamin A 30% Vitamin C 0%<br />
Calcium 15% Iron 30%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 39,851 Calories from Fat 14,076<br />
Total Fat 1564g 1618%<br />
Saturated Fat 566g 1756%<br />
Cholesterol 18,051mg 6017%<br />
Sodium 12,029mg 501%<br />
Total Carbohydrate 1525g 407%<br />
Dietary Fiber 262g 875%<br />
Protein 4786g<br />
Vitamin A 547% Vitamin C 1352%<br />
Calcium 282% Iron 7132%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 14,943 Calories from Fat 4608<br />
Total Fat 512g 529%<br />
Saturated Fat 105g 327%<br />
Cholesterol 5783mg 1928%<br />
Sodium 8973mg 374%<br />
Total Carbohydrate 47g 13%<br />
Dietary Fiber 0g 0%<br />
Protein 2389g<br />
Vitamin A 564% Vitamin C 1517%<br />
Calcium 394% Iron 944%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 4832 Calories from Fat 384<br />
Total Fat 32g 64%<br />
Saturated Fat 32g 96%<br />
Cholesterol 0mg 0%<br />
Sodium 44,256mg 1856%<br />
Total Carbohydrate 1088g 352%<br />
Dietary Fiber 96g 384%<br />
Protein 128g<br />
Vitamin A 640% Vitamin C 1728%<br />
Calcium 96% Iron 480%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
34<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 1013 Calories from Fat 216<br />
Total Fat 24g 25%<br />
Saturated Fat 6g 20%<br />
Cholesterol 197mg 66%<br />
Sodium 1264mg 53%<br />
Total Carbohydrate 113g 30%<br />
Dietary Fiber 20g 68%<br />
Protein 86g<br />
Vitamin A 3% Vitamin C 10%<br />
Calcium 43% Iron 83%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 1478 Calories from Fat 117<br />
Total Fat 13g 13%<br />
Saturated Fat 1g 2%<br />
Cholesterol 0mg 0%<br />
Sodium 104mg 4%<br />
Total Carbohydrate 353g 94%<br />
Dietary Fiber 36g 118 %<br />
Protein 29g<br />
Vitamin A 979% Vitamin C 607%<br />
Calcium 56% Iron 125%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 5806 Calories from Fat 2106<br />
Total Fat 234g 243%<br />
Saturated Fat 66g 206%<br />
Cholesterol 1054mg 351%<br />
Sodium 5123mg 213%<br />
Total Carbohydrate 913g 243%<br />
Dietary Fiber 42g 141%<br />
Protein 76g<br />
Vitamin A 47% Vitamin C 127%<br />
Calcium 80% Iron 352%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 3501 Calories from Fat 1449<br />
Total Fat 161g 167%<br />
Saturated Fat 40g 124%<br />
Cholesterol 5040mg 1680%<br />
Sodium 1887mg 79%<br />
Total Carbohydrate 10g<br />
4%<br />
Dietary Fiber 0g 0%<br />
Protein 468g<br />
Vitamin A 85% Vitamin C 0%<br />
Calcium 64% Iron 520%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 1473 Calories from Fat 9<br />
Total Fat 1g 1%<br />
Saturated Fat 0g 0%<br />
Cholesterol 0mg 0%<br />
Sodium 103mg 4%<br />
Total Carbohydrate 58g<br />
15%<br />
Dietary Fiber 5g 18%<br />
Protein 7g<br />
Vitamin A 0% Vitamin C 21%<br />
Calcium 21% Iron 82%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.<br />
<strong>Nutrition</strong> <strong>Facts</strong><br />
Serving Size 1 painting<br />
Servings Per Container 12<br />
Amount Per Serving<br />
Calories 383 Calories from Fat 9<br />
Total Fat 1g 2%<br />
Saturated Fat 0g 0%<br />
Cholesterol 0mg 0%<br />
Sodium 45mg 2%<br />
Total Carbohydrate 32g<br />
9%<br />
Dietary Fiber 0g 0%<br />
Protein 4g<br />
Vitamin A 2% Vitamin C 185%<br />
Calcium 17% Iron 34%<br />
*Percent Daily Values are based on a 2,900 calorie<br />
diet.
35<br />
FURNITURE<br />
DESIGN AND CONSTRUCTION
36<br />
FURNITURE / 2006-2009 / FURNITURE STUDIO<br />
ThIS SecTIOn hIghLIghTS various pieces of furniture I’ve<br />
designed and constructed. The chair and lamp seek to expose<br />
the beauty of utilitarian materials: plywood, industrial felt and<br />
paper. Two tables explore the boundaries of what constitutes<br />
a surface, providing a deconstructed space for placing objects<br />
on or in instead of a flat two-dimensional plane. The last piece<br />
came out of a series of experiments in designing parasitic and<br />
symbiotic furniture.
SLATTED TABLE<br />
SYMBIOTE<br />
THE MOLD<br />
SILICONE FEET<br />
PROTOTYPES<br />
38<br />
CLAMP-ON TABLE<br />
PARASITE<br />
A HOMOGENEOUS SURFACE<br />
SPLITS INTO TWO<br />
AND LEANS ON THE WALL
HAND-MADE<br />
SCULPTING WITH FILM<br />
39
40<br />
HAND-MADE / 2008 / THE INTERACTIVE IMAGE<br />
This project explores the idea of sculpting objects with film.<br />
each frame of the moving image is separated by space instead<br />
of time, resulting in three-dimensional form. Although these<br />
unique vessels are computationally traced and cut, the form is<br />
generated using a hand-sculpting process. Software was coded<br />
in Processing to convert the pixel-based frames into vector<br />
graphics for laser cutting.<br />
Tracing works best with<br />
high-contrast video. This is<br />
best shot in a back-lit photo<br />
studio environment.<br />
each frame is converted to<br />
black and white to provide a<br />
distinct boundary for tracing.<br />
A chain-code algorithm<br />
draws a line between adjacent<br />
boundary pixels, creating a<br />
vector graphic.
nadeem.haidary@gmail.com<br />
www.nadeemhaidary.com<br />
“The FOOd OF ART” cITATIOnS:<br />
unknown Roman; Still life with Peaches & Jar, c. 50 A.d.; naples national<br />
Archaeological Museum<br />
Frans Snyders (1579-1657); Still Life with Fruit, Vegetables and Dead<br />
Game, c. 1635-1637; The detroit Institute of Arts<br />
willem van Aelst (1627-c. 1687); Breakfast Still Life, 1671; Academy of<br />
Fine Arts Vienna<br />
Jean-Baptiste-Siméon chardin (1699-1779); Still Life with Slice of Salmon,<br />
c. 1734<br />
hermenegildo Bustos (1832-1907); Still Life with Fruit and Toad, 1874;<br />
Museo de Alhondiga de granaditas, guanajuato, Mexico<br />
Vincent van gogh (1853-1890); Still Life: Drawing Board, Pipe, Onions and<br />
Sealing Wax, 1889; kröller-Müller Museum, Otterlo, The netherlands<br />
Paul cézanne (1839-1906); Still Life with Basket of Apples, 1890-1894;<br />
Art Institute of chicago<br />
chaïm Soutine (1893-1943); Still Life with Skate, 1923; The cleveland<br />
Museum of Art<br />
Andy warhol (1928-1987); Campbell's Soup Cans, 1962; The Museum of<br />
Modern Art, new York city<br />
william Bailey (1930); Eggs, 1966<br />
Fernando Botero (1932); Columbian Still Life, 1969;<br />
Roy Lichtenstein (1923-1997); Cubist Still Life, 1974; national gallery of<br />
Art, washington d.c.