ོ࿐˖✶⊹₊𖦹 W.9 MAKING 𖦹₊⊹✶ ࣪˖࿐ོ

CiD LAB CONSULT (MON)

My focus goals for this week's consultation were to discuss the following:

✶ direction

✶ design aesthetic

✶ technical tools

✶ materials

✶ publication

✶ open studios set-up

After much thought, since my project is mainly about sounds and memory, I decided to focus on the sound aspect of my project. Therefore, I came to a conclusion to combine the visual aspects in Exhibit A into Exhibit B whereby it will be an audio and visual exhibit. This is because I felt that the visual aspect of Exhibit A was a little irrelevant to my project and it would be more challenging for others to fully comprehend the purpose of my project. At the same time I also decided to keep Exhibit C as it is, as it is a reflection of the audience's thoughts and feelings about the project.

Changes made to the set-up planning

TONE OF VOICE

The tone in publication sounds a little too formal and mundane. I was adviced to make it more relatable and personal by using a softer and more comfortable tone, adding storytelling elements whenever possible to make it more digestable, engaging and interesting to my target audience.

Ideally, it would be beneficial to have a publication at the side for the audience to browse through to better understand my thought process and objective. I am currently working on the contents that I am planning to include:

✧ OVERVIEW CONCEPT
✧ PROTOTYPE I - SONIC IMPRINTS
Exhibit A (Audio-Visual) (Specific Soundscape)
✧ PROTOTYPE II - MNEMOSONIC PORTAL
Exhibit B (Audio-Only) (Generic Soundscape)

Main project title and objective

Rough Sketch ideation & Narrative Description of Exhibit A

Narrative Description of Exhibit B (looks too wordy at the moment)

TYPES OF SOUNDSCAPES

Identified the characteristics of generic sounds to design the scoundscapes to be familiar, widely recognisable and broadly heard or represented in different cultures, societies, lives and situaltions.

✧ Specific Soundscapes

Whereas 'Sonic Imprints' features specific soundscapes that are curated from data collected from a pre-survey and is then designed to replicate the sounds of a specific memory or event that is unique to the individual. Even though it's unique, the soundscape might still be relatable to others in a way that it might trigger their own memories or emotions.

planning the materials needed to make the mnemosonic map portal

✧ Generic Soundscapes

Planning of soundscapes tracks and envisioning the prototype

Planning the soundscapes tracks that I want to feature

Visual references

ADDRESSING MY CONCERNS

manual PDF booklet; connect touchboard to computer; set-up sounds
Arduino Tap and Hold

MOODBOARDS

Feedbacks

The pictures on the far left are too edgy and may seem too much for the audience and the project's theme. The pictures on the right are more suitable and relatable to the project's theme and the audience. The moodboard should be more focused on the project's theme and the audience's preferences and interests. I should also look at more works from designers and artists who have worked on similar projects and see how they have approached the project and what they have done differently for inspirations rather than from Pinterest.

moodboards for prototypes A & B

Kenya Hara (Design Aesthetic Inspirations)

These are the 2 main inspirations that I have decided to incorporate in my project:
To complement both Prototype A ('The Yoyo Machine's DIY') characteristic and B's ('Kenya Hara's minimalist white') aesthetic.

The first inspiration is a Japanese graphic designer, Kenya Hara - the art director of MUJI. He is known for his minimalist and innovative designs that are inspired by Japanese culture and aesthetics. His work is characterized by its simplicity, elegance, and attention to detail. I really like the way he uses color, shape, and form to create visually striking designs that are both beautiful and functional. I would like to incorporate some of these elements into my project, such as paying attention to the use of color, shape, and form to create designs that are both visually striking and functional for each of my prototypes.

I also found this quote at the back of the book 'Ex-Formation' which I feel resonates with my project as I am trying to present the art of listening as a new perspective and form of memory recollection, making people aware of the power of sound which is not as conventional as photographs in our daily lives. Making people aware of how little they know about sound's impact, through self-reflection. Addtionally also referred to some of the images as a documentation photography reference.

Designing Design by Kenya Hara
Ex Formation by Kenya Hara
I really like the way he showcase his work here it's so neat and pleasant to the eyes
Making people aware of how little they know about sound's impact, through self-reflection.

Designing Japan by Kenya Hara
Data Collection neatly presented
This came by surprise as I wanted to do something similar last semester - memories on blocks
Illustration of an exhibition sketch to visualise, and mine happened to be quite similar to his

Yoyo Machines by The Interaction Design Studio (Design Aesthetic Inspirations)

The second project inspiration is 'The Yoyo Machines', a series of interactive installations that explore the relationship between humans and machines. The Yoyo Machines are designed to be playful and engaging, encouraging users to interact with them in a fun and creative way. They are made up of a series of mechanical yoyos that are controlled by a computer program. The computer program uses sensors to detect the movement of the yoyos and responds to the user's input by controlling the movement of the yoyos, allowing users to create their own unique interactions with the machines.

