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(crowd conversing quietly) - All right. You're practicing? Welcome, everybody. - [Crowd Member] Good morning, Allan. Morning. - [Crowd Member] Good morning. - I'm very happy you're here, 'cause this would not work if you weren't here. Welcome, everybody. My name is Allan Chochinov. I'm the chair of the MFA in Products of Design program here at SVA, the School of Visual Arts. I want to welcome you to our third annual Thesis Presentation Day. Thank you. (crowd cheering and applauding) And to congratulation in advance all the students who will be presenting their work and research for you here this afternoon. Before we begin, oh, this is a new remote, we're gonna animate things for you today. So, and right after that, we'll let you know that you can jump on the WiFi here. So while you're taking a picture of that or frantically entering it in or writing it down, let me, know that we are livestreaming right now. So welcome to people around the world who are watching on the livestream. You can all turn around and say hello to the camera. Thank you for joining us. Yeah, and if you people who would like to be here today and who can't but might enjoy it, just certainly Facebook or tweet or Instagram or SnapChat or Whatsapp, get out there and let them know that they can find a livestream if they just hit the home page at productsofdesign.sva.edu. I also want to express a special appreciation for the families of our students, here and in other parts of the world for all your support. This has been an incredible journey and we are so appreciative to have spent time with these students, your family members. So thank you to all the families who are here and watching. (crowd applauding) I want to start off today by talking about the moment that we are in, this moment we are in. Soren Kierkegaard wrote that, "Life can only be understood backwards, "but it must be lived forwards." If we think about that for a second, and if you forgive me for quoting Kirkegaard in the very first paragraph of my words here today, for me anyway, it cast a present today in a kind of historical, inevitable limbo. We know the right now is all there is, and that right now will become the recorded history of tomorrow, and we know that today is something that we waited for, that we've predicted for, that we prepared for for a very long time. Of course, the students have been, well, they've been worrying about it for about two years, so just five more hours to go, everybody. But from William Gibson's famous quote, "The future is already here, it's just not evenly distributed", to Zadie Smith's quip that, "The past is always tense, the future perfect." That's my favorite. One of humanity's irresistible preoccupations has been obsessing over and desperately trying to predict the future. The future is a time, but for designers, it also feels like a place. We do a lot of futuring work in this MFA program, and you'll see some of it today. Futuring and strategic foresight are now maturing design methodologies with scholars and practitioners around the globe. We need designers to conjure the worlds of tomorrow so that we can see them in advance and make decisions about whether we want to build them or to break them or to bend them, but now, about to begin its fifth year this coming fall, the MFA and Products of Design department has had from the beginning a keen sense of where it lies in the temporal fabric of both the built environment and the cultural moment. We encourage our faculty to devote themselves to teaching to the urgent ideas of the day, and our pedagogy in our curriculum attempt to sketch new vistas, all the while acknowledging that we are standing on the shoulders of others who created work and research before us. In fact, we need those shoulders to climb up on to see even at all. So with the future bearing down on us, and the past shoring us up, what are we to make of the present? Because although the idea of preparing our graduates for the future of design sounds like a pragmatic idea, enabling them to actually deal with the present may in fact be a lot more difficult. Or to quote George Washington in Lin-Manuel Miranda's celebrated play Hamilton, "Dying is easy, young man. "Living is harder." The present is a time, but for designers, it also feels like a place. We live in a moment of profound equivocation. We like things on Facebook, and then we write gleefully that the platform has given us five other emotions to display after years of begging and complaining. We don't talk about religion, we don't talk about politics, well, I guess now we scream about politics or mourn about politics. We pepper almost all our sentences with words like just, or only, or but, or I'm not sure, but, or for what it's worth, or in my humble opinion. We don't even write those anymore, we text them as acronyms on our mobile device. We actively apologize for even having opinions. We have a crisis of upspeak, the term used to describe how people and their sentences on the up, turning statements into questions as a way to prophylactically protect their ideas, even their mere thoughts from criticism or judgment. Except that design is all about judgments. I once had a sophomore student years ago who said that she didn't want to make value judgments. I didn't quite know how to respond since design school is all about learning how to make value judgments; What we should or might make, what we should or might change, what we should or might value. I think she may have been in the wrong business. And you know, who can blame designers for wanting to equivocate? Our work has to acknowledge complexity and contradiction, of course, but it also has to acknowledge complicity. We understand that every move the designer makes is fraught with consequence, and that the cost of material extraction or digital server cycles drops you into the red almost before you begin. Making anything seemingly causes harm, if at the very least, increases our carbon footprint. Awareness of this kind of initial doomer overhead can be paralyzing, and only a creative alchemy of self-discipline and rule breaking, of infinite persistence and knowing when to speak up can help designers come out anywhere ahead. This requires unbelievable nerve and a fair amount of transgression in a time when transgression has a bad rap. Patti Smith's declaration, "I don't fuck much with the past, "but I fucked plenty with the future", is the kind of nerve that our messed-up present demands. And since history is often changed by individuals, perhaps most often changed by individuals, perhaps basically only changed by individuals, the iconoclastic posture of the designer is probably a prerequisite to getting just about anything of value done. But herein lies one of the most important contradictions in design; It's a team sport. The great majority of design is done in teams and it's arguable that nothing of great significance can happen without the combined efforts of many, across disciplines with deep siloed knowledge in concert with generalist synthesis and a heaping, heaping tablespoon, a wheelbarrow full of common sense. So it's in groups that people get things done, but it's in individuals where the initial sparks fly, individuals who don't tolerate the status quo, individuals who won't ever give up. A current media backlash against brainstorming argues for its overestimation and inflated potential. Quiet Susan Cain argues for the power of introverts. VC culture venerates small teams, of three by the way; Business, code and design. Design is always like the third one, by the way. It'd be interesting if business were third one, "And business." Small is nimble, small is disruptive, small is the future, except that the de-facto objective of all of this small is to get big, to scale up, to impact billions instead of mere millions. The paradox is numbing. It may quintessentially be oxymoronic. But this is the moment we're in right now. It's a time and it's a place. And if design is to have any effect on stemming everything from the tide of internet startups' rush to monopoly, to technology's algorithmic assault on journalism, its assault on the stock market, to its assault on free and democratic thinking, we've got to have designers with bravery, audacity, and a keen sense of their individual power. The future is, as they say, in the balance. And that's what we're trying to do, that's what we're trying to nurture here at Products of Design. And so today, you will meet in our third group of graduates from the MFA Products of Design Department-- (crowd applauding) And really, it's our third family. This third, this three, is a profound accomplishment. From I, to us, to we, describes the scalar growth from one, to two, to three. Three is where a couple turns into a few. I know some people fight about that, but honestly, two is not a few. A few is three or more. Not too many more, 'cause then that would be a bunch, or a handful. Three is one of those powerful numbers across so much of human culture and endeavor. In art, you've got the iconic triptych, in literature, the trilogy, in the circus, the three rings, in pop culture, The Three Stooges, The Three Musketeer, the three Charlie's Angels, plus Charlie I guess, I don't know what he's doing there, the three daughters and the three sons of The Brady Bunch. Even when you have two men, you still have those two men plus that baby. Three. There is the beloved and arguably frightening three martini lunch. That's long gone. For cheaters, and we'll be learning a little bit more about cheats and thieves in a project a little bit later on today, the three card monte is a staple, and so is the pyramid scheme, which looks like a triangle. And triangles, well, triangles should enjoy the most revered place in geometry, since our natural world is made pretty much entirely of triangles. There are no 90-degree right angles in nature, by the way. Only humans make those. My favorite design teacher, the sculptor David Lee Brown, and yes, he's also my father-in-law, and yes, I married my favorite teacher's daughter, and yes, we met on a blind date years later, and yes we had a lot to talk about on that first date, well, David Brown is the person who introduced me to the mighty tetrahedron; The most distilled and stable structure, and perhaps the most versatile platonic solid. It's also the most economical structure and beloved by our hero Buckminster Fuller, father of the geodesic dome. And that dome, all threes, all triangles. Fuller was a man for whom design's supreme achievement was lightness. For Bucky Fuller, if a design was lighter, it was better. How sustainable is that? And if we're talking about lightness, let's go to chemistry. The third element of the periodic table is lithium. It is the lightest metal, and the least dense solid element. Interestingly, it's one of the most reactive elements, and so it's only ever found naturally in compounds. It's never alone, it likes to be together, like people. But paradoxically, or poetically, it is also the heaviest primordial element, forged in massive quantities during the Big Bang. So lithium went from being the heaviest to the lightest, probably how the students will feel at about six o'clock today when we're all done. In sign language, the number three is signed like this, not like this, like many people do, because this, in sign language, is a W. We've got rock, paper, scissors, three. We've got Earth, Wind and Fire, three, and Funky. We start with our ABCs, and then we move on to our one, two, threes. When we do a countdown to start something big, we say, "Three, two, one, go." Or, "Ready, set, go." Or, "Okay everybody, on three." All threes. In oration, three rules the day, no need to even talk about that, as it does in freedom. Life, liberty, and the