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Inteface humano-computador controlada pelo lábio. / Human-computer interface controlled by the lip.José, Marcelo Archanjo 10 June 2014 (has links)
Pessoas com tetraplegia possuem controle sobre poucas partes do corpo, por isso têm grande dificuldade de interação com o mundo ao seu redor. Interfaces humano-computador que utilizam a capacidade de controle muscular remanescente podem promover um acréscimo importante na autonomia do usuário com tetraplegia. Uma nova forma de interação com o computador é proposta: controle de um dispositivo de entrada por meio do lábio inferior. A ideia não foi partir da tecnologia e agregar recursos, mas sim, partir da pessoa e entender suas necessidades e potencialidades para pesquisar, propor, desenvolver e avaliar alternativas tecnológicas. Com o intuito de investigar se o lábio inferior seria capaz de controlar uma interface de maneira eficiente e precisa, foram desenvolvidos protótipos de um dispositivo de entrada vestível que pudesse ser acionado pelo lábio. Considerando o estado da arte, foi avaliada a capacidade do lábio inferior controlar esta interface proposta como um mouse de computador. Também foi realizada a comparação do controle pelo lábio inferior e pelo polegar utilizando o mesmo dispositivo sob as mesmas condições. O objetivo foi estabelecer referências sobre a capacidade do lábio inferior de controlar uma interface. Foram realizados e analisados os resultados de testes com sujeitos de pesquisa, mensurando e comprovando a capacidade tanto do lábio inferior, como parte do corpo capaz de controlar um dispositivo de entrada, quanto do próprio dispositivo. / People with tetraplegia control few body parts; therefore, they have great difficulty to interact with the environment. Human-computer interfaces that explore the residual muscular control capacity can provide the user with tetraplegia with an important autonomy increase. I propose a new form of interaction, a input device controlled by the lower lip. The idea was not starting from the technology and aggregate resources, but starting from the user needs to research, to propose, to develop and to evaluate technological alternatives. In order to investigate the lower lip ability to efficiently and precisely control an input device, prototypes of a wearable device were developed. I presented an evaluation of the lower lip potential to control a pointing input device, according to the state of the art. The lower lip throughput was compared with the thumb throughput using the same input device under the same conditions. The objective was to establish the baseline for future researches about the lower lip capacity to operate a computer pointing device. The results proved and measured the capacity of the interface as well as the lower lip as a body part able to control a input device.
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Inteface humano-computador controlada pelo lábio. / Human-computer interface controlled by the lip.Marcelo Archanjo José 10 June 2014 (has links)
Pessoas com tetraplegia possuem controle sobre poucas partes do corpo, por isso têm grande dificuldade de interação com o mundo ao seu redor. Interfaces humano-computador que utilizam a capacidade de controle muscular remanescente podem promover um acréscimo importante na autonomia do usuário com tetraplegia. Uma nova forma de interação com o computador é proposta: controle de um dispositivo de entrada por meio do lábio inferior. A ideia não foi partir da tecnologia e agregar recursos, mas sim, partir da pessoa e entender suas necessidades e potencialidades para pesquisar, propor, desenvolver e avaliar alternativas tecnológicas. Com o intuito de investigar se o lábio inferior seria capaz de controlar uma interface de maneira eficiente e precisa, foram desenvolvidos protótipos de um dispositivo de entrada vestível que pudesse ser acionado pelo lábio. Considerando o estado da arte, foi avaliada a capacidade do lábio inferior controlar esta interface proposta como um mouse de computador. Também foi realizada a comparação do controle pelo lábio inferior e pelo polegar utilizando o mesmo dispositivo sob as mesmas condições. O objetivo foi estabelecer referências sobre a capacidade do lábio inferior de controlar uma interface. Foram realizados e analisados os resultados de testes com sujeitos de pesquisa, mensurando e comprovando a capacidade tanto do lábio inferior, como parte do corpo capaz de controlar um dispositivo de entrada, quanto do próprio dispositivo. / People with tetraplegia control few body parts; therefore, they have great difficulty to interact with the environment. Human-computer interfaces that explore the residual muscular control capacity can provide the user with tetraplegia with an important autonomy increase. I propose a new form of interaction, a input device controlled by the lower lip. The idea was not starting from the technology and aggregate resources, but starting from the user needs to research, to propose, to develop and to evaluate technological alternatives. In order to investigate the lower lip ability to efficiently and precisely control an input device, prototypes of a wearable device were developed. I presented an evaluation of the lower lip potential to control a pointing input device, according to the state of the art. The lower lip throughput was compared with the thumb throughput using the same input device under the same conditions. The objective was to establish the baseline for future researches about the lower lip capacity to operate a computer pointing device. The results proved and measured the capacity of the interface as well as the lower lip as a body part able to control a input device.
