SAND FIGURE
produced by: Boyuan Yu
Abstrct
Under the development background of the increasingly emphasis on experience, the single perception interactive experience brought by the traditional physical attribute interaction device is more and more difficult to meet the more complicated emotional experience needs of the experiencer. When the user interacts with the interaction device, the interaction between the person and the interaction device is no longer just a cold touch experience, but more like a direct interaction between the person and the heart (Shaokang, 2019, p. 103-105). Therefore, digital media interactive devices should have a higher emotional value than traditional devices or traditional display methods. In order to realize this higher emotional value, it is necessary to use the warmth of the "people-oriented" design idea during the design, and skillfully integrate the cold high-tech and emotion. The premise and basis for users to form cognition and experience are perceptual channels and rational cognition (Lin,2010).
The project generates sounds by drawing on the beach and interacting with the drawing patterns, which can stimulate three senses of tactile, auditory and visual at the same time. Explore the conversion process of synaesthesia experience between multiple senses, and then explore the methods of enriching the art of interactive installations to promote and upgrade the upgrade of synesthesia experience and emotional experience. By enriching the user's perception channels, improving cognitive efficiency the richer emotional and interactive experience will provide a unique perspective for the innovation of contemporary digital media interactive devices.
Qian Zhongshu pointed out in his article "Synesthesia" that people's psychological feelings "have synesthesia based on association." People obtain a lot of practical experience and sensory experience through long-term social practice (Zhongshu, 2007, pp.68-103). Under different sensory stimuli, the brain will perform perceptual processing based on existing experience, memory, imagination and association, and transform the external cognitive sensory experience the sensory cognition in the familiar field eventually forms the human cognition of different levels of objective things. Ullmann proposed that the occurrence of synaesthesia is not arbitrary, but follows the law of transferring from lower senses to higher senses. Therefore, synesthesia has the characteristics of deepening from shallow to deep. For synaesthesia, shallow understanding treats synaesthesia as a process of experiencing and understanding another sense as a guide, while deeper research describes it as a stimulus from the outside world the resulting cognitive phenomenon of multisensory mapping (Ullmann, 1957).
In this project, I integrated synesthesia into creative programming, which allowed the audience to use a multi-sensory experience, accompanied by emotion and imagination. From the initial low-level experience of many sensory organs, deepening the state of multi-sensory participation and superimposing emotional images, and finally sublimating to the state of the highest level of emotional perception of things and self, achieving harmony and unity between the human and the physical level. Break the shackles of the original objective image in life and infect the audience with novel and original artistic images.
In/odore
In/odore odorant device (2010) by Diverserighe Studio and located In the Italian city of Bologna. This odorant device provides an olfactory experience, showing people the odour of nature and the odourless of artificial products. This odorant device releases the smell of flowers through spices, simulates and reproduces the nature through flavour, and makes people associate the visual representation of objects, and makes people imagine the picture of the sea of flowers in their mind through associative odour.
Fig.1 Odorant device (Bologna, 2011)
Fake Love
Fake Love (2016) created an interactive Gallery show in Meat-packing Center, New York. Wearable works are displayed through sound, vision, kinesthesia and data, and tell the historical stories about the development of wearable technology. Visual part uses the ways of
virtual reality, augmented reality and so on. In the whole experience space, the experiencer is allowed to touch and use the actual exhibits, such as using VR glasses to test the display products. The sound part uses a string that can be plucked. In the data part, an array ball is used, and the spatial position of the ball is changed by writing a program so as to reshape the shape of the whole array. The kinesthetic part produces light and shade effects by accompanying the movements of the characters (Fakelove.tv, 2008).
Fig. 2 Fake love show (Fakelove.tv, 2008).
Messa di Voce
Messa di Voce (2003) was produced by Levin, who uses the synaesthetic relationship of abstract communication themes to present complex and interesting audiovisual narratives.
Messa di Voce is a medium of the combination of human and technical, combining spontaneous and scalable vocal techniques with computer vision and voice analysis techniques. The whole performance well shows the coordination function of audio-visual synaesthesia, avoids the perishability of hearing and the hazy, fuzzy and unreal pictures aroused by hearing, and integrates the ethereal and hazy hearing with the solid and clear vision, bringing people rich aesthetic pleasure and deepening the memory of the audience (Levin, 2003).
Fig.3 Messa di Voce perform (Tmema.org, 2003).
Conclusion
The use of various technological interaction methods and the careful arrangement of interactive plots and timing can enable the interactive theme to be actively integrated into the interactive device and interactive scene, and mobilize the subjective "empathy". The purpose is to further enhance the low-level perception experience through environmental guidance. Finally, the emotional resonance and "emotional dependence" between the mutual device and the subject of the experience are realized. In order to create a good interactive experience, on the one hand, the form and structure of the experience must be carefully planned and cleverly arranged to achieve the effect of "engaging", on the other hand, "people-oriented", on the premise of respecting the differences of the main subjects of the experience, and mobilizing personal cognition Experiences and feelings form an interactive experience that has both a pluralistic sense of substitution and a personal emotional temperature. In the era of high informationization and digitization, "people-oriented" design thinking has influenced the development of design, integrating humanistic care and emotional care into the design exploration of information interaction experience, providing a more profound design for the future digital media interactive device experience design. Design method and application reference.
Reference
GUO Shaokang. Research on Synaesthesia Translation in Emotional Interactive Product Design[J]. Design, 2019,32(8):103-105.
Huang Lin, Sun Hong. Scientific Development and Emotional Design[J]. Henan Science and technology，2010(1):56.
Qian Zhong-shu. Patchwork: Seven Essays on Art and Literature[M].SDX Joint Publishing Company,2002 ：55-57.
Ullmann S. The Principles of Semantics［M］，, Oxford: Basil Blackwell，1957.
Diverserighe Studio. (2010). In/odore. [Installation Art] Palazzo d’Accursio in Bologna: Courtyard of Honour.
Fake Love. (2016). Fake Love. [Installation art] New York: Meatpacking.
Fakelove.tv. (2008). Adorned - Fake Love. [online] Available at: http://fakelove.tv/work/adorned [Accessed 4 Apr. 2020].