pursuit of happiness. "Liberte, egalite, fraternite." In Canada, we have three political parties. In the United States, I don't exactly know what we have right now. We may need those. I polled some of our international students, and three figures strongly across many cultures. In Maori culture, there are three Baskets of Knowledge; The Basket of Light, the known, the Basket of Darkness, the unknown, and the Basket of Pursuit, the sought. In Chinese tradition, the Tao produced one, one produced two, two produced three, three produced all things. Koreans have an expression, "Habits that are learned at three last until one is 80." I'm fond of the expression, "From zero to 30, "you make your habits, and after 30, your habits make you." In Turkey, a proverb reads, "Let the grasshopper jump once, "let the grasshopper jump twice, "on the third time, he'll be caught." This is similar to the military never three on a match rule. If the enemy sees you strike a match to light a cigarette, he's alerted. If the second cigarette is lit from the same match, the sniper is able to take aim at that soldier. And then the third person to light the cigarette from that match, well, it doesn't end so well for that third person. Maybe this isn't such a good example actually. And Zoroastrianism offers "Humata, Hukhta, Hvarshta", which means, "Good things, good words, good deeds." The Father, the Son and the Holy Ghost, all men. The Three Wise Men, all men. Abraham, Isaac and Jacob, Moses, Jesus and Muhammad, all threes, but does the patriarchy know no bounds? And finally in Brazilian culture, there is the expression, "One is little, two is good, and three is too much." And of course, that reminds many of us of the Three Bears where one bed may be too hard, the second bed, too soft, but the third bed, say it with me, is just right. Want to talk kitty litter? That's what the industry calls children's literature. You've got The Three Little Pigs, The Three Blind Mice, and Cinderella plus her two stepsisters, three. In sustainability, the triple bottom line. In healing, mind, body, spirit. In sports, threes go absolutely nuts. The Triple Crown and the Trifecta in horse racing, the triple play in baseball, the three pointer in basketball, the three point field goal in football, the hat trick in hockey. In the Supreme Court, three women; Sonia Sotomayor, Elena Kagan and Ruth Bader Ginsburg. Yes, and hopefully a fourth coming up. In music, you've got the waltz. (humming) The triplet. Harmonies turn into chords when you go from two notes to three notes. That's new, actually, from the 18th century. Before that, two notes were called a chord. Tenors, altos and sopranos. Once, twice, three times a lady. I do not know what that means. (crowd laughing) Philosophy, thesis, antithesis, synthesis, logic, induction, deduction, abduction. In the Apocalypse, the Three Horsemen, men again, even at the Apocalypse. Maybe because it's the Apocalypse, there you go, thank you. How many scoops of ice cream in a banana split? How many strikes and you're out? How many designers does it take to change a light bulb? Not three. The answer is, well, let's first take a step back and ask is it really the light bulb that needs changing? And if so, how might we reframe the task by facilitating a co-creation session with all the relevant stakeholders? Even in this department, we have had three, we always have three active ingredients in the soup; The first years, the second years, and the next years. And after today at 6:00 p.m., we'll have three years of graduates from this program. And can I actually take a minute to express my gratitude to the two groups of students who have graduated, some of whom are joining us here today? Thank you so much for being here. You can stand up, even. (crowd applauding) Yeah, thank you. And then finally, how many wishes do you get when you're granted wishes? Today, I will take only one; That you are as inspired and as proud of these students and their work as I am, and that after today, you'll think about the power, the reach, the wonder and the audacity of design just a little bit differently, and maybe with just a little bit more hope in the face of some pretty daunting thoughts. One note for today, each of the students has been asked, required, really, to distill a year's worth of work into 11 minutes this afternoon. This is a near-impossible thing to do. Each of the students has, through the course of their project, designed multiple products of design. For every single project, they've created physical prototypes, digital services, speculative features, crowdsourcing platforms, brands, design experiences, social interventions, business models, advocacy campaigns, and many, many apps. Did I forget anything? They've each met with between 20 and 40 subject matter experts and appropriate user groups. We believe that today's designers need to be multilingual and have the capacity to work in all of these different modalities of design experience and research, but also as part of the thesis protocol, we have not given up on the book. We think books are back. You can cheer for that, yeah. (crowd cheering) Each of the students has written a full documentation, full research and full reflection of their thesis, the comprehensive work, and they have them here with them today, each with a minimum of 25,000 words. And I want to ask the students to actually hold up those books and turn and thank Abby Covert who's watching on the livestream. Thank you Abby, yeah. (crowd applauding) Abby stewarded the books. So please, do ask to look at them during the breaks when you see the students in the lobby, and keep in mind that what you are seeing today is just a sliver, a kind of super cut of their full effort. So before we begin in earnest, I want to thank the people today that I've thanked since we first started this MFA program. I want to thank David Rhodes, Tony Rhodes, and Jeff Nesin for their ongoing support for their shoulders to stand on, along with Stephen Heller for co-founding this program and for all his sage advice and cheerleading. And I want to thank the entire SVA community for making this an amazing machine, run by people in it with individuals who are genuinely passionate about their work here. I've yet to meet one person who works at SVA who wasn't happy in that work. I want to thank our amazing dedicated staff, Gabrielle Kellner, Marko Manriquez, Alisha Wessler. And actually, I want them to stand up even. (crowd cheering and applauding) Thank you. I want to thank John Heida and the entire Visible Futures Lab staff for helping the students realize their tangible objects, and Adam Natale and the entire SVA Theater team who may be watching the livestream now instead of doing their work, hello, for providing the space and the technology to record the proceedings here today. Thank you. (crowd applauding) To our incredible esteemed faculty, thank you for providing the leadership, the mentorship, and the dedication you bring to every one of your courses on every one of your class evenings. And for today, I want to particularly thank Andrew Schloss, my thesis one co-teacher for teeing the students up. And to Abby Covert, Brent Arnold, Emilie Baltz, Steven Dean, Janna Gilbert and Sinclair Smith for stewarding the students during this final fourth semester. Thank you. (crowd applauding) To the first year students of the program who have been working today's event and whom you will be seeing here in one year's time, soon. Yeah, you don't have to prepare just yet. Don't even worry about this just yet. I know our thesis students will miss you terribly after today, and I know you'll miss them as well. Thanks to Chelsea Stewart, Ziyun Qi, Josh Corn, Will Lentz for the identity and collateral production for today's event along with Oscar Pipson for some color commentary photography, and to Andrew White for principal photography. You'll see Andrew roaming around today like a magical ghost. There he is. So don't be afraid to actually, you know, you're gonna have to stand up so they can recognize you. You have the largest lens today. So grab him and take a picture with your family and don't be shy. Thank you, Andrew. And of course, I want to thank Victoria Brown and all my family for listening to my doubts, my challenges, my hopes and my pride. I am very proud of the students today, thank you. And I wanted to put a slide in here and I think we couldn't change it. I want to thank all the moms, because it's Mother's Day coming up on Sunday. Thank you, mom. (crowd applauding) All right, and now I'll ask you to help me count down to the beginning of today's student presentations as we welcome our first graduates. Remember how to count down? It's three. Ready, you'll count with me? - [All] Three, two, one. - [Allan] Please welcome our first presenter of the day, Marianna Mezhibovskaya. (crowd cheering and applauding) (laughing) - Good afternoon everyone. Thank you so much for being here today. I'm thrilled to present to you my Master's thesis. My name is Marianna Mezhibovskaya. And I'm thrilled to present to you my Master's thesis, Outsiders: Designing Engagement with the Incarcerated. So this thesis started as a very nonlinear process for me, but I did know one thing; I knew that I wanted my work to revolve around compassion and social support as a means of solving for feelings of exclusion and otherness. In trying to locate my audience, I spoke to a wide range of experts, from people who were members of tight-knit communities to outcast from others due to culture or sexual identity. I spoke with mediators who step in and show compassion for others in times of struggle, by speaking to psychologists and drama therapists and art therapists. Then I spoke to law enforcement individuals who redefined the relationships between police and at-risk youth. And then entrepreneurs and teachers, who work with the largely unseen and unheard incarcerated population. And then I began speaking with multiple people who have experienced incarceration themselves and work for an incredible organization, The Fortune Society. The Fortune Society is a reentry organization that advocates for the rights and the empowerment of people who have been through incarceration. And it was through them that I had the privilege to attend a performance titled The Castle, where four performers, Rory, Vilma, Kaz and Victor walked me through their troubled upbringing, their 60 collective years of imprisonment, and then the path in their lives, and then the moment in their lives when they were introduced to The Fortune Society and the way a few individuals helped them change the course of their lives. It was at this performance that I realized the profound impact of firsthand narrative as a tool for counteracting bias, and where I found the main goal of my thesis, which is to use design to shift negative public perception and inspire engagement with the currently and formerly incarcerated. So I started my work by designing a platform that took individual actions and rippled them out across communities by creating Social Mob; A social decision-making tool that reflects our actions onto our social network through organized flash mob performances. So this is how it works. You create a profile on the Social Mob app in which you enter in your basic information and work/life schedule, so that then one week, oh, excuse me, and then Social Mob connects with your friends, family and total strangers to organize your flash mob. So then one day as you're walking home from work, you become a surprise mob leader whose every action is mimicked. So when you get annoyed and you yell at a passerby, we follow suit. When you donate a dollar to a homeless person, we donate one too. You can then share your mob leader story online, and ultimately join someone else's social mob. And