Tag: Haun-Teresa

Teresa Haun

Set: FIERCE AND DYNAMIC
Visual Language (VOICE)
Contrast of Space Less white space than other two sets – starts with 75% and ends with very little
Shape of Forms Angled lines heading off the white square (varying lengths), Square 1″x1″
Orientation of Forms 45 degrees – shows sharpness
Size of Forms Sizes change gradually as the angled strips move down toward the center of the page, also the single 1″x1″ square creates the greatest contrast to these shapes
Placement of Form Top right so that even though each setting is not symmetrical, each one has balance due the eye not getting stuck in the top right corner
Space between Forms 0.33 inches

Objective Rules (assignment rules)
#1 Objective maintains at least two angled pieces in top right corner
#2 New forms should be placed in a continuation toward the bottom left corner from the top right corner
#3 In order to be more “dynamic” than the other two sets, instead of addressing scale with bigger objects, this set uses a smaller object (1″x1″ square) where possible

Interpretation of Visual Language
What did you interpret to apply your rules? Saved perfectly angled (45 degrees) squares for just the “Fierce and Dynamic” set as well as pieces over 2-3 inches long. Interpreting the intensity of a lion’s claws.
Explain your process. I established the rule of balance here in the first setting and then maintained this throughout all of the other settings in order to make it clear that symmetry was not necessary here. The long, angled pieces represented a lion’s sharp claws and the scratches that they leave behind. Initially, I had these pieces coming from the bottom left corner but found that the eye was just stuck there and since balance was already defined differently here than normal, I wanted to take advantage of the less dominant presence of objects placed in the top right. The 1″x1″ squares here created great contrast (especially for the hierarchy and emphasis objectives) and represented a mouse or rodent escaping from the lion’s claws.

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Set: WHIMSICAL AND DELICATE
Visual Language (VOICE)
Contrast of Space On average about 75% white space, less than safe and efficient set
Shape of Forms Square 1″x1″ or small rectangle 2″x1″
Orientation of Forms Varying degrees — none are 90 degrees or 45 degrees though — trying to show more randomness (even though it was planned)
Size of Forms Sizes are close together to just show “delicate” and gradual adjustments
Placement of Form Majority of the forms are in the top left side of the page and then move down and to the middle
Space between Forms 0.5 inches

Objective Rules (assignment rules)
#1 Maintain one angled square in top left corner in all settings
#2 New forms should all be placed at completely new angles from all other forms
#3 Settings without rhythm should move towards the center of the page in a scooping motion rather than a straight line
#4 Rhythm settings should establish rhythm on only the left side of the page to help display the pattern since the angles are all varying

Interpretation of Visual Language
What did you interpret to apply your rules? I thought of spring rain showers for this whimsical and delicate set since they are often scattered and light enough to be carried by the wind.
Explain your process. I started this set with a very light shower starting and then progressed through the set as the rain started to pick up a bit. For the first few settings, the shower is so light and scattered that the wind picks up some of the drops moving them across the page. Towards the end of this set, the rain has picked up and now falls in a cadence (rhythm) and has more volume in each drop allowing for a vertical stream that doesn’t get caught in the wind as easily. Just like snowflakes differ in appearance, I imagine rain drops differ in size as well as the angles that they fall, so every single new form is positioned in a new angle to one seen before.

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Set: SAFE AND EFFICIENT
Visual Language (VOICE)
Contrast of Space The most white space of any set – starts with about 95% and ends with 70%
Shape of Forms Square 1″x1″ or small rectangle 2″x1″, one bigger rectangle 3″x1″ for scale
Orientation of Forms 90 degrees
Size of Forms Sizes are close together to just show the most efficient adjustments to still convey scale when necessary
Placement of Form Center of the page then vertically up and down
Space between Forms If using space, 1″. If just trying to show distinct forms, then smallest space possible

Objective Rules (assignment rules)
#1 Objective alters center object whenever possible
#2 Space is established by only separating forms by exactly the amount of a 1″x1″ square
#3 Keep attention to the middle of the page, perfect symmetry from left side to right side if you folded the page in half vertically

Interpretation of Visual Language
What did you interpret to apply your rules? I tried to use my settings to show both how cars are very safe and efficient means of transportation as well as the freeways that they travel on. When it comes to roads in particular, they are designed to be as efficient as possible (no unnecessary frills) and to keep everyone safe (proper signs, no big holes).
Explain your process. Just as cars and roads are often symmetrical across one dimension, I wanted to preserve that in my sets (using the vertical dimension as the divider). All new forms were placed in precise positions with no angles added since these would have been superfluous to convey the message. Additionally, all new forms really had to be justified as necessary for each objective in order to be displayed (for instance this is why #2 and #4 are the same). For the cross shapes (#2 and #4), these represent signs that are provided on roads and #5 represents a police officer safely and efficiently blocking a road with traffic slowly moving behind him.