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Mobiliário industrializado popular em situações de uso em moradias de famílias de baixa renda / Mass-produced furniture as used in residences of low-income familiesArbore, Célia Moretti 25 November 2016 (has links)
A literatura de design e de arquitetura sugere a necessidade de realização de estudos mais aprofundados e capilares junto a usuários de baixa renda a respeito da realidade material interior de suas residências, de como se daria a efetiva utilização de bens e objetos pessoais, além de suas aspirações e preferências quanto aos produtos de uso doméstico. Vários autores, neste sentido, ressaltam que a produção brasileira de mobiliário residencial industrializado, também denominado móvel seriado, sobretudo no segmento do consumo popular, não atenderia, integralmente, a seu público principal, concentrado nestas duas faixas socioeconômicas da população. Este alegado descompasso existiria, parcialmente, em razão de designers e fabricantes de móveis populares seriados supostamente desconhecerem as necessidades efetivas dos usuários e as maneiras de interação com seus bens domésticos. Nesta pesquisa, foram investigadas várias situações de uso do referido mobiliário popular industrializado em moradias de usuários selecionados residentes na Grande São Paulo, abordando aspectos tais como: percepções, significados, preferências, avaliações, apropriações, formas de utilização e adequação aos ambientes. Em termos metodológicos, este estudo qualitativo, de caráter essencialmente fenomenológico, mas também observacional, foi constituído pela sistematização e análise associativa de dados obtidos por meio de entrevistas em profundidade semiestruturadas conduzidas com quarenta usuários e doze vendedores. O trabalho de campo foi complementado por observações diretas, produzidas pela pesquisadora, de móveis, objetos e demais arranjos físicos e visuais encontrados nas moradias visitadas e em lojas de móveis populares, com auxílio de registros fotográficos e gravações em áudio. Na análise do conjunto de dados coletados, foram identificados elementos semióticos, estéticos, funcionais, socioculturais e psicológicos, entre outros. Os resultados obtidos permitem iluminar questões efetivas de uso do mobiliário popular, além de hábitos, costumes, preferências estéticas e condições internas das moradias dos usuários participantes. Observou-se, por exemplo, neste sentido, reduzida adequação de parcela significativa do mobiliário às habitações visitadas, bem como presença de improvisações e adaptações a que os usuários comumente recorrem, mesmo em móveis com pouco tempo de aquisição, para que voltem a desempenhar adequadamente suas funções, além de certa resignação de parte dos usuários quanto a deficiências de projeto e de produção verificadas nos móveis, por vezes justificadas, por eles, pelos baixos preços que pagaram. Tais percepções e outros achados disponibilizam, assim, um corpo de insumos para designers e indústria moveleira em geral, sobre necessidades específicas de famílias de baixa renda que encontram, neste mobiliário popular industrializado, sua principal ou única, mesmo que, em casos, precária, opção de compra para atendimento de necessidades básicas de armazenamento de objetos pessoais e de apoio a tarefas domésticas. Espera-se, com esta pesquisa, contribuir para que o projeto e a produção desta classe de produtos ofereça maior adequação ao efetivo modo de vida e necessidades de seus usuários no interior de suas moradias. / The design and architecture literature suggests the need for more in-depth studies with low-income users regarding the material in their homes and how belongings and personal objects would actually be used, as well as what their aspirations and preferences are with regard to domestic products. Several authors in this context emphasize that Brazilian industrial residential furniture production, also called furniture in series, especially in the budget furniture segment, does not entirely meet the needs of its main public, concentrated in these two socio-economic groups. This alleged misalignment would exist partially because of designers and manufacturers of low-cost furniture supposedly being unaware of users\' real needs and ways of interacting with their domestic objects. In this research, several ways of using industrial low-cost furniture in selected users\' homes in Greater São Paulo were investigated, looking at aspects such as: perceptions, meanings, preferences, evaluations, appropriations, forms of use and adequacy of the environments. In methodological terms, this essentially phenomenological, but also observational qualitative study was done by the systematization and associative analysis of data obtained through in-depth, semi-structured interviews with forty users and twelve salespeople. The field work was complemented by the researcher\'s direct observation of furniture, objects and other physical and visual arrangements in the homes visited and in budget furniture stores, and also with the aid of photographs and audio recordings. In the analysis of the collected data set, semiotic, aesthetic, functional, sociocultural and psychological elements were identified, among others. The results obtained provide information about the use of low-cost furniture, and also about habits, customs, aesthetic preferences and internal conditions of the participating users\' homes. It was observed, for example, that much of the furniture in the homes visited was of limited adequacy, and there were often user improvisations and adaptations, even in furniture purchased recently, so that it would more adequately fulfill its function. In addition, the users had a certain feeling of resignation about the furniture\'s design and manufacturing deficiencies, sometimes justified, for them, by the low price they had paid. These perceptions and other findings make available, then, input for designers and the furniture industry, in general, on specific needs of low-income families that have, in this industrialized low-cost furniture, their main or only, though sometimes precarious, purchase option to meet their basic needs for storage of their belongings and support for domestic tasks. It is hoped that this research will contribute to the design and production of this class of products becoming more suited to the lifestyles and needs of users in their homes.