then an interview I had changed everything. I spoke with a friend who works in the government and he told me about a man, a homeless man who threw a brick through his office window. And then when the man was later caught and questioned, he said the reason he threw the brick was that he was hoping to get rearrested, so at least he could sleep in a bed in prison and avoid the nearing storm in the DC area. While this may seem like an isolated incident that is far from the truth, there are over 2.3 million people that are currently incarcerated in the United States. Nearly 10,000 of this population are released from prisons and jails across the country every single week. And two thirds of that population will return to prison for either committing a new crime, or returning to old habits out of desperation and necessity. On the other hand, the people that have been to prison have a much higher risk of suffering from depression and are likely to commit suicide within the first few moments after release. I spent the entirety of this year looking for statistics and numbers about the number of people who leave prison and have no home and no support network to return to, and what I've discovered is that this population is largely excluded from large-scale surveys and social datasets. So I created my own systems map of the system of incarceration. And what I found was that by creating a map that mapped out, excuse me, that maps out a system of incarceration through the lens of access to social support as a basic need that the pivotal moment for intervention is the moment of release, and that became the moment that I designed for in creating Social Boost; A service that helps prisoners plan and survive their first few hours, days, and weeks out of prison. And it is entirely staffed by incarcerated individuals and works in partnership with existing reentry organizations. So the way it works is we partner with correctional facilities to establish communication with inmates that are nearing their release. We coordinate with housing organizations to secure a safe place for them to stay upon release. And at the moment of release, Social Boost drivers, or Boosters, meet their client and take them out for their first fresh meal out of prison. Then they drop them off at a safe place to stay. And after a few weeks, we check back in, and they offer them an opportunity to give back to their community by becoming a Booster themselves. So as you might have noticed, I really quickly mentioned working with correctional facilities and establishing communication. That was not as simple as naively hoped it would be. So I looked for alternative methods to reach the incarcerated population. And what I discovered is there is a growing implementation of touch screen tablets and video conferencing for inmates to be able to communicate with their lawyers and with their loved ones. And it has very simple functionality because there are varying levels of technical, digital and functional literacy. And this helped me to develop my app for Social Boost. So in the Social Boost app, inmates can login using their inmate ID and their release date. And then they have three main functions, which are the calendar, the chat, and the video chat. The calendar is for release date notifications for Social Boost, and there's a chat to help them communicate about the help that they need when they get out. And a video chat for establishing a face-to-face relationship. In the process of doing this research, I found an entirely different genre of electronic devices that are marketed towards the prison population, and those are specifically transparent radios and MP3 players. The reason that they are transparent is to enable correctional officers to reveal if there are drugs or other illegal paraphernalia that are being smuggled into prison. You can buy these products online. There's companies like Sangean that have entire correctional product lines. But ironically, when I had an interview with a man who had been to jail for about a year, he had told me that it was correctional officers themselves who are smuggling drugs into prison in some cases. So I started to subvert this literal design, literal transparent design and make prototypes. What I discovered in the process is that speakers can be turned into microphones, so in the same way that a speaker has electronic signals that it translates through a magnetic coil to reverberate sound, a microphone takes those sound waves, converts them through a magnetic coil, and sends electrical signals. So if you just rewire a speaker with an XLR microphone cable it can work as both an input and an output. So using this, I started to make multiple prototypes. This first one looked entirely too much like a voice recorder, the second one, a little bit too much like an iPod, and finally, I landed on my final form for Chronicle; A contraband voice recorder that's disguised as a radio and marketed towards the prison population, intended to be smuggled into prisons for covert recording of mental and physical abuse by correctional officers. And now I'm gonna take you to a completely different place. I wanted to make an analog form of expression that I could get into the hands of my audience right now, so I created Conviction. It is a sketchbook that leverages the graphics style of a mugshot, traditionally used as a tool to dehumanize people, but in this case, it creates a space for people to talk about their experiences through storytelling and drawing, ultimately creating a space for their humanity. So as people fill in these pages, the bars in the book slowly fade, allowing people to eventually have free reign of the page and to reinvent themselves and decouple their identities from that label of incarceration. Through the support of Dr. Leslie Achitoff, the Director of Creative Therapy, excuse me, there's no doctor there, she works at Rikers Island Jail, a local correctional facility here in New York and she was able to help me distribute my books to some of the people that she works with, specifically two young men and eight women who she works with in art therapy sessions. And with her help, I was able to take their work out of Rikers and create a public gallery. I'd like to show you a short video of the result of that work. One of the most difficult things about being incarcerated is that life on the outside goes on without you. Your children grow up without their mothers. You're locked away and forgotten about. Upon released, you have to try to reclaim your existence, but now you're looked down upon because of your criminal background. (dramatic piano music) At the conclusion of this event, Leslie and I collected all of the postcard responses that were written by gallery visitors. And we put them back into the books and redistributed them to the artists and the authors that couldn't be present with us. In an unlikely turn of events, last Thursday, I was able to go to Rikers and actually meet the people who filled in the Conviction sketchbooks. And much like my thesis started with drawing the people at the presentation, at the performance of The Castle, here, I got to sit in an art therapy session with the women who filled in the books, and I got to draw them and ask for their feedback on the entire experience. And what some of them said is that they love participating it, and in the opportunity to have their work shown in an actual art show. They were overwhelmed by the comments. Some were amazed that people who knew nothing about them, but knew that they were incarcerated didn't judge them. And lastly, that it was incredibly gratifying for them to get those comments, and it strengthened their resolve in this incredibly trying time. So what I hope someday is that I can publish and distribute these Conviction sketchbooks to prisons and jails across the country as well as internationally. And I'd like to thank my parents, my boyfriend Ben, my sister and her husband, the incredible class who I wouldn't have gotten through this without, the class before and the class after, my family and friends who I've barely seen in the last two years. I hope you've forgive me for not answering text messages and phone calls. I'd like to especially thank Allan Chochinov and Sinclair Smith for all of the guidance and the faith in my work, and the rest of the incredible faculty who have mentored me for the last two years. Thank you very much. (crowd cheering and applauding) - Thank you for kicking us off today. This is such unbelievably important work. And incredible timing that you got to visit last week. Can you tell us a little bit more about that please? - Sure. So I met with two of the adolescent boys who filled in some of the sketchbooks, and in one case, Gene Jimenez, a 16 year old boy here in New York, he had written in the book that he didn't think he was ever gonna leave jail, and he was worried that his mom and his sister would ultimately give up on him. And the day that I came and got to meet him, he said that he was going home this week. So, and that's actually happened yesterday. So that was really an exciting moment. - But also I think this is just incredible timing. - It is incredible timing. There's a lot of work that's being done to help empower the incarcerated population. If you saw Governor Terry McAuliffe from Virginia, returned the rights, the voting rights to 200,000 convicted felons. So, it's a good time. - It must also feel incredible to have your work validated, vindicated. It's incredible that you were able to actually do this, not in a vacuum, but to actually be able to check it back with the, I'm sorry to use this term, the user group. It seems a corrupt term-- - These lovely people. - Yeah, with these lovely people, to actually be a part of it. I'm also fascinated by this product category of clear products available on Amazon. Amazing. - Amazing. - Yeah. That's obviously gonna be a more riskier product, but the books, the diaries, that's zero tech. And so, do you have a plan for scaling that up and getting those in to more facilities across the country? It's gonna be a little bit political. You're gonna need advocates to actually handle it for you, right? - Yeah, and I'm speaking to Leslie who loves the books and all of her art therapy staff, and they really want to push this forward. So I'm hoping to find a publisher who's willing to take it on. - Yeah, and she's gonna have some like-minded colleagues across the country, if not across the world. - I hope so. - Thank you so much, Marianna. - Thank you. (crowd cheering and applauding) - [Allan] Please welcome our next speaker, Adem Onalan. (crowd cheering and applauding) - Good afternoon, ladies and gentlemen. My name is Adem Onalan. And I guess I am Turkish student of this program. (crowd laughing) And I would like to present my thesis, Vakit: On the Elasticity and Subjectivity of Time. In Turkish culture, there are two words to describe time. First is zaman. It refers to measure time, demarcated in seconds, minutes and years. Second is vakit. It is used to describe a particular moment. It refers to experience time. For instance, Turkish coffee time is defined with vakit. And that mentality is expressed in Turkish proverb of, "A cup of Turkish coffee commits one "to 40 years of friendship." I'm more interested in vakit because life is about experiences. I hope today, we have a good vakit together. And let's start. I believe our relationship with time has become problematic. The average person spends about five hours a day on their smartphones. We lose our sense of time when we succumb in the bottomless timeline on Facebook. Because we leave in attention economy, where products or websites win by getting our time, we are left constantly distracted. It looks like we no longer get to make the decisions on where we spend our