Data Visualization Workshop (Journalist)

What is your story?

We wanted to dig into the possibility that police divisions may be profiling certain races as stop-and-frisk suspects more often than they should. This hypothesis is based on some of the occurrences that happened in the last year that suggests police officers may be unfairly targeting African-Americans. As data journalists, we know this is a hot topic in the media and wanted to provide context on what we’re seeing in the Los Angeles region.

How does the selected data support your story?

Taking the top 11 police divisions that had the most number of stop-and-frisks allowed us to break down the contribution of each race as a % within the total number of encounters. This data showed us that there is definitely the possibility that certain police divisions are targeting African Americans more often than other races considering the racial makeup of their assigned neighborhoods. We need an additional set of data to confirm this, which would be the racial breakdown, by neighborhood, of residents over the age of 14 (a gauge for possible stop-and-frisk suspects). We would then compare our data with the racial breakdown data to see if police in certain divisions are unfairly targeting African-Americans (the % of African Americans in their stop-and-frisk encounters is higher than the % of African American residents in those neighborhoods above the age of 14). If this comparison did indeed show that certain divisions were particularly targeting African Americans, then they could be easy targets for division-wide training programs to help them recognize their biases.

What data did you omit, and why?

There are 25 police divisions that we omitted in order to just pick the ones that had the most number of stop-and-frisk encounters. Instead of just picking the top 10, we chose to also include the division with the 11th most encounters since it had a very large % of African Americans involved. As for the other data metrics, we felt that the police officers’ division and the race of the suspect were the most critical dimensions to evaluate based on our intended investigation.

How does the representation support your story?

The representation shows that there are a number of divisions with a very large % of stop-and-frisk encounters involving African American suspects. The data representation provides us with a clear starting point of divisions to investigate to see if they are targeting a higher % of African Americans than there are in their assigned neighborhoods.

What visual metaphor(s) did you use and why?

We want to present this data through a geographical representation as well so that our audience (readers of our journal) can easily identify what the data shows for their neighborhood. This is most relevant to our audience since it is a broader group that would be concerned about their location. We would want to also use the concept of small multiples to have a separate geographical representation for each race.

Teresa Haun – Gestalt Principles

Part 1 – Emotional Inputs Word Associations

(A) Fierce and Dynamic
a. Brave
b. Strong personality
c. Empowered
d. No fear
e. Many layers
f. Action oriented
g. Leader
h. Beyonce
i. Oprah
j. Cat woman

(B) Whimsical and Delicate
a. Children’s laughter
b. Bunnies
c. Doilies
d. Easter
e. Macarons
f. Cupcakes
g. Flowers
h. Lace
i. Tinkerbell
j. Makeup

(C) Safe and Efficient
a. Toyota
b. Honda
c. Bart
d. Flying on an airplane
e. Taking the elevator instead of the stairs
f. Running
g. Tennis shoes
h. Weight lifting
i. Cooked vegetables
j. Well-done protein

Teresa Haun

I decided to convert a d-con mouse trap to an outdoor spare key holder for the unexpected object assignment. The initial associations with a mouse trap are that is filthy and disgusting, so something that a stranger would not want to touch. I wanted to change these negative associations to positive ones depending on the user.

Spare key hiding places have become so obvious, so burglars can easily check inside fake rocks or under door mats or flower pots to break in. I was in need of a secret spot to store a spare key, so thought changing this mouse trap would be a creative way to do so while using the negative associations to my advantage. Even though mouse traps are typically used inside instead of outside, I have a patio door without a screen so I use a small trap like this one to prevent any mice from getting inside my apartment.

The class had a few great responses to my unexpected object presentation. The first was a funny joke asking where I live, since the class then would know where I would hide my spare key. The second was an interesting metaphor that the changed object still prevents intruders just a different type (human) compared to the type that the original object tries to restrict (rodents). The third was a question regarding whether I would even want to touch the trap if it had bait inside, but I clarified that this changed object would now only be used as a key holder or a mouse trap (never both at the same time for that reason).

I think my intended outcome was accomplished as there seemed to be surprise in the room when I revealed what I had changed the mouse trap to, meaning it would never have been suspected as a spare key hiding place.