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Shared Knowledge : An Exploration of the Use and the Design of Participatory WorkshopsMolander, Linda January 2011 (has links)
This master thesis presents an exploration of participatory workshops. It focuses on how these may involve a design project’s various stakeholders, and take the design process further by joint activities of mutual learning. The main concern addressed in the thesis is how participatory workshops may be designed and carried through, together with companies working with design. The aim of the exploration is to gain an understanding of the various steps of the design and implementation of workshops, and also how these steps interact during the process. The exploration is mainly based on the design and implementation of three different workshops: One workshop was designed on behalf of a design consultancy as part of the phase of concept, in an ongoing design project about cleaning products. Afterwards the team worked on ideas based on the winning concepts from this workshop. A second workshop was designed for a working team at a company of wood floor production, in order to identify what future steps to take. The outcome emphasized what the team needed as well as desired to be working on next. In collaboration with the same wood floor producer, a third workshop was also designed as a part of the company’s design competition. This workshop aimed to making the competitors share their personal experiences of the theme of the competition. The workshop resulted in a joint creation of understanding and knowledge about the company’s demands and desires of the new product. In order to broaden my perspective on the method, I carried out a number of interviews, for example with MiL Institute, who is working with management training and coaching, and with Ordrum, who offers training in communication. To support mutual learning in the workshops, aspects of knowledge and learning are additionally included in the study. The exploration shows the advantage of using prepared ambiguous materials as part of the framework of a workshop, for supporting divergent thinking; individual and collective storytelling; diversity of ideas; and collaboration between people. Additionally the exploration indicates that people’s involvement in participatory workshops may create more responsibility of the design, through the experience of a shared ownership of the process. Moreover, it points out the challenge of working co-creationally in design work, also through the design process of workshops.
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An accessible grocery store for low vision customers : Human-centered design of a universal shopping solution, with a focus on people with low visionPihl, Johan January 2018 (has links)
Around one percent of the Swedish population is defined as visually impaired and ten percent of them are classified as blind (Funka, n.d.; SRF, 2017a). A study shows that the prevalence of nearsightedness will increase to around half the population in the world in 2050 (Holden et. al., 2016). This suggests an increased need for solutions that work for people with reduced vision, not only for visually impaired but for a large group of the population. The aim of the project is to conceptualize a technological mainstream solution that supports people when shopping for groceries. The focus is on making this solution accessible for people with low vision. The project was planned based on the human-centered design process described by IDEO.org (2015), with an overall process divided into three phases: inspiration, ideation, and implementation. In the first phase, inspiration, a literature review was done, different field studies and other research methods were carried out. The outcome of the phase was three personas, two scenarios, and a design specification. During the second phase, ideation, the project scope was narrowed down – focusing on physical grocery stores (excluding online stores) and on conceptualizing a smartphone application. An ideation workshop was conducted, followed by concept creation, paper prototyping, scenario writing, user evaluations and a final concept selection. In the last phase, implementation, follow up feedback sessions were held and a simulation test of the final concept was held. Visualizations and presentation of the final concept were done. A list of summarized design principles was created, as support for further work on designing the application for low vision users. The final concept is based on a smartphone application that supports the customer through shopping list management, aisle navigation, item selection and item scanning, for a seamless customer experience for both people with full and low vision. The technology that will be utilized is Pricer AB's electronic shelf labels (ESL) with item positioning, customer navigation, and individual flashing light, combined with the grocery store online database with item descriptions and images. Here follows an example of how the interaction could look like for someone with low vision: He always prepares his shopping list before heading to the store, this way he knows the shopping will be easier for him. In the store, he gets all items on the list presented in the correct order of the store, in that way he knows what to search for. When looking for soy sauce from his shopping list he has trouble remembering where the section is, so he checks it up with the navigation. He realizes that it was just around the corner of where he just passed by. Once at the section he is presented with a list of different soy sauces in the application, matching his location, previous purchases and the soy sauce on his shopping list. He can now select the one that he prefers, and a picture of it appears on the screen, simultaneously a flashing green light appears by the item on the shelf, and he can easily and independently find the way right up to the soy sauce he wants. / Ungefär en procent av Sveriges befolkning är synskadade, och tio procent av dem är så pass gravt synskadade att de kan definieras som blinda (Funka, n.d.; SRF, 2017a). Enligt en studie förväntas närsynthet världen över att öka, och under 2050 vara uppe i hälften av jordens befolkning (Holden et. al., 2016). Detta tyder på ett ökat behov av lösningar som fungerar för personer med nedsatt syn, inte bara för synskadade utan för en stor del av befolkningen. Målet med projektet är att