It's about time I update this with my thesis work so far. I won't lie, I've had some hiccups. Or, perhaps, I have some hiccups.
The Hardest Part: A
I have had difficulty in wrenching my head out of the theory and the research to just do. There are so many rabbit holes to peer into -- which I do not think is all bad.
The Hardest Part: B
I am having trouble connecting with people who are blind. I have been reaching out to groups left and right, but understandably so, it's been difficult. I imagine that many people who are blind receive numerous calls or emails from students wanting to involve them in a project, and I am sure this is tiresome to say the least. I hope, however, that my project is one that truly makes people think about human perception, the meaning of experience, story, and culture. Plus, I think that involvement will be interesting and fun for participants, hell, it might even make a real difference. I have started to make some progress through Lighthouse for the Blind in SF and possibly with a student group, so fingers crossed.
Post midterm review I have taken the critiques to heart and I am trying to write a manifesto of sorts which I hope will keep me focussed. Here is the working document.
When sighted visitors go to a museum they have many options in terms of how they shape their experience (fast, slow, deep, shallow, permanent collection, special show). Blind museum visitors, however, have far fewer options. Most museums offer special accessibility tours once a month, but these tours often fill up weeks in advance and are scheduled during the work day. My hypothesis is that these top down experiences, while valuable, do not meet the needs of most blind visitors. I am exploring ways improve the museum experience for blind or low vision visitors by pushing on the content and creating multi-faceted object stories that go beyond what is expected in order to create rich experiences through our non-visual senses.
I am doing this because I think museums are unique and special and because I think they should be designed for everyone who is interested. (And on a tangent, I think they are in danger of becoming more known for their Thursday evening parties than for their collections if they are not willing to change and embrace technology). The theories of universal design tell us that when you improve a design for the edge users, the experience will improve for all users. When I first learned about universal design I was struck by the story of the OXO brand. I know, I know, the OXO example is tired and overused, but it resonates with me. I have rheumatoid arthritis, and I can assure you that there are many “simple” actions that are nearly impossible for me to perform. I constantly make adaptations to accommodate limited mobility in my wrists and for the most part things are manageable. But regardless of how many times I have heard the OXO story in my years as a design student, I love it. It is pretty, pretty, pretty, pretty good that design can be used to make such a difference in our lives. I have experience adapting products to fit my own unique needs, and I enjoy learning about the myriad of ways that other people adapt products or situations to fit their unique needs. We are so accustomed to products and experiences that are not designed to meet our needs that we go through the modification without any thought to design as a practice.
My specific interest in museum visitors who are blind was sparked by a slender, gem of a book I found in one of the libraries at the Cooper-Hewitt, National Design Museum. The book, Finding the way by ear, hand and foot, was written by the Danish Design Center and describes the development process of creating better tools and surroundings for persons who are blind or partially sighted. As the book's back flap says, “tools developed for a particular user group become better tools, not just for those users, but for everybody.” From there, Katie Shelly and I started to think about what the experience would be for blind visitors at the Cooper-Hewitt when it opens in October 2014. We started by doing a competitive survey of the museum experiences for blind people at a number of different museums in New York City....
to be continued.
I end this post with a really nice screenshot of Antarctica via Google Street View.
10/21/2013
10/16/2013
Consonance
This is a project I made for Christopher Willits' Sound and Image Resonance class. The intent of this exercise was to explore how sound shapes and changes our understanding and expectations of visual elements.
All GIF credit goes to Matthew DiVito of mrdiv.tumblr.com.
Best with headphones!
All GIF credit goes to Matthew DiVito of mrdiv.tumblr.com.
Best with headphones!
9/22/2013
Thesis beginnings
Thesis R&D is in full swing. After some research in museum accessibility over the summer at the Cooper-Hewitt, National Design Museum in NYC, I've decided to focus my thesis investigations on the the museum experience for blind and low vision visitors.
There are still a lot of things I need to get my brain around...
Am I more interested in improving museum experiences, or improving an experience for a blind or low vision person?
Well, neither strictly.
I think what I'm most interested in (at least today) is in how people see things differently and how one sense can be translated to another.
People who are blind because they experience the world in a different way. Museums because they are where all this stuff is collected and where people have dedicated and focussed moments.
There are a few of tools out there, like Touch Graphic's Talking Tactile Exhibit Panels that narrate an object according to where you are touching it. Pretty awesome. But, the content is all tell and no show.
Since I am still in the testing the waters phase, I think I'll spend some time exploring unexpected ways that visuals can be expressed. What does a painting feel like? What does a painting sound like? How can we translate visual art in an way that creates rich experiences for experience all of the senses?
There are still a lot of things I need to get my brain around...
Am I more interested in improving museum experiences, or improving an experience for a blind or low vision person?
Well, neither strictly.
I think what I'm most interested in (at least today) is in how people see things differently and how one sense can be translated to another.
People who are blind because they experience the world in a different way. Museums because they are where all this stuff is collected and where people have dedicated and focussed moments.
There are a few of tools out there, like Touch Graphic's Talking Tactile Exhibit Panels that narrate an object according to where you are touching it. Pretty awesome. But, the content is all tell and no show.
Since I am still in the testing the waters phase, I think I'll spend some time exploring unexpected ways that visuals can be expressed. What does a painting feel like? What does a painting sound like? How can we translate visual art in an way that creates rich experiences for experience all of the senses?