time. Instead, the world dictates what we pay attention to. And they do this by creating meaningless goals. The reality is when we buy things, we pay them with our time. And this time is taken away from family and community bonds, social responsibilities, our passions, hobbies and so on. Thus, we need to take our time back. So I started sketching to search for a better experience of time. I saw that although we live and experience linear lives, clocks interfaces are continuous and designed as closed loops. However, time has a beginning an end, as we experience it. We start the day when we go to, when we wake up, and we end the day when we go to bed. On digital clocks, seconds don't move, until one entire second elapses, as if life paused the screen. And the numbers on the interface don't communicate with our experiences at all. So I created a product, modeled by this concept of continuous time. The first clock is a linear clock which has a clear beginning and end. In the second one, if you look at, if you look at time in three hour segments rather than 12 hour segments, we become more aware of cyclical nature of time and how quickly it passes. I researched elements of time through the lenses of physics, philosophy, neuroscience, chronobiology and psychology. I read a wide variety of books. And that was followed by many subject matter expert interviews. Design visionary John Thackara brought my attention to the idea of taking back control of our lives from the system. And author Dave Bruno questioned me, why are we always so busy? I organized a workshop in order to observe how people experience time, where I conducted a one second experiment. It tests whether or not people perceive seconds different, and how time works in different situations. Participants were asked to push the button on the product once per second. Then the device calculated how long each person thought one second was. In this example, the person pushed it one second when average of 1.82 second had passed. So we repeated the experiment after running around the room for three minutes, and their perception of time changed drastically. This revealed how perception of time is subjective, and can therefore be altered. So I began to wonder, how can we alter our experiences so that we have a better quality of time and ultimately a better quality of life? First, we need to reframe time. And then secondly, we need to slow it down. So let's start with reframing time. All the clocks were initially designed for religious purposes. They later became an important tool in industrialization, and modern life. We put them at highest points of our walls, as if they are infallible. And that provoked me to design Timeoff, a clock that only functions when it is needed. So here's a video showing that experience. (clock ticking) So Timeoff clock is also an assembly product. It's a way to say no to the distractions that constantly fight for our attention. Yes, we need that kind of silence. So I wanted to continue to explore ways to reframe time. I built upon the concepts behind the Timeoff clock and designed Reflect, a smartwatch app that change the relationship between the users and their clock. In the original relationship, the user asked the clock what time it is, and in the new relationship, clock asks the user what time it is. The user tells Reflect the time he or she feels. On Sunday, you may want to enjoy your day, and the numbers on the clock may then become meaningless for you. What if you just want to enjoy the present? Do you need a clock at all? When you define your own time, it empowers you to spend your time the way you wish. And yes, on top of all of this, it does actually tell the time. Time is also valued when it is spent with loved ones. Sync is a platform that functions as a timekeeper, and increases the quantity and quality of time spent together by two people. Sync tracks people and visualizes their movements through a unique interactive clock face. Each person was a color for their individual clock display, so that the couple anticipates when they will be together. When they get closer to each other, their individual clocks also get closer to each other. The clocks only become single clock when the individuals fully sync with each other by spending time together. And through a digital platform, Sync shows how much time they spend together, each day, week, month and year. And here's how a final product would look. Taking control of our time and reframing it is not enough. We have to slow time down and prioritize meaningful, memorable life experiences. This is what neuroscientist David Eagleman says. - And the main thing to do, which you guys are already doing a great job of is make sure that you stretch your mental landscape by putting yourself in situations where you are learning something new. So the last surprise that we learn about time is if you want to slow it down, seek novelty. - The reason that children experience the passage of time slower than us is because everything is novel to them. Our brain doesn't process new memories as we age, because things are no longer new to us. We are not able to differentiate last April from last March, and we don't remember what happened in the last three days. Time is tied to memory. The more memorable experiences we have, the more time slows down. I envisioned Novo, a journal app that encourages and challenges you to bring novelty into your daily life. At the end of each day, it asks you if your day was novel or not. You reflect on your experience in the app, and a beautiful pattern is created by using an algorithm based on your content. Your memory attaches your experience with the pattern, and when you see it, you recall your extraordinary day. Novo creates a calendar of extraordinary experiences, and you can see where you had a novel experience and where you haven't. When moving forward, Novo lets me to ask myself we are tracking the calories we burn, the steps we walk, the amount of time we sleep. How can we also track the quality of time that we spend? I wanted to track daily remarkable moments. And I started with drawing and making quick models of my ideas. Here is the final result. Introducing ETKI. ETKI is a quantified smartwatch concept that reminds you of the moments that actually matter. So this is how it works. (gentle music) ETKI doesn't capture any audio, video or images, it only records the time and location of the event that occurred. Because this is about recalling memories, only then can we understand what kind of events take place in our memories. Moreover, by recalling your memories, ETKI makes you think about the quality of time spent in your daily life. It leads you to try spend your next day more totally. It comes with an app that aggregates user data and allows you to compare your days. The physicality of the object is a reminder for you to question the quality of your time, and it is accessible, so it doesn't take you from the moment. It is not another app, because reaching out to your phone will change the moment. The hope is that the gesture of capturing moments with ETKI has the potential to be conditioned, because we have a special relationship with our wrist, especially when we express our emotions. In this example, football player Luis Suarez is celebrating his score by kissing his wrist. It's kind of funny. (crowd laughing) And this cute power pose of the Success Kid shows how intuitive the behavior of capturing memories can become. And when the gesture of ETKI becomes conditioned, the behavior of capturing moments dissolve in the flow of the moment, instead of distracting it. It comes with a wide variety of options. And the body of the watch is concave, because the space between your hand and the object is for your memories. It is a vessel of your memory. Thank you. (crowd applauding) I want to end my presentation by thanking the Republic of Turkey Minister of Economy, and Istanbul Minerals and Metals Exporters Union, who support my entire educational financially in last two years with an unbelievable generosity. And thank you to those who helped and taught me. (crowd applauding) - Yes. Okay. Did you say that that was a kid's power pose? I love that, with the sand, this kid eating sand. Tell us, this is such a beautiful project, about the word and the name ETKI. - Okay, ETKI means impressions in Turkish. So when we capture, and when we do that gesture to capture the moment, basically, we leave the impression of that memory in our lives. So, this is where it comes from. - And the vessel for memories. - Yeah. And also yeah, those are things, so I was thinking this gestures becomes conditioned later then when people do that gesture and it leaves actually a mark in your hand. So this is another temporary impression of-- - We're gonna have to demo that better. This will only take a few seconds. - This is a very important moment. - Okay. (crowd applauding) Kind of want to go out on applause like that, but you did another project that you couldn't show, this experience design. Can you tell us quickly a little bit about that? - Yeah, actually, I spent a lot of time on that project. - Many people loved it. - Yeah. So it was an experience design, I built that idea upon my one second experiment. I wanted to see how everyday actions and events plays with our perception of time and how people perceive time differently than each other, and how time is important in our relationship. So I created a game, time-trial game. People who are competing based on the perception of time. There were two dies, they were like positive, yeah massive, two dies, and we played the game in Brooklyn Bridge Park, and first dice was for picking a situation, the second dice for picking an everyday action. So basically, so they were doing two minutes, brushing their tooth. So they were measuring the time, based on their perception of time. So, people were expecting that, when we brush our teeth, we always think it's like two minutes, two, three minutes is very long, but since they already knew that, it was very challenging for them to really keep it two minutes. - I like that it was an extension of the one second experiment, which was really profound, and very early on. - It's all in my book, by the book. - It's all in the book, everybody. Can I mark some appreciation for having you in the program today? - Thank you. (crowd applauding) - [Allan] Sorry, I shouldn't be the one to be touching the remote, not again. Leila Santiago de Oliveira Santos. (crowd cheering and applauding) - Good afternoon. My name's Leila Santiago. And today, I'd like to take you on a journey. Here, There and Elsewhere: On a Design Journey around Travel and Place. Prior to starting this program, I studied and worked as an architect in one of the largest and most complex cities in the world; Sao Paulo in Brazil. In architectural school, I learned about the matters of the built environment and the complexities of the urban space, but I also learned that the urban space is a place for playing. And mandatory reading in architecture school is a book called "Invisible Cities" by Italo Calvino. In this fiction book, we follow the famous traveler Marco Polo describing all the cities he has been to to the Mongol Emperor Kublai Khan. We don't realize that he had actually been describing different aspects and different perceptions of his hometown, Venice. "Invisible Cities" has inspired me to look at travel as an experience that can change perceptions of places. To the design researcher, Ezio Manzini, a place is, "A space that is meaningful to someone." And so, if places are defined by the understandings that we have of them, then by changing the perception of a place, we can change the place itself. To prepare myself for this journey, I organized a workshop around the future of travel. Participants created a