User Interface Metaphor Discussion Presentation

User Interface Metaphor Discussion Presentation
Teresa Haun, Yang Tan, Meghana Battini

[Please note you can see the presentation attached as images of each slide. The below are some written out explanations, similar to what we talked about during our presentation. Due to the image # limitations per post, there will be an additional addendum post to cover remaining slides]

What is an affordance?

“An affordance is a property of an object, or a feature of the immediate environment, that indicates how to interface with that object or feature.”
Metaphors help us understand affordances. We associate characteristics or emotions from one thing and apply them to another.

Affordance example 1: Computer mouse (Teresa Haun)

A computer mouse allows you to click and select different items on a computer. A metaphor for this is driving a car that gets you around the world quickly, since a mouse is like a little transport vehicle to get you around your computer quickly. This is a universally understood example that works across cultures as people all over the world use the computer mouse and drive automobiles. This metaphor is understood through teaching, since it is not very intuitive to figure out what to do with a computer mouse or how to drive a car. You are taught both usually by a parent or mentor and there is even driving school to make sure everyone understands the process similarly.

Affordance example 2: Apple Home Button (Yang Tan)

The apple home button is the sole tactile button. Metaphors for this are:
– “big red button”, with associations of power;
– rube goldberg machines, with associations of one touch that triggers a delightful cascade of events which you do not have to do yourself, whimsy, fun;
– a nest, which is perhaps a more personal metaphor, with associations of warmth, familiarity, comfort. The home button’s round design evokes this, as well as its function of bringing you “home”.

The metaphor of the big red button for example is more universally understood in post-industrial societies. This metaphor is learned through experience (cause and effect is pretty directly observable without being taught).

Affordance example 3: Mug Handle (Meghana Battini)

Whenever we hold a mug using its handle, we build a connection towards it and feel like it’s ‘ ours!’ just like holding onto something or someone really close to you. Keeping this in mind, the metaphors used for this object are – Affection or holding onto something / someone really close to you.

HOW and WHY do we associate that action and feeling towards it?

We can see that the shape of the object implying the purpose and function of the affordance. In a way, the shape itself can be used as an interface to use the object. We have been trained to do that action whenever we see that shape and we associate that in many other situations like holding a scissors/ a ring/ a person etc. We can see how these metaphors are being used in actually designing an object

It is Universally understood and works across cultures. We have been trained to do that action right from our childhood and now we do it by instinct. No matter how you hold it, the basic initial actions of your hand is the same and that is how you connect with it.

Bad Design example 1: Door that is too close to toilet (Teresa Haun)

An example of bad design is a bathroom that is far too small and the door is so close that your legs hit it while sitting on the toilet or you just can’t get out easily. A metaphor for this is public transportation systems where there are far too many people jammed together and so you don’t have the space you need. Even with more experience using a tiny bathroom or commuting on a packed train, this would not improve the bad design since it is a functional problem driven by too little space accounted for. This is a universally understood example but it is appreciated more by certain cultures that value more space and have the opportunity to give each person more space. This metaphor can really only be understood and appreciated by experiencing the inconvenience of small spaces for the sake of efficiency.

Bad Design example 2: Rally Race Computer (Yang Tan)

The Rally Race Computer has a lot of knobs, buttons and requires a lengthy key combination to execute a simple task. Metaphors for this race computer include: traditional programming thermostat, airplane cockpit, a robotics technician (evokes technology and “expertise required”). Some of these metaphors contain some positive associations (airplane cockpit could connote excitement, speed, technological expertise) but a lot of them have negative associations and emotions such as frustration, overly-complex, confusing.

Experience could improve this, such as by learning key combinations, but only up to limit. After that a functional matter because the core function is impeded: you could forget how to access certain core functionality because of the complexity and diminish your experience.

These metaphors are perhaps more personal. Metaphors for this object are somewhat individual – e.g. generational, expertise-based.

These metaphors are taught, based on your exposure to electronics, tech experience, and/or media concerning race car cockpits, airplane cockpits etc.

Bad Design example 3: An Umbrella (Meghana Battini)

I personally had bad experiences with this object and because of this I would split the metaphoric interpretations into 2 parts –
1. When using it for the first time: Protection/ Blessing.
· An umbrella can be associated with a roof, which protects us from rain and other environmental factors.
· It can also be associated with an Indian way of blessing, which usually implies support.
2. After bad experiences with the object: Weapon/ Pushing people away from you.
Due to some aspects of the object, which makes it a bad design, unintentionally we tend to use it to push people away from you or used as a weapon to protect yourself.
· It is too big for one, too small for two, has sharp ends at its circumference.
· Because of its size and material, it is really hard to use this object in the crowded areas – We usually tend to lift our umbrella due to lack of space.