undersöka nuläget och behoven för synsvaga personer när de handlar mat, för att sedan kunna utveckla universell teknisk lösning som ska fungera som ett stöd när man handlar mat. Projektet planerades utifrån en människocentrerad designprocess beskriven av IDEO.org (2015), som är indelad i tre faser: inspiration, idégenereringen och genomförande. I den första fasen, inspiration, gjordes en litteraturstudie, flera fältstudier genomfördes, samt andra research metoder. Resultatet här var tre personas, två scenarion och en designspecifikation. Under den andra fasen, idégenereringen, ställdes nya avgränsningar upp för projektet – fokuset riktades nu mot den fysiska butiker (avgränsning från e-handeln) och att målet skulle vara att ta fram en smartphone-applikation. En idéworkshop genomfördes, konceptgenerering, skapande av pappersprototyper, scenarion, utvärdering med användare och ett slutligt konceptval. I sista fasen, genomförande, följdes det slutliga konceptet upp med tidigare deltagare och det slutliga konceptet testades i en simulerad studie. Visualisering och presentation av slutkonceptet gjordes. Designprinciper för utveckling av applikationer för synsvaga sammanfattades, för att fungera som stöd för vidare arbete med utveckling av konceptet. Slutkonceptet bygger på en smartphone-applikation som ska fungera som stöd för kunden, från skapandet av inköpslista, navigering i butiken, val och identifiering av varor och slutligen att scanna varan. I sin helhet skapar detta en komplett lösning i mataffären för både seende och synsvaga kunder. Tekniken som ska utnyttjas för konceptet är Pricer AB's elektroniska hyllkantsetikett-system (ESL-system) med positionering, kundnavigering samt en lysdiod på varje enskild etikett, i kombination med butikens online-databas med produktbeskrivningar och bilder på varorna. Här kommer en beskrivning av hur interaktionen med systemet kan gå till för någon som är synsvag: Han förbereder alltid sin inköpslista innan han går till affärer, eftersom han vet att det underlättar för honom. Väl i butiken får han varorna från inköpslistan presenterade i den ordningen de kommer, vilket förenklar letandeprocessen. När han letar efter sojasås som han har på listan har han svårt att komma ihåg var i butiken han hittar den, så han kollar upp det med navigeringsfunktionen. Han inser då att han missade den just bakom hörnet som han gick förbi. Väl framme vid sektionen får han en lista med olika sojasåser presenterade i applikationen, de baseras på hans position i butiken, tidigare köp och vad han har på inköpslistan. Han kan nu välja den han gillar och får då en bild på varan på sin skärm, samtidigt som en grön lampa blinkar precis där varan är placerad på hyllan. Han kan nu enkelt och självständigt plocka varan han vill ha från hyllan.
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Návrh obchodně úspěšného webu a trendy v online marketingu / Design of a commercially successful website and online marketing trendsJONÁŠOVÁ, Jana January 2016 (has links)
The aim of this thesis is to show how to design a commercially successful website and what are the possibilities of its succesive promotion. First a user research and analysis of competition is done and on the basis of this a new website is designed and created. After its implementation this site is then supported by several online marketing tools.
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Var slänger du din mat? : En studie om hur information kan utformas för att positivt påverka mottagarnas inställning gentemot matavfallssortering.Caspár, Melanie January 2018 (has links)
Att blanda matrester med vanligt hushållsavfall har negativ inverkan på miljön. Men trots detta visar den senaste statistiken att enbart 25,5 % av matavfallet från svenska hushåll sorteras ut. Det verkar bland annat bero på en negativ inställning, och kan indikera ett behov av information som övertygar om vikten att sortera ut. Därför efterfrågade Eskilstuna Strängnäs Energi & Miljö ett material som motiverar boende till en ändrad attityd. Studiens syfte var att komma fram till hur information om att sortera ut matavfall kan utformas för att positivt påverka mottagarnas inställning. Arbetet utgick från teori inom retorik, budskapsstrategier och användarcentrerad design, vilket tillsammans med empirisk data blev grunden för ett gestaltningsförslag. Empirisk data samlades in genom fyra metoder: en intervju med en ämnesexpert för att rama in problemet, en retorisk textanalys för att resonera kring om befintlig information bidragit till att problemet kvarstår, en enkätundersökning för att definiera målgruppens informationsbehov, attityd och mediepreferens samt två utvärderande tester för att undersöka om gestaltningsförslaget fick avsedd inverkan. Genom detta kunde flera slutsatser dras. Bland annat att en blandad budskapsstrategi, metaforer, bilder och att tilltala läsaren som ”du” kan ha positiv inverkan på mottagarens inställning, utifrån vilka en slutgestaltning skapades. / The environment is impacted in a negative way when food waste is commingled with other waste from the household. Still, the latest statistics show that only 25,5 % of the food waste from Swedish households is sorted out. This seems to be caused by a negative attitude among other things, and can indicate a need for convincing information about the importance of sorting out. Therefor, Eskilstuna Strängnäs Energi & Miljö requested a material meant to motivate residents to change their attitude. The study’s purpose was to find out how information about sorting out food waste can be formed to make a positive impact on the receiver’s attitude. The study emanated from theories within rhetoric, message strategies and human centered design, which along with empirical data became the foundation for a design proposal. Empirical data was collected through four methods: an interview with a expert within the subject to frame the problem, a rhetorical text analysis to discuss if existing information have contributed to that the problem still remain, a questionnaire survey to define the target group’s information need, attitude and preferred medium, and two evaluative tests to examine if the design proposal had the intended impact. Through this, multiple conclusions could be drawn. For instance that a combined message strategy, metaphors, images and addressing the reader as “you” can have a positive impact on the receiver’s attitude, by which a final design was created.