landscape that reflected possible changes on how humans move. They then visited the landscapes they created and sent a postcard to their present selves about the experiences that they had. One of them wrote about an island in a segregated world. Feeling isolated, she said, "I don't know what it would feel like "to travel to a different place." Inspired by this postcard, I envisioned a speculative, dystopic future. It is the year of 2084. Humans' dependency on GPS technology has destroyed our ability to freely move in the world. And governments have been replaced by The Platform, an alliance between Silicon Valley giants. And The Island is the only place of resistance. Rebels recruit volunteers to help map the island through their resistance newspaper. And the symbol that they paint on walls hide a map that's revealed only with dark light. Rebels also making and send souvenirs from The Island containing a hidden map to people that are still trapped in The Platform. The secret maps help people escape and navigate the world through their senses and their memory again. The geographer Allastair Bonnet says that, "The replacement of unique and distinct places "by generic landscapes is eating away our sense of selves." To fight this, I set myself to design services, products, and ultimately experiences that allow places to enchant us again. And so, let the journey start. Travel's an experience, and as such, it has a progression. First comes preparation, and then comes exploration, and finally, remembrance. When planning for a travel experience, people rely mostly on the internet. But for the current trend of experiencing places from the point of view of locals, maybe that's not the best way. I looked at the current landscape of physical and digital travel guides or similar services, and I asked myself if I could connect people and promote a unique exchange of travel inspiration without adding to the already overwhelming amount of information that's out there. And so I'd like to introduce you to Here and There, a network of travel tips for map lovers. Because everyone loves to make maps. Here and There promote the exchange of physical handmade maps like this containing tips, tips and recommendations made by locals from cities around the world. So let's go through the user's journey. - [Man] First, you go online. You see some examples of maps, and then choose a few themes. Here and There will then match your selection with two maps made by users with similar interests. After the payment, Here and There will mail you three paper maps. Two of them will contain travel tips made by users who are originally from your destination, and the other map will be blank, to be filled in by you, with tips from your hometown. - Participants will have a financial incentive to join this network and mail their map back to Here and There, to the Here and There network. But the biggest incentive to participate is actually the opportunity to connect with other users worldwide. After preparing, it's time for the exploration to start. Public binoculars are icons of tourist destinations. They let you see far, but only what is already there. And so to show the traveler what's unseen, I propose travel machines. Travel machines use augmented reality to reveal artistic perceptions of a place. Here, imagine an intervention that the Japanese artist, Yayoi Kusama, could have done around Manhattan Bridge. Travel machines could also be complemented with the mobile experience. And so when you reach an access point, your phone will use your geolocation to unlock the installation. And this is additional experience. However, because I need to physically move to access them, travel machines have the side effect of pushing people to explore the real world. And the travel experience is never really over because we can always revisit the places in your memory. And this idea led me to souvenirs. Souvenirs, I believe, are containers for the relationships that people establish with places. To foster stronger relationships, I propose souvenirs that stimulate a more comprehensive perception of the environment. So let me introduce you to Sonora. Sonora is a low-cost audio recorder that travelers can use to take audio snapshots, and collect soundscapes of different places. Sonora is an artifact, and not an app, so that its physicality encourages people to record. And so when you have it in your hands and you want to use it and you want to press those buttons, and I believe that that would also make you listen more. Elsewhere is the next iteration of this project. And it combines the physicality of three-dimensional products with the practicality of the digital, and it works like this. Every time you take a photo using Elsewhere Camera, it will also record 10 seconds of audio. (upbeat music) And these other recordings can then be downloaded to Elsewhere Radio, so that world travelers can play their experiences back and revisit the places that they have been. (static buzzing) (woman speaking quietly) Inspired by the words of the poet Susan Stewart, all the imagery that is created with the use of Elsewhere, the app, will then be printed as a ticket because we don't really need high-resolution imagery to be transported back to the moment. I showed my work to the designer, Constantin Boym, who uses souvenirs as a language to reflect on contemporary issues, such as diversity or even terrorism. Constantin asked me to think of the rituals around creating and capturing those moments that I have been talking about. And so with that in mind, I continued my exploration on souvenirs by making a snow globe, but in this case, you don't have to shake it, you shake in it. With the help of my classmates, I designed and built and I installed a photo booth on the Coney Island Boardwalk. And this is the result. (upbeat music) The photos were posted on Instagram so that people could go, participants could go back and find them. But the true souvenir, the one that participants will always remember was created there, where they were engaged and delighted in that very place and moment. And now, I'd like to thank you all for being here today in this place engaged in my and my classmates' journeys. And I hope you're also having a delightful experience. Thank you. (crowd applauding) And I would also like to thank the Brazilian Federal Government for sponsoring my education here. And the faculty and the staff and my classmates. And the friends, all friends that I made here, and my boyfriend, Bernardo, today. Thank you. (crowd applauding) - I think it's often that you forget to thank people after you're done thanking people, so if you want to add anything? One more. - Yeah, all the friends that I made here, and the friends that I made in Brazil, and then also here. - There you go. - And my family, yes. - We could just do that if you want. The work is just so life-affirming, just so happy. I can draw a line between the last project and this project in the idea of taking away a sense, so taking away the video of the moment and having to remember it and build a sort of neuroplasticity groove of memory, to make the life feel a little longer, a little whole-r. In the same way as your Sonora Radio, where you have to, in some sense, conjure the idea through the sound of the idea. I have heard that R train recording thousands of times since I lived in New York for 30 years now, but I actually heard it anew in your video, which I haven't heard that part. - Thank you. Yeah, I think one of the things that it was at first kind of I think an intuition, and then I realized, and I kept it to the end was to avoid travel imagery, so I think travel imagery nowadays is so like, if we could instill this, the desire and the mirth of travel, but it's actually much more about the experience. The experience is not those iconic images that sometimes you don't even get when you go to a place. - And yeah, you were able to create a brand-new iconic image in the, man, I just want that thing right here. - Yes, I couldn't-- - So that much have turned out better than you had imagined, right? In Coney Island? I mean, just seeing images as it got darker in the day and that light started to, combined with the, what is it called? - The parachute? - Yeah. - The parachute, yeah. - I mean, that shot is just-- - Thank you. Yeah, I think it was, yeah, all the imagery I had to create myself and not just use the iconic-- - It was the perfect place. Thank you so much. - Thank you, Allan. (crowd applauding) - [Allan] Please welcome Isioma Iyamah. (crowd cheering and applauding) - Hi. Hello, good afternoon. Thank you all for being here today. My name is Isioma Iyamah and I'm excited to present my thesis with you. But first, a little bit about me. I was born to Nigerian parents who work at international agencies. We moved around a lot. And constant travel meant that my childhood was somewhat chaotic, but it also meant that I gained valuable exposure to different peoples and cultures. And so my fascination with people extended to my undergraduate, where I studied neurobiology. So I was really interested in understanding the biological basis of human behavior, our motives, our quirks and our personalities. But I learned after graduating that behavior under a microscope on a petri dish is not as engaging as life outside of it. And so, design proved to be a way to engage creatively with people, so this thesis is thus the culmination of my two passions; Social behavior and design. And so the sum of my work is entitled In Flux: Identities Under the Influence, where I look at the patterns of behaviors that frame our identities. We are multifaceted beings who manifest many identities throughout our lives. Unfortunately, these identities are subject to the influence of bias, both implicit and explicit. And so my aim was to expose those biases, and in doing so, introduce my empathy and curiosity into our dealings with one another. I was especially inspired by this quote by Robert Lane Greene. "Whether a Mr. Patel in London will think of himself "primarily as an Indian, a British citizen, a Hindu, "a Gujarati-speaker or an ex-colonist from Kenya "depends on whether he faces an immigration officer, "a Pakistani, a Sikh, a Muslim, a Bengali-speaker, or so on. "There's no single platonic of Patel. "He's all these and more at the same time." So our identities are in a state of flux, dependent as they are in context. To act on my work, I spoke to sociologists, cognitive scientists, digital anthropologists, advertisers, translators and design researchers; People who study people for a living. I then read and listened to everything from academic papers and books to pop culture publications and podcasts, capturing a wide breadth of data around communication and identity. And what I found is this. As social creatures, we make sense of our identities by categorizing each other, and we judge harshly. I split, sorry, I split my thesis into four sections; Language, social data, social dialect, and patterns of behavior, each as they pertain to identity. One of my earlier projects explored language. When we speak different languages, we transform them to suit the culture, we assume a role. And for this section, I designed a product called Dicto. Dicto is a speculative AI and language module and it's part of the Amazon Echo family. It speaks pitch perfect everything, it checks your grammar, conjugation and accent, making sure you hit all the right notes and make the right moves. It's for people who want to learn a new language and embody a new culture, but have no time to go out and do it the best way, which is immersion, being around native speakers. It differentiates itself from human teachers because of its accessibility and its affordability. Take Dicto anytime, anywhere. Or anywhere, anytime. So with Dicto, you learn to talk