It is universally understood and works across cultures. The metaphoric associations wouldn’t improve the experience of it as it’s purely function based and is personally linked with every individual using it.

Teresa Haun

Part 1 – What does this object mean to you?

This jacket provides a sense of security for me and represents comfort. I first bought this jacket seven years ago and wore it every time I could. My boyfriend asked one day “why do you always wear that jacket when you have so many other ones too”, but I had never realized how much this one piece of clothing meant to me before then. This jacket also represents simplicity to me as it allows me to skip the daily decision of what to wear by just choosing it instead. This is something I often appreciate when there are plenty of other decisions that are a better use of my time.

This jacket is also the one piece of clothing that I see myself wearing for the rest of my life. When I lost it a few years ago, it was something I had to immediately replace and I plan to do that as many times as it takes to always have it with me. My longevity with this jacket symbolizes stability and continuity in my life, even when so many other things are changing.

Part 2 – Make a Poster

See below.

Part 3 – 1) What if we looked at all objects, people, thoughts, and things in the world in this way? 2) When would we need to look at the world this way? 3) Has the meaning of this object changed?

1) I think we’d find much more substance behind ordinary objects if we examined them all through this detailed lens. Additionally, so much of what can be drawn from an object’s meaning is subjective and no one else besides the owner might have that connection to the object (like I do to my jacket). With a more in depth examination of objects, people, thoughts and things, I think we would really come to appreciate a lot more of what we already have, rather than always striving to buy new things or create new products.

2) A time when we would want to look at an object or product in this way would be if a company was going to partner with another company or product and wanted to truly understand the associations that would be there. It would be essential to analyze all possible interpretations of the company or product to make sure that it’s clear what consumers might like or not like and therefore support or protest. Another time when we would want to examine an object with this level of detail would be if we are trying to replicate it. There are so many details and considerations that go into even the most basic object, so it would be important to understand them all to replicate something or even make it better.

3) I think it’s clear that there would be much more meaning behind any object after examination through this lens than what one would initially think. For my jacket in particular, I definitely appreciate it more than I did before, and I feel greater loyalty to the North Face brand having learned that the jacket is made from 50% recycled materials and 100% recycled polyester. I also think the meaning of this object has changed collectively, because now others may know what this jacket means to me as well.

Teresa Haun

Pre-Berry Associations
Bread – dry, stale, textured, crusty, carbs
Blueberries – healthy, delicious, antioxidants
Lemon – sour, bitter, not good on its own
Almonds – healthy, filling, salty, crunchy

Post-Berry Associations
Blueberries – very sweet, delicious, tastes like candy
Lemons – sweet, taste like an orange, tastes like candy, I want another!
Almond – tastes normal except a little less salty, still just as crunchy and textured
Bread – tastes a tiny bit sweeter , still just as textured and dry

I really enjoyed participating in this workshop and went into it very open to the idea of experiencing a small change to alter my perception of food tastes. I think my openness to the experience changing predetermined associations added to its effect, since the taste differences on some foods were somewhat subtle but I was looking for the differences as opposed to rejecting them. For some foods like a lemon, my associations changed dramatically after having the berry. Lemons are generally a food that you cannot consume on their own, which I found to be the case again before having the berry. Once I had the berry, it was actually enjoyable to eat a lemon and tasted like eating a piece of candy. I even went back to get more because they tasted so good! The blueberries tasted very, very sweet after having the berry and also seemed similar to the sweetness level found in candy. The almonds and bread both had very subtle taste differences pre and post-berry and if I hadn’t been looking for the differences, I think it’s very likely I wouldn’t have even noticed them. The almonds didn’t taste quite as salty as they did before the berry, and the bread tasted a bit sweeter after the berry.

If all food were to taste like it did after the berry just once per year, I think I would enjoy this since I could easily satisfy some sugar cravings without actually consuming much sugar on that day. As the frequency of days increased with this effect, I think I would be less content with the change. I definitely wouldn’t enjoy it if all food was to taste as sweet as it did after having the berry for longer than a day in the short-term, because manufactured food and produce wouldn’t have been adjusted yet. I tend to like savory foods more than sweet foods, so in the short-term it would very tough to adjust to everything tasting so sweet. In the long-term, recipes and ingredients in each manufactured food item like bread could be adjusted to add less sugar from the start, since the berry effects will add plenty of sweetness. For items like fruit in the long-term, I would guess that growers would look to create new varieties that are less sweet, since the berry will make up for the missing sweetness.