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Mobiliário industrializado popular em situações de uso em moradias de famílias de baixa renda / Mass-produced furniture as used in residences of low-income familiesCélia Moretti Arbore 25 November 2016 (has links)
A literatura de design e de arquitetura sugere a necessidade de realização de estudos mais aprofundados e capilares junto a usuários de baixa renda a respeito da realidade material interior de suas residências, de como se daria a efetiva utilização de bens e objetos pessoais, além de suas aspirações e preferências quanto aos produtos de uso doméstico. Vários autores, neste sentido, ressaltam que a produção brasileira de mobiliário residencial industrializado, também denominado móvel seriado, sobretudo no segmento do consumo popular, não atenderia, integralmente, a seu público principal, concentrado nestas duas faixas socioeconômicas da população. Este alegado descompasso existiria, parcialmente, em razão de designers e fabricantes de móveis populares seriados supostamente desconhecerem as necessidades efetivas dos usuários e as maneiras de interação com seus bens domésticos. Nesta pesquisa, foram investigadas várias situações de uso do referido mobiliário popular industrializado em moradias de usuários selecionados residentes na Grande São Paulo, abordando aspectos tais como: percepções, significados, preferências, avaliações, apropriações, formas de utilização e adequação aos ambientes. Em termos metodológicos, este estudo qualitativo, de caráter essencialmente fenomenológico, mas também observacional, foi constituído pela sistematização e análise associativa de dados obtidos por meio de entrevistas em profundidade semiestruturadas conduzidas com quarenta usuários e doze vendedores. O trabalho de campo foi complementado por observações diretas, produzidas pela pesquisadora, de móveis, objetos e demais arranjos físicos e visuais encontrados nas moradias visitadas e em lojas de móveis populares, com auxílio de registros fotográficos e gravações em áudio. Na análise do conjunto de dados coletados, foram identificados elementos semióticos, estéticos, funcionais, socioculturais e psicológicos, entre outros. Os resultados obtidos permitem iluminar questões efetivas de uso do mobiliário popular, além de hábitos, costumes, preferências estéticas e condições internas das moradias dos usuários participantes. Observou-se, por exemplo, neste sentido, reduzida adequação de parcela significativa do mobiliário às habitações visitadas, bem como presença de improvisações e adaptações a que os usuários comumente recorrem, mesmo em móveis com pouco tempo de aquisição, para que voltem a desempenhar adequadamente suas funções, além de certa resignação de parte dos usuários quanto a deficiências de projeto e de produção verificadas nos móveis, por vezes justificadas, por eles, pelos baixos preços que pagaram. Tais percepções e outros achados disponibilizam, assim, um corpo de insumos para designers e indústria moveleira em geral, sobre necessidades específicas de famílias de baixa renda que encontram, neste mobiliário popular industrializado, sua principal ou única, mesmo que, em casos, precária, opção de compra para atendimento de necessidades básicas de armazenamento de objetos pessoais e de apoio a tarefas domésticas. Espera-se, com esta pesquisa, contribuir para que o projeto e a produção desta classe de produtos ofereça maior adequação ao efetivo modo de vida e necessidades de seus usuários no interior de suas moradias. / The design and architecture literature suggests the need for more in-depth studies with low-income users regarding the material in their homes and how belongings and personal objects would actually be used, as well as what their aspirations and preferences are with regard to domestic products. Several authors in this context emphasize that Brazilian industrial residential furniture production, also called furniture in series, especially in the budget furniture segment, does not entirely meet the needs of its main public, concentrated in these two socio-economic groups. This alleged misalignment would exist partially because of designers and manufacturers of low-cost furniture supposedly being unaware of users\' real needs and ways of interacting with their domestic objects. In this research, several ways of using industrial low-cost furniture in selected users\' homes in Greater São Paulo were investigated, looking at aspects such as: perceptions, meanings, preferences, evaluations, appropriations, forms of use and adequacy of the environments. In methodological terms, this essentially phenomenological, but also observational qualitative study was done by the systematization and associative analysis of data obtained through in-depth, semi-structured interviews with forty users and twelve salespeople. The field work was complemented by the researcher\'s direct observation of furniture, objects and other physical and visual arrangements in the homes visited and in budget furniture stores, and also with the aid of photographs and audio recordings. In the analysis of the collected data set, semiotic, aesthetic, functional, sociocultural and psychological elements were identified, among others. The results obtained provide information about the use of low-cost furniture, and also about habits, customs, aesthetic preferences and internal conditions of the participating users\' homes. It was observed, for example, that much of the furniture in the homes visited was of limited adequacy, and there were often user improvisations and adaptations, even in furniture purchased recently, so that it would more adequately fulfill its function. In addition, the users had a certain feeling of resignation about the furniture\'s design and manufacturing deficiencies, sometimes justified, for them, by the low price they had paid. These perceptions and other findings make available, then, input for designers and the furniture industry, in general, on specific needs of low-income families that have, in this industrialized low-cost furniture, their main or only, though sometimes precarious, purchase option to meet their basic needs for storage of their belongings and support for domestic tasks. It is hoped that this research will contribute to the design and production of this class of products becoming more suited to the lifestyles and needs of users in their homes.