the talk to walk the walk. I imagined Dicto as a series of print and poster ads which were posted around the city. Its personality here is reflected by the copy and color way. Conversational, bright, playful, and a little saucy. I then created a video ad campaign, a series of short humorous vignettes that showcase Dicto's functionality and intelligence. Here's a sample. (upbeat music) - [Dicto] Lesson one, bordel. For example: (Dictor speaking foreign language) - Bordel. Can you repeat the sentence again? - [Dicto] Of course. (Dicto speaking foreign language) (Souvik speaking foreign language) (upbeat music) - So still within the realm of communication, I turned to exploring how what we communicate in social media contributes to our different online personas. I found that just from your pattern of likes on Facebook, an algorithm can determine with 88% accuracy whether you're straight or gay. 60% of the time, it can tell whether your parents were divorced before you turn 21. Introducing Set, where URL meet IRL. So, Set is a geo-social app that helps people make new friends outside their established social circles. And these relationships are based on our users' online identities. Avatars are colored shapes, and so they are generated algorithmically, based on our users' online activity. Examples of activity are Twitter hashtags and tweets, Facebook likes, geotagged photos from Instagram. It scrapes data from your social media activity to match you to similar users, and you can see them move in real time. You can click on user avatars to interact. Select an action from the menu, such as bump, message, or add to Set. You can form groups and make new shapes together, which are metaphors for your new friendships. Have conversations and meet in person if you wish. Your avatar also evolves over time, just like your online identity. So it makes for a nice little jumble on the map. I positioned Set within a brand matrix, and in relation to its competitors, Set sits between specificity and playfulness. Specificity because your avatar and your experience evolves as you use it, and playfulness because in abstracting users' personalities into color and shape, you begin to do away the aesthetic judgment that often mars our interaction with these other social networking apps. So where how you look is often more important than who you are. I designed an experience that extends the geo-linguistic characteristics of social identity, looking at how speech content relates to the spaces we occupy. Where We Are, What We Speak was an event in the form of a multimedia gallery installation. (static buzzing) It was a tour of the city that took place in one room, with the sound and eavesdropped conversation. I abstracted the city into a collection of concrete and steel sculptures, which are arranged throughout the gallery space. These replayed recorded conversation from different neighborhoods. Here is the experience. (people speaking quietly) - [Woman] Zoey wants to work. - [Man] Assuredly our objective strategy and KPIs are-- - [Man] He probably looked like Woody Harrelson. - Whoa! - Yeah. - [Man] All of them, they were all part of a bloodline. Shakespeare, Francis Bacon and so forth. But a lot of people don't know that he died for a period of time until he moved to the island, which is where he ended up dying. - [Man] Ladies and gentlemen, we are being held here by the transit authority. We thank you for your patience. - So I learned some things that were quite expected. People are judgemental. "I heard a bunch of whining, "so I guess financial district was something I heard. "They sounded pretty hipster. "Williamsburg? "He sounded black." But I did hear some positive things. People were curious. They wanted to hear more. They were fascinated by the conversations and they tried to imagine the lives of the speakers. Curiosity is good, because an empathetic response demands an ability to imagine the lives of others. I believe that our biases stem from an inability to understand how others fit and experience their identities. And researchers have found that listening to a narrative involving people provokes a greater empathetic response than simply viewing one. Jamil Zaki from the Department of Psychology at Columbia University says, "A perceivers' ability to correctly identify "the internal states of social targets "is known as empathetic accuracy. "Results suggest that auditory, "and especially verbal information is critical." We are so fixated on the visual. I wanted to create a product that privileged hearing over sight, a product that allows people to experience another's space by listening to their patterns of behavior; Transceiver. It's a product that records a user's daily sonic activity in the home. It doubles as both the microphone and a speaker, simultaneously recording and replaying sounds from the home. Transceiver's platform allows users to share and to learn about each other. It's linked to a dedicated Soundcloud account, where users from all over the world can upload their daily rhythms. You can explore different locations. And for example, if you wanted to hear what Laura, Kumar and Diana were doing in Belmont, California, you would simply click and listen. And here's a sample of what a user may hear. (man breathing deeply) (electronic beeping) - Good morning. - Good morning. (liquid pouring) (steam whistling) (woman laughing) - So by following the activities in the recording audio, listeners use the immersive narrative to imagine what it means to be a person on the other side of the world. We learn how our differences are also our similarities. Our patterns of behavior are notes in one ever-shifting composition; We each belong. And so thank you, everyone. Thank you POD family and staff, and thank you to friends and family for supporting me through the grad school vortex. I love you. (crowd cheering and applauding) - Grad school vortex. We have a new department name after the fifth year. That's good. Sound again. So you had this idea that you would actually listen to somebody from another part of the world and mimic their sounds, like you would act out their day based on guessing what was happening in the soundtrack? - I think I was thinking more about mirror neurons. So when you actually listen to someone performing an action, your brain actually goes through and mimics those actions for you, so that's a way to develop that sort of empathy. Because then I realized that in terms of practicality, maybe someone sleeping, like in the middle of the day, you probably don't want to go to bed. (laughing) But it could be super fun. - I think it'd be like wow, this person brushes their teeth a really long time. And maybe I should too. - Exactly. - I think it would be good. - You have that, perhaps. - So there's been a lot of combining science and art for you in the program. I think it's really, really important in design. A lot of your three-dimensional work is very crafty and artful and I'm appreciative of that. What do you think about this combination now that you've been at it for a couple years? - You know, I think it works. I mean, I'm really surprised that it works. When I came in, I thought I'd have to develop a whole new lingua franca of design and art making, but I think engaging myself and because, physicalizing my ideas really ended up working pretty well. So thank you for pushing me. - Thank you for being here. Thanks Isi. - Thanks. - Thank you, everybody. (crowd applauding) Stool razors, and I remarked that we needed a better name for them. And I have no better name, so we're still open for the new name for the stool razors. Please welcome Oscar de la Hera Gomez. (crowd applauding) - Good afternoon, ladies and gentlemen. My name is Oscar de la Hera, and today I'll be presenting to you my thesis, Finding North: Marrying the Physical and the Emotional in Order to Process Trauma. In Spain, we have a saying, "Ha perdido su norte." Which means, "They have lost their north", to describe when a person is acting out of place. And in particular, the north that I'll be discussing with you today is the pursuit of recovering one's mind, life, and sense of self, after an emotionally traumatic event. The interventions that I'll be showing to you today lie at the intersection between Western social interventions such as help from family, friends and professionals, and Eastern introspective interventions, such as yoga or meditation. These interventions carry the purpose of helping those who have recently suffered emotional trauma transition to a more hopeful, happier, and healthier state of mind. The quest of finding north began last summer, when I was living a particularly painful moment. It appeared like the world was falling down around me. I had lost a lifelong friend. I was processing a series of family problems, and I had experienced friction in my professional life. I was stressed, anxious and didn't feel safe. I couldn't control my thoughts or my emotions. It was overwhelming, and I didn't know what to do. As part of this experience, I did some research, and it turns out, that when Dr. Francine Shapiro was asked about broken relationships, she said that, "Research indicates that many kinds of life experiences "can cause more post-traumatic stress disorder symptoms "than major trauma does." Having intrusive thoughts of an event is one of these symptoms. Others include avoidance of trauma-related stimuli, such as avoiding people or places, emotional numbness, difficulty sleeping, and concentrating. And what's more is that according to the world's largest epidemiological study that was carried out in 1995, experiences like the one I have described have occurred to 193.7 million individuals in the US alone. I took these facts as a call to action, but was unsure how to approach this topic. So I dove into a series of books with a vision of discovering a means to an end, ideologies and philosophies, and as part of this, I learned about the areas of neurolinguistic programming, spirituality, neuroscience, and sociology. However, this wasn't enough. And so I conducted a series of interviews from a wide range of fields, from psychotherapists to magicians, to spiritual leaders and transformational coaches. And although all these interviews were extremely engaging and eye-opening, there were a few in particular that stood out, the first of which came from my interview with psychotherapist Emily Roberts, who said that, "There's a necessity "to produce a product or system "that alleviates emotional distress." And that through this, individuals would be able to rationalize their thoughts, and thus enable them to deal with the trauma from a different perspective. This insight struck a chord inside me, and as a result, I began to research popular types of psychotherapies which is when I came across eye movement desensitization and reprocessing, which is also known as EMDR, and was discovered by Dr. Francine Shapiro in 1987 and through more than 30 studies, has demonstrated its ability to alleviate emotional distress associated with traumatic memories. I'm gonna run you through an exercise to show you how it works. So please follow the pen on the screen. Okay, so the most common way EMDR works is by making your eyes follow lateral movements while simultaneously attending to emotionally disturbing material. This is a form of bilateral stimulation that rhythmically stimulates the rational and emotional side of your brain in harmony, alleviating your emotional distress. And inspired by this ability, I created Finito, which is a product that's envisioned to be handed out on the streets with the purpose of raising awareness of how individuals can ease their emotional distress through drawings. And under the slogan draw for relief, it requires the individual to take deep breaths while simultaneously following