I really liked the way they document some of their works especially when the products are strategically places and beautifully shot with a clean background. I also liked the way they present their works in a clean and simple way, making it easy for the audience to understand the concept and the purpose of the project. I would like to incorporate some of these elements into my project, such as the way they document their works to better present my work as a designer to the audience. Their work is also very diy and hands-on which is similar to my project, a style I really like and appreciate.

a representation of nice documentation with clean background
series of situational documentation showing the product in action
example of good and clean documentation

DIY handcrafted aesthetic, another example but the table could be trimmed a little
example of bad documentation - curtain creases, messy, the viewer doesn't know where to focus on, unclear
compared to the image on the web cover page, this image is less effective because of the lighting and background

The Fluxus Box Art Movement

Fluxus sought to dissolve barriers between art and daily life, turning ordinary experiences into creative expression. My project also follows this spirit by transforming personal, everyday memories into interactive sound-based installation, making intangible experiences tangible.

At the same time, Fluxus embraced DIY approaches, unconventional materials, and handmade elements to challenge the idea of high art. My prototype incorporates hand-painted clay pieces and individually crafted memory objects that aligned with this, reinforcing the importance of personal, accessible, and human-centered art.

My first experiential prototype 'Sonic Imprints' connects with the Fluxus art movement through its focus on interactivity, participation, and the idea that art exists in everyday experiences. Like Fluxus, it values process over product, turning personal memories into something fluid and ever-evolving.

By inviting people to touch, listen, and respond, it moves beyond traditional memory-keeping, much like how Fluxus rejected rigid art forms. The mix of mediums using DIY elements (handmade and handpainted clays, textured surfaces to make replicas of collected memories from different individuals) with digital soundscapes, reflects that same experimental and hands-on approach—where memories aren’t just stored but experienced and shared.

A signature Fluxus production, is a boxed anthology of works by 17 artists that was edited and assembled by Fluxus “chairman” George Maciunas. The second in a planned annual series, this piece was conceived as a “game box” that would hold small objects, flip books, cards, and films, including a handheld viewer for looking at the 8mm film loops. Fluxus artists valued a do-it-yourself aesthetic, using whatever materials were on hand and choosing simplicity over complexity. Like all Fluxus editions, the contents of each box vary depending on what Maciunas had available at the time.

In the Fluxus Newsletter of March 1965, George Maciunas called for a second year box that would contain “book events” only, described as that which “are enacted by the reader automatically as he inspects the book or box… It may include flip books, solo games, or puzzles made of paper or other materials” (qtd in Hendricks, Fluxus Codex, 123).

Yoko Ono, Untitled (Everson Catalog Box), 1971; wooden box. (designed by George Maciunas) containing artist’s book, glass key, offset print on paper, acrylic on canvas, and plastic boxes; 6 x 6 1/4 x 7 1/4 inches I feel that this aesthetic is similar to Kenya Hara

MAKING PROCESS - PAINTING CLAY

meticulously sculpting the object
copper wire attached into bear, crocodile clip clipped on wire (bear not interacted)
bear when interacted and lifted up, triggers soundscape playback

the swing is the hardest to make
thinking of other elements to include on the board
making an 'x' marking as placement for the main object

MAKING PROCESS - CONTINUATION OF CLAY

Using air dry clay to make the objects that acts as a representation of the memories collected from the survey. I used a combination of different textured tiles to replicate the settings in the memory. I also carefully handpainted them with different colors to make it more visually appealing. However, the clay is not as durable as I dried and cracked really easily it.

making markings on where to drill a hole for the clay
using soft textures to replicate baby in dreamland
hand painting for a more realistic and personal touch

MAKING PROCESS - CONSTRUCTING THE BOX (SAT)

scoring the foam board to slot into a grid
wood laminate
making the lid

Got the front open and close string tie idea from Hirono's popmart Series which I thought I can incorporate into my box
DIY aesthetic: Making use of paper clips and string to open and close (front) got the idea from Hirono's popmart Series
DIY aesthetic: Using gold paper clips as open and close mechanism (back)

WIRINGS

The only problem I had with this fluxus box is the wirings beneath. As there will be 9 crocodile clips connected to the bare conductive touchboard, I had to carefully plan the wirings to ensure that they are neat and organised and that they do not interfere with each other or the other components of the project.

Steps Taken:

✧ I had to make sure that the wires are not tangled or crossed over each other, as this could cause interference and affect the sound quality.

✧ Secondly, the wires have to be securely connected to the touchboard and the clay objects, as any loose connections could cause sound to cut off or not play at all.

✧ Thirdly, the wires have to be long enough to reach the touchboard, but not too long that they get in the way or become tangled.