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Vibraesthetics of Music : The design of BEATHOVEN: a haptic device for enjoying music through vibrotactile sensationsMattsson, Adam, Åhlén, Martin January 2021 (has links)
The project has the purpose of designing and developing a wearable haptic device for experiencing music through tactile vibrations on the body, and the result is the product concept BEATHOVEN and a completely new way of experiencing music. Music is powerful, it touches our soul and gives form to our emotions. It captures the inner landscape of our minds, resonating in endless colours and nuances and shares it with others. Music has been a part of the human species for over 40 000 years and has played a fundamental role in our evolution and society; it is believed that we sang before we even spoke. Music, along with its aesthetic qualities, has throughout history been closely tied to our auditory perception. It was originally created and designed for listeners and has long been considered as something for the hearing. That perspective is starting to get more and more blurred out, however, and music is stepping out of auditory exclusivity. The general view of music today excludes over five percent of the world's population: people with disabling hearing loss. Hearing loss can impact a person’s life in many ways and one major impact is their ability to communicate with others. Music is another form of communication, and it is one where all of these people have thus far been excluded. The goal of this project is to design and develop a product that includes more people in music. The project is carried out in collaboration with Pariception, a company specialized in research and development of assistive devices for people with deafblindness, and stems from one of their existing products: Good Vibrations. Good Vibrations is a wearable device for experiencing music through vibrations; it is a completely unique product and differs from all other solutions on the market. There are some brands, such as SubPac and Woojer, who have developed tactile music accessories, but these products are focused on enhancing a listening experience. Good Vibrations and BEATHOVEN are unique because they aim to convey the full musical experience and to be used independently from hearing. The current project brings Good Vibrations back to its basic concept idea, to redefine, refine, and design it into a usable, viable, and desirable consumer product: BEATHOVEN. The project is made up of three main parts; to understand how the vibrotactile experience of music can be designed into a meaningful product, to understand how music can be conveyed through vibrotactile sensations on the body, and to know where on the body the vibrations should be conveyed to optimize the experience. To do this, we have created our own approach, adopting a mix of different design approaches such as design-driven innovation, human-centered design, embodied design, and aesthetic exploration. Research strongly indicates that it is possible to perceive aesthetic qualities within music through other senses than hearing, for example through stimuli such as tactile vibrations. To aid us in the development of the product, and to explore the aesthetic qualities of vibrations, we have defined a new research subject called Vibraesthetics. The project has resulted in BEATHOVEN, a product concept featuring five vibrotactile actuators distributed to the chest and the neck. The product takes the input from any song or piece of music and transposes its frequencies to fit within 5-1000 Hz, which is the general range of human tactile perception. The music is further divided into three registers and distributed to separate and dedicated actuators. Some of the artist's original intentions with the music may be altered, but the richness of the experience is still there and available to anyone, regardless of their hearing abilities. / Målet med projektet är att utveckla och designa en bärbar haptisk produkt för att uppleva musik genom taktila vibrationer på kroppen. Resultatet av projektet är produktkonceptet BEATHOVEN och ett helt nytt sätt att uppleva musik. Musik är kraftfull, det berör vår själ och sätter form på våra känslor. Det fångar vårt inre landskap, resonerar i oändliga färger och nyanser och delar det med andra. Musik har varit en del av den mänskliga arten i över 40 000 år och har spelat en grundläggande roll i vår utveckling och i vårt samhälle; mycket tyder på att vi sjöng innan vi ens började prata. Musik, tillsammans med dess estetiska kvalitéer, har genom historien varit nära knuten till vår hörsel. Den skapades ursprungligen och designades för lyssnare och har länge ansetts vara något för just hörseln. Den här synen på musik börjar dock mer och mer suddas ut, och nya sätt att uppleva musiken får ta plats. Genom den allmänna synen på musik vi har i dag utesluts dock över fem procent av världens befolkning: personer med nedsatt hörsel. Hörselnedsättning kan påverka människors liv på flera sätt och en viktig inverkan är på förmågan att kommunicera med andra. Musik är en annan form av kommunikation, en form där alla dessa människor hittills har blivit exkluderade. Målet med detta projekt är att designa och utveckla en produkt som inkluderar fler personer i musik. Projektet genomförs i samarbete med Pariception, ett företag specialiserat på forskning och utveckling av hjälpmedel