the tip of their pen or pencil with their eyes as they draw a figure eight. This simple exercise only requires a drawing utensil and a paper and reduces the stress from an individual, aiding them as they process trauma. However, although this may alleviate emotional distress, it may require a therapist to put the trauma into remission. So I wanted to find a way to support this process by an introspective approach, which is why I reached out Enrique Simo, who's a transformational coach, who suggested that this process could be supported through meditation. Meditation refers to a broad variety of practice destined to help individuals attend to their thoughts, emotions and sensations with an attitude of non-judgment, kindness and curiosity. And in particular, what he said was so powerful was its ability to control where you focus your attention on and that through it, you can change you inner narrative. Other benefits include reducing your resting state functional connectivity, which is the activity that your brain experiences in the absence of external stimuli, and this significantly reduces stress and anxiety. And additionally, I discovered that, one second. And initially, I discovered that in a study that was carried out in 2012 on 92 veterans that meditation had shown clinically significant improvement in PTSD symptoms after two months. So, meditation is currently practiced by 25 million individuals in the US alone. However, given the value that I know that this practice has, I was shocked that it had such a small market size compared to those who have experienced trauma. So I turned to users to find out why this was the case, I interviewed 10 people who had experienced at least one trauma in their life. These people range from experienced meditators, to beginners, to cynical people. And although I heard a lot of things such as, "I don't want people to think that "there's something wrong with me", or, "When I'm fragile, "I don't want to leave my personal safe space." The key point that kept arising was the following; "How do I know that I'm doing it right?" This left me clueless. I didn't know how to answer this, so I reached out to my experts, and as it turns out, learning to meditate is a common problem, and it could be solved through ceremonies or through biofeedback, which is learning about your physiological or psychological functions through external stimuli, and that in particular, focusing on the breath was a common technique when using to learn how to meditate. This really resonated with me. I wanted to discover whether a light-driven biofeedback of your breath could help individuals learn how to meditate and perhaps this could be done with a wearable that measures the width of your diaphragm and converts it into light. So I created Solace, the light in all of us. An interactive experience that enables users to practice contemplative meditation through a system that converts your breathing into light. (gentle music) Having experienced Solace, it was time to learn about the experience and discover its potential, and this is what I heard. The first came from Jane, who's a director of voice and speech at NYU and she said that, "This gave a really nice center "to one place in the torso, "which made me worry less about breathing "and what it should be, when working on releasing the mind." Or Mark, who said that, "Seeing your breath turn into a calm "and rhythmic flow of light "makes you feel peaceful and confident when meditating." And finally Jen, who would recommend this experience to her friends as she found it very easy to go into a deep state of meditation. Having received this positive feedback, I wondered how I could expand the reach of this experience. What if Solace could operate as a platform, which would allow you to practice meditation individually or collectively with anyone around the world? What if it could be practiced anywhere that has access to internet and electricity? That would mean you wouldn't have to leave your own safe space, or have to expose yourself in those delicate moments when you're dealing with trauma. The platform could be centered around a product such as Lumie, a smart lamp, which uses a wearable to turn your breath into light. And the community could be led by leaders that gives ceremonies, which potentially could serve as a source of income. And all of this could be available by an app which would enable you to find Solace alone or through our community. Its solo features could help you find your inner peace through Echo, a feature that allows you to gain awareness of your breath through light-driven biofeedback or resonant breathing exercises. Let's see what that would look like. So I'm gonna give you guys a warning that the exhale's twice as long as the inhale. So if you breathe in through your nose. (deep inhaling) And out slowly. (deep exhaling) And again. (deep inhaling) (deep exhaling) Okay, so this is called resonant breathing, and it occurs across all human beings at approximately one breath every 10 seconds, and has shown to greatly decrease depression, stress and anxiety in individuals. And the reason why the exhale is twice as long as the inhale is because by exhaling slower, this activates a part of your body known as the vagus nerve. The activation signals your sympathetic nervous system, which reduces your blood pressure, and this makes you feel rested and relaxed. This exercise is available for all of you to practice at the following link. Having explored the solo features, I wondered what the community could offer. It seemed critical for this platform to include a social element. What if Solace would allow you to participate in guided meditation with the leader of your choice? Or if that wasn't for you, perhaps you'd be more interested in finding Solace with your family or friends, and thus, share an intimate moment with them by aligning to visualize their breath in real time. Here's what it would look like on a screen. So as you can see, as someone inhales, it gets bigger and darker, and as they exhale, it gets smaller and lighter. And this is what it would look like on your Lumie Lamp. Looking forward, I'm interested in developing Solace further and plan to hold an experience in the future to test and learn about the pen feature, an experience that I consider vital in the path towards creating Solace as a platform. Thank you. And before ending, I'd like to particularly thank my mother and my aunt who are sitting with us here today, our department, and my extended POD family, and my friends and family who are watching from New York. Thank you. (crowd applauding) - Okay, you're gonna have to tell us again about the pen. - The pen? - And the infinity. - And the infinity? - Yeah. - Which part? - So what am I doing when I do that? - Okay so by-- - I'm just gonna be drawing it while you're talking. I have to move my eyes, right? My head stays, my eyes have to move? - Yeah. - Not my head? - No, well if you want, you can move your head, but that's counterproductive, really. So when you look left, you can actually feel the left side of your brain being activated, and when you look right, you can actually feel the right side of your brain being activated. And what this does is it actually harmonically stimulates the left and right side of your brain, which are your rational and emotional side of your brain, and that actually allows you to process trauma because it lets you feel the emotion and then it slowly takes it away, and then lets you feel it away, and that actually allows you to gain a sensation of what it is and heal. - And is this a practice like, well, I mean is it a practice? Is it built up over time? Do you sort of get good at this, like you would get good at meditation? - I think so. It seems natural for that to be the case. - But it needs to be guided? - No. I mean, it depends on who you are and how you deal with things, really. If you're the kind of person who can deal with things by themselves and don't need someone else, then perhaps it's something for you, if you want to do it with a friend to draw it and take deep breaths, whilst talking to a friend, then maybe that's for you. - I think it should be, it's great that you have the breathing app on your site. I'm gonna go to it, well, right now, soon. But it would be nice to get a PDF that we could download to trace as a suggestion. - Yeah, it's going to be available at my website very soon. - All right. And the model and all the model making and the circuits, I mean, this is like endless for you. People should know how long it takes to make things in this world. - Yeah, I had to say goodbye to my friends for two months. - Hundreds of hours on those prototypes. - Completely worth it. - But it works, right? - Yeah. If any of you are at Industry City tomorrow, I have a functional prototype to show. - Yes, actually, it's a great moment to announce that. The students have an exhibition opening in Industry City as part of NYC by Design on Saturday night. And then the first years will be unveiling design experience at Wanted Design opening next Friday night. So tomorrow night, Saturday for the second years, and next week, Friday for the first years. Thank you so much, Oscar. - Thank you, Allan. (crowd applauding) - [Allan] Please welcome Hung Wan Jung. (crowd cheering and applauding) - I'm not used to being that tall. Hello everyone, thank you for being here. I'm Hung Wan Jung. Today, I'm going to present my thesis, Do it Now: Overcoming Procrastination. This is me. When I was in elementary school, I always cry at the end of the summer vacation because I had only one day to finish all the assignments. (crowd laughing) This is also me. I'm the one behind the podium. In the screen, I took this photo last year, when I photographed the thesis presentation, I wonder if I was be anxious on the stage when it was my turn. Thinking back to the all-nighters and the last meeting we're doing that year, I decided that I need to overcome my procrastination. I knew the only way I could do this was to make it my thesis topic. I did a lot of research. I'm not alone in suffering from procrastination. Procrastination in college students run as high as 75%. In general population, chronic procrastination affects 25% of adults. The US government makes $500 million a year from people who doing the procrastinate on their tests. Dr. Piers Steel, who has been studying procrastination for more than 10 years say that procrastination is the avoidance of doing a test which need to be accomplished. Unlike the truly slothful, procrastinator want to do what they need to do, and usually do get around to it, but not without a lot of struggle. In the book "Procrastination: Why You Do It, "What To Do About It", Jane Burka and Lenora Yuen explain the struggles. They are fear of success, fear of value, fear of the losing battle, fear of the separation. Imagine that if we will better understand the reasons that you procrastinate, you can pay attention to overcome it. But this is my bed. I have been sleeping with these clothes for two weeks. (crowd laughing) I ignore them, I haven't fold them yet. Why did it happen? I did further research on neuroscience, which shows when we procrastinate, the unconscious brain, the limbic system has an argument with the planning brain, the prefrontal cortex. Usually, the limbic system wins. If you find something to be unsatisfied, it immediately steps in to distract you with something more pleasant. The most evidencing I saw in my research was that screens are the biggest cause of procrastination. Research shows that people are easily distracted by internet. Last semester, I shared a Google Doc of my thesis with my classmate. Her profile picture would show up whenever she opened the link. As I was typing my thesis, I has a feeling she was looking at me. It was like