7/20/2013
Pizza and museums
Last week I enjoyed a delicious pizza and a great chat about museums with Cara McCarty, Cooper-Hewitt's Curatorial Director.
We shared a pizza at Gina La Fornarnia on the upper east side. The restaurant itself is pretty garish with Pepto Bismol pink awnings, chairs, and walls but once you get past the decor the pizza is fantastic. Cara and I had the fresh fig and prosciutto pizza; it was a combination of salty and sweet -- extra thinly sliced prosciutto and figs baked to the point of caramelization. The crust was tasty but the clincher was the sauce -- a delicious cream of parmigiano. Aww yesss.
We shared a pizza at Gina La Fornarnia on the upper east side. The restaurant itself is pretty garish with Pepto Bismol pink awnings, chairs, and walls but once you get past the decor the pizza is fantastic. Cara and I had the fresh fig and prosciutto pizza; it was a combination of salty and sweet -- extra thinly sliced prosciutto and figs baked to the point of caramelization. The crust was tasty but the clincher was the sauce -- a delicious cream of parmigiano. Aww yesss.
Over lunch, Cara shared with me some thoughts about what it is to work in a museum and how things have changed since she started out in the 1980's. As she sees it, there have been three major changes that have shaped the industry -- blockbusters, computers, technology.
7/16/2013
Object of the Day
Object of the Day is a daily blog by the Cooper-Hewitt National Design Museum aimed to help you discover a different object from the collection every day.
I did a post as part of my summer internship, which you can see on the website here, or read below.
As a new member of the Digital + Emerging Media team here at the Cooper-Hewitt, I've been spending a lot of time learning about our various projects in process. One of the most enthralling resources I've encountered so far is the collections database. Try it out, if you haven't already; you'll see why it's so satisfying to explore. Here's an example. I started browsing with the "random" link and it brought me to this collage for a textile by one Alexander Hayden Girard.
Ok, so the collections database has lots of pretty pictures...but so what? Well, the great thing about the collections database is that it exposes relationships and allows you to make connections. Rather than seeing the Girard collage as an isolated object, I can see it in a variety of contexts. For example, if I click on "Alexander Hayden Girard," I am taken to a page that gives me information not only about Girard, but also people and organizations he has collaborated with and other objects he is connected to. Here is where it gets interesting. I can see the collage in context by viewing it alongside the other objects designed by Girard within the collection, and I can start to answer questions like "is this piece typical of Girard's style and work?"
Or, instead of looking at other objects designed by Girard, I can take a broader view by clicking on the link in the Period field. In the case of Girard's "Design for Textile-Quatrefoil," the period is Postwar. Here I can begin to understand what else was going on in the world of design when Girard made this piece.
I see a lot of objects in the postwar period were designed by Tommi Parzinger, who is he? Repeat, repeat, repeat… No man is an island, and no design is created in a vacuum. The collections database has a long way to go but it is making huge steps towards revealing context and connections between the objects in our collection.
Collection Connections
Posted by Rachel Sakai on Friday July 05, 2013
As a new member of the Digital + Emerging Media team here at the Cooper-Hewitt, I've been spending a lot of time learning about our various projects in process. One of the most enthralling resources I've encountered so far is the collections database. Try it out, if you haven't already; you'll see why it's so satisfying to explore. Here's an example. I started browsing with the "random" link and it brought me to this collage for a textile by one Alexander Hayden Girard.
Ok, so the collections database has lots of pretty pictures...but so what? Well, the great thing about the collections database is that it exposes relationships and allows you to make connections. Rather than seeing the Girard collage as an isolated object, I can see it in a variety of contexts. For example, if I click on "Alexander Hayden Girard," I am taken to a page that gives me information not only about Girard, but also people and organizations he has collaborated with and other objects he is connected to. Here is where it gets interesting. I can see the collage in context by viewing it alongside the other objects designed by Girard within the collection, and I can start to answer questions like "is this piece typical of Girard's style and work?"
Or, instead of looking at other objects designed by Girard, I can take a broader view by clicking on the link in the Period field. In the case of Girard's "Design for Textile-Quatrefoil," the period is Postwar. Here I can begin to understand what else was going on in the world of design when Girard made this piece.
I see a lot of objects in the postwar period were designed by Tommi Parzinger, who is he? Repeat, repeat, repeat… No man is an island, and no design is created in a vacuum. The collections database has a long way to go but it is making huge steps towards revealing context and connections between the objects in our collection.
7/03/2013
visual icons for interactivity
My co-worker, Aaron Straup Cope, reminded me about the work of Timo Arnall today. Arnall's work on graphic language for touch resonated and inspired me to sketch out some graphic language ideas of my own.
Talking / Connecting
Let's see if I can keep it up.
Talking / Connecting
Let's see if I can keep it up.
6/07/2013
democratization of design
A classmate showed me The Noun Project.
I love it. You can search for any noun and find its corresponding icon, all free to use (with attribution) or under the creative commons license.
Thesis in the field of democratization of design?? It's worth exploring.
I love it. You can search for any noun and find its corresponding icon, all free to use (with attribution) or under the creative commons license.
Thesis in the field of democratization of design?? It's worth exploring.
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