för personer med dövblindhet, och grundar sig i en av deras befintliga produkter: Good Vibrations. Good Vibrations är en bärbar produkt som möjliggör upplevelsen av musik genom taktila vibrationer; det är en helt unik produkt i sig och skiljer sig från alla andra lösningar som finns på marknaden idag. Det finns ett fåtal aktörer, som SubPac och Woojer, som har utvecklat taktila musiktillbehör, men de är enbart inriktade på att förstärka upplevelsen för den som redan hör. Good Vibrations och BEATHOVEN är unika av sitt slag då de eftersträvar att förmedla den fulla musikupplevelsen, oberoende av hörseln. I det här projektet tar vi Good Vibrations tillbaka till sin kärna, för att sedan omdefiniera, förfina och utforma den till en användbar, fungerande och åtråvärd konsumentprodukt: BEATHOVEN. Projektet består av tre huvuddelar; att förstå hur musikens vibrotaktila upplevelse kan designas till en meningsfull produkt, att förstå hur musik kan förmedlas genom vibrotaktila förnimmelser på kroppen, samt att veta var på kroppen vibrationerna ska förmedlas för att optimera upplevelsen. För att göra detta, har vi skapat ett eget tillvägagångssätt, där vi har kombinerat olika designmetoder så som; design-driven innovation, människocentrerad design, embodied design och estetisk utforskning. Forskning visar starkt på att det är möjligt att uppleva estetiska egenskaper inom musiken genom andra sinnen än hörseln, till exempel genom taktila vibrationer. För att hjälpa oss i utvecklingsarbetet av produkten och för att bättre undersöka och förstå vibrationernas estetiska egenskaper har vi definierat ett nytt forskningsämne som heter Vibroestetik. Resultatet av projektet är BEATHOVEN, ett produktkoncept bestående av vibrotaktila aktuatorer fördelade på bröstet och nacken. Produkten översätter vilken låt eller musik som helst och transponerar ner den till ett område på 5-1000 Hz, vilket är det allmänna omfånget för vår huds taktila uppfattningsförmåga. Musiken är sedan uppdelad i tre register och distribueras till separata aktuatorer. En viss del av konstnärens ursprungliga tankar och idéer med musiken kan förändras eller filtreras bort, men upplevelsens rikedom finns fortfarande kvar och är tillgänglig för alla, oavsett deras hörsel.
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Designing a better soundscape for the home office : Devlopment of acoustic furnitureMattsson, Hanna, Mihel, Theodor January 2021 (has links)
As Covid-19 spread throughout the world in the early months of 2020 many people’s lives changed drastically. The situation forced millions of workers and students to start performing their work remotely from home. Currently in Sweden statistics shows that every third person working does it from home at least once a week. When our work environments change, new conditions are created for how we can design our environments, which contributes to new design challenges. We believe that some homes are missing an intended space for office work, especially smaller apartments in larger cities. This means, among other things, that many people lack a place in their homes that offers a good sound environment. We believe that all people deserve to have a workplace that provides the best possible conditions for personal development, performance and well-being, even when working from home. This thesis work within the field of industrial design engineering was conducted in collaboration with the acoustical consultant firm Efterklang and Luleå University of Technology. The development process has followed the human centered design process of Design Thinking, an iterative design process consisting of the spaces of inspiration, ideation, and implementation. The aim of the project was to investigate how people experience sounds throughout their work day and based on this design a product with good acoustical properties for their home. The project also considered the varying conditions for different home offices as well as how people want to work in the near future. The objective was to create a better work environment by improving the workspace and its soundscape. The following mission statement was set up: “Increase people’s well-being and ability to perform by designing a better soundscape for the home office environment”. A literature review has been conducted together with both quantitative and qualitative research methods. The result has been used to answer the following research questions: (i) What do the users perceive as noise in the home environment and what impact does the soundscape have on our wellbeing? (ii) How can we through design, influence people’s feelings and experiences in their home office environment? (iii) What materials or techniques can be used to help increase the acoustical properties of a product and the soundscape of the home office environment? (iv) What user needs can we meet by designing an acoustics-enhancing product for the home office? Close to half of the project was spent in the space of inspiration, to get a deeper knowledge of the field of acoustics. Primarily the aspects of low-frequency noise and how it affects people was researched. It was however discovered in the interviews, observations, and questionnaire that a majority were consciously more affected by generic noise in their proximity. It was also discovered that when designing their workspace, sound, lighting, ergonomics, and privacy was the most important characteristics. Based on this knowledge, two personas were created which primarily helped to keep focus on the intended target group. The personas have also been used to motivate the final result. In the ideation phase, a total of six workshops were conducted. One of these workshops was performed together with six acoustic consultants and designers. This opportunity helped to evaluate our ideas and realize what is actually possible to achieve. The workshops have contributed to both diverging and converging the thesis work. The development of the concepts has throughout the project been done in an iterative process of workshops and user insights. Prototypes in the form of sketches, digital CAD models, and augmented reality [AR] have been used to convey our ideas to the users. The thesis work has resulted in a modular workstations that consists of acoustic elements in the form of absorbents and a floor standing screen. The product also includes a number of functions that can help the home worker to create an ergonomic workspace. It provides amongst other things a height adjustable desk and electric outlet for lighting. The workstation also has a number of shelves that the user can decorate or use for storage. / Många människor liv förändrades drastiskt under de första månaderna av 2020 då Covid-19 snabbt spreds över världen. Denna förändring tvingades miljontals med människor att snabbt ställa om till arbete på distans. Enligt statistik från statistiska centralbyrån arbetar ungefär en tredjedel av Sveriges befolkning hemifrån minst en dag i veckan. När våran arbetssituation förändras uppkommer nya krav på hur dessa miljöer utformas, vilket i sig bidrar till nya designutmaningar. Vi anser att många av dagens hem saknar en dedikerad arbetsplats. Framförallt när det kommer till mindre lägenheter i större städer. Detta bidrar i sin tur till att många kanske saknar en plats i hemmet med en god ljudmiljö att utföra sitt arbete i. Vi anser att alla människor har rätt till en arbetsplats som bidrar till personlig utveckling, prestation och välmående. Detta examensarbete inom området teknisk design har utförts i samarbete med akustik och ljuddesign-företaget Efterklang, samt Luleå Tekniska Universitet. Arbetet har följt en användarcentrerad designprocess kallad Design Thinking. Denna designprocess går iterativt igenom de tre områdena Inspiration, Ideation och Implementation. Målet med detta arbetet var att undersöka hur människor upplever ljud i deras vardag och utifrån detta designa en produkt som bidrar till en bättre ljudmiljö. Projektet beaktade också de olika förhållandena i användarna hemmiljö samt hur dessa kan tänka sig att arbeta i framtiden. Syftet med arbetet var att skapa en bättre arbetsmiljö genom att förbättra både arbetsplatsen och ljudmiljö runtom. Följande mission statement har ställts upp: “Increase people’s well-being and ability to perform by designing a better soundscape for the home office environment”. En litteraturstudie ligger tillsammans med kvantitativa och kvalitativa forskningsmetoder som grund för detta arbete. Resultatet av dessa har används för att svara på följande frågeställningar: (i) Vad upplever användarna som störande ljud i hemmiljö och hur påverkar detta deras välmående? (ii) Hur kan vi genom design påverka människors upplevelse av deras arbetsmiljö i hemmet? (iii) Vilka material och tekniker kan användas för att påverka en produkts akustiska egenskaper samt arbetsmiljön i hemmet? (iv) Vilka behov kan vi uppfylla genom att designa en produkt som förbättrar användarens ljudmiljö i hemmet? Eftersom detta projekt har krävt en förståelse för området akustik samt hur människor påverkas av störande ljud, har största delen av projektet spenderats i inspirations-fasen. Inledningsvis lades mycket fokus på lågfrekvent buller samt hur detta påverka människor. Dock uppmärksammades det i intervjuer, observationer samt enkät att en majoritet av användare störst mer av allmänt buller i deras närhet. Här uppmärksammades det också att när användaren utformar sin arbetsplats så rankas ljudmiljö, ljus, ergonomi samt avskildhet högt på listan av egenskaper. Utifrån denna kunskap har två personas skapats. Dessa har framförallt underlättat i att hålla kvar fokus på målgruppen. Det slutgiltiga resultatet motiveras också utifrån dessa. I ideation-fasen genomfördes total sex större workshops. Under en av dessa bjöds sex utomstående akustiker och ljusdesigners in för att delta. Under denna workshop utvärderades bland annat koncept vilket resulterade i en djupare förståelse för vad som är genomförbart. Samtliga workshops har bidragit till att både konvergera samt divergera tankar och idéer under detta examensarbete. Utvecklingen av idéer har skett i ett iterativt arbetssätt av workshops och feedback från användare. Prototyper i form av skisser, CAD-modeller samt AR har används för att förmedla idéer och koncept till användarna. Detta arbete har resulterat i en modulär arbetsstation innehållande akustiska element i form av absorbenter och en golvstående skärm. Möbeln innehåller flertalet funktioner vilka hjälper hemarbetaren att skapa en ergonomisk arbetsplats. Exempelvis erbjuder arbetsstationen möjlighet för höj- och sänkbart skrivbord samt ett eluttag för arbetsbelysning. Tillgängligt finns också hyllplan vilka användaren kan dekorera eller utnyttja som förvaringsyta.
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