she was keeping an eye on me, because it was real eye, I feel I was really being watched. So I mocked up a low fidelity version prototype. It's a sticker for people attach on their phone to keep an eye on them. I mocked up Watching You, a device that tracks people's movement that exerts pressure on users to motivate them to do their work. Users have Watching You on the wall, or place it on a screen, and connect it to their laptops. When users spend too much time on social media or apps, the googly eyes show up and surprise the procrastinators. (crowd laughing) From this project, I create watchy.me. Watchy.me is a productivity tool app that imposes itself over your other apps. Unlike apps that analyze or tracks users' data, watchy.me presents a more direct and active way to help people stay focused. As you do, you pick up your phone. You check Facebook. Nothing special. Maybe look at Instagram. When users spend more than half hour on social media, watchy.me pops on your screen and shows how distracted you have been. If you dismiss watchy.me and keep browsing, the red eyes pop back up, and it starts to track your finger movement. You need to enter into the eyes to know your stats, and you can change your eyes. Normally, it will look like this. When I interviewed Rob Walker about productivity and procrastination, he say that, "The dangerous part is the time seems to be very productive, "but actually, I don't get anything done "at the end of the day." I feel the same. I like to make this so I can see what I got done. But I make it everywhere, on Post-Its, on paper, on a notebook, and tissue paper. But if it's out of sight, then it is out of mind. I realized this problem, and I came up with a reminder that could be worn on nails. I create 3D nail art. Each one has different meanings; One for calling my dad, one for doing laundry. When I complete my tasks, I can remove the 3D nail that corresponds to that task. I want to bring this experience to life for others. I create an experience called It's Time to Nail It. I worked with a first year student, to decide a first prototype. When we discussed her two-week personal goal, we found out there were too many things on her to-do list. So narrow down her list into a single complete goal, the job fair, which was to be held in two weeks. After working through the details, she who wrote down several incremental steps she could take in order to complete the ultimate goal. I put checkbox on the fingers on her left hand and icons relating her steps on her right hand. I started to practice in painting everyone's nails, and also draw icons and make them to be stickers. On March 20, I use my final prototype and did nail art for 10 procrastinator. Here is the worksheet I provide. Please enjoy the video. (upbeat music) I sent out follow-up letters after a week, and received some negative feedback that their nail had chipped, but they all say the reminder had really worked and keep them working to their goal. Some admit that they had forgotten the meaning of each icon, but continued to work anyway. During It's Time to Nail It, one of the participants say that part of the experience she liked the most was talking to someone about her goal. The talking helped her understand the things she knew to work on, and also the things she had forgotten to do. People need to change their mindset in order to stop procrastination. From this insight, I create Olaf. Olaf is a personal assistant app that uses conversational interface in a bot. He has his own personality. User can speak directly to Olaf to manage their calendar. Olaf allows users to be honest about their excuse for wanting to cancel a meeting or skip a class. He will send texts or emails to reschedule. If a user use the same excuse to reschedule, Olaf will show the record of their excuse in order to remind them of how they have been trying to put off. If users break too many times, Olaf will show the excuse running out. Many procrastinators realize their own versions of passage of time. The procrastinators' ideas about time do not match clock time. I will start studying after dinner. I want to create a product that would help change a procrastinator's perception with time by showing them every day how much they had worked on their goal. Introduce Mary-Kate. Mary-Kate has two screen. The right part is a timer. When user press a button, the 25 blocks show up, one for each time. As the time goes by, the blocks disappear on the right screen. When you've accomplished one touch block session, a block shows up on the left screen, displaying how much time you have been spend on your goal. The 25 minute interval is derived from a Pomodoro Technique, breaking less working time into individual 25 intervals separated by short breaks, which has been proved to make people be more productive. This is how it work. (light music) (bright upbeat music) (light music) (bright upbeat music) This work is prevalent to everyone. At least five times a day, my classmate ask me if I'm procrastinating. They also tell me when they are procrastinating. I'm happy to have their feedback. It has given me the confidence to move forward. I will leave you with a quote from my therapist, Kim. She say the way to think about the work you need to get done is to do for it, all you need to do is keep rolling. Thank you. (crowd applauding) - [Allan] So, did it make a difference? - Yes. - Yes? Are you procrastinating with a longer answer? - A little bit. - The nail thing is just so great. - Thank you. - Yeah, I think maybe we should set that up outside in the lobby. So the work is really very much a combination of a carrot and a stick, like a punishment, if you don't do stuff, like Olaf yelling at you, and an incentive. So do you think that both are required? Did you sort of land in one of the other, thinking that this is a better strategy maybe for you personally or in general? - I don't get your question. - That's all right. Do you think that people need to be, that Olaf needs to yell at them? Or they need gentle reminders, like the nail? - I feel like it's a little bit different from each one, because each one have fear of what they procrastinate about. So, some of them yell and that might work, but some of them, it's like, oh, now you work. - And so I know that it's a lot of all-nighters for the faculty, but just give us an image of what your bed looks like now after the last couple weeks. Or it's cleaned up? - I cleaned up yesterday. - Yeah? All right, all right. (crowd applauding So this works, design works. Congratulations. - Yeah. - Thank you, Hung. - No problem. - Thanks. (crowd applauding) Okay. Did not really anticipate that. Please welcome Eden Lew. (crowd cheering and applauding) - Hi, thank you all for being here today. My name is Eden Lew. And I'll be honest, I'm scared of graduating because that means I'll need the bravery to voice my opinions to say no and to stand up for myself. School has always taught me to be kind and to do good, but in my last year, I realized I was never shown how to be bold and bad. So in order to find my confidence, I studied the criminal mastermind. This is my thesis, Masterminds and the Art of Misbehaving. When I say criminal masterminds, I'm talking about diamond thieves, burglars, and con men. For research, I read books about scams, elaborate heists, and life in the mafia. But really, I just watched a bunch of crime films. I wanted to learn the skills of deception in order to become a better designer because I found that designers are not so different from criminals. Casing a joint is basically design research, where you're observing people, learning about the system, and you find blind spots. Hacking and tinkering are things that we do in the VFL, which is our workshop, and branding makes us these masters of persuasion, almost like we lure people in, trap them with beautiful visuals, and then we take their money. I spoke with Ilona Gaynor, who sees a designer's role as a schemer, plotter, and master planner. We talked about how historically, craftsman and artisans were once deemed evil because of their ability to draw and render, and actually, architectural drawings were once forbidden because they provided too much information for people to do wrong with. Robert Murphy, a psychotherapist, said to me that designers create need, and that's criminal. And I think he's right. Isn't it criminal that designers are behind ads that make us obsess over our bodies, or even the engineering of guns so easy, children can use? And someone out there is making renderings for products that we don't need that are destined for landfills. My thesis came down to this. I think criminals are more creative than designers because of their risk-taking and subversive thinking. And the process of planning an intricate crime is a design process. And because designers are already manipulators, it would be very easy to detect criminal ways. From meeting Alexa Clay, who co-authored this book, "The Misfit Economy", I saw the lessons that designers can learn from hackers, pirates and gangsters to start saying no to unethical projects and to use crimes tools to fight for good. But really in the end, all I wanted to do was spend a year learning how to be bad. So in my transition from good to evil, I started sketching quick products of stealth to hide my secrets. I made sticker secret compartments and hid credit cards and copies of keys around the studio. And inspired by secret languages, I made a code, and created a tool for others to decipher my messages. But from a utility standpoint, analog codes are slow to use in actual communication. So I went the digital route and imagined a plug-in for online messaging, reasoning that secret codes should be as fast as writing an email. This plug-in in real time would translate your intended message into one that is seemingly innocent. And going further into augmented reality, I figured I could sticker the city with this QR code logo to create drop sites where you can pick up messages using your camera. Next, I needed a disguise. I tried evading surveillance cameras with this clear hiding hood, and it was supposed to blur your face when you pass by the cameras, but really, it just attracts more attention. (crowd laughing) So after watching the movie Inside Man, I learned how to use high-intensity infrared LEDs which is basically a super bright flashlight to shine in the camera so you can create these blind spots. And I realized criminals need to disguise themselves in the physical world, but they also need anonymity online. And a great hub of illegal activity exists in the dark web, which is a collection of websites that uses anonymity tools to hide black markets for drugs, fake IDs, hit men and more. I couldn't access the dark web 'cause it was really dangerous and I almost got, it was like erasing my digital identity, but inspired from the process of hiding online, I devised a web service of shared fake identities for people to use the internet as someone else. And so, hundreds of people can surf together under one name. And the beauty of having multiple users on one account is that it's harder to trace activity back to a point of origin, leaving users free to roam the web anonymously. Finally, I want to make crime tools, but I realize I had them all along. Most tools are everyday objects that are manipulated with bad intentions, like screwdrivers and hammers. So thinking about sort of the aristocratic criminals I admired, I imagined regular concealed objects of thievery redesign by couture brands, so that crime tools now flaunt the danger of a criminal mastermind's status and expertise instead of having it hidden. So this is a Prada security camera, for flashy surveillance in the home. And a Louis Vuitton knife, for aggressive elegance on the go. (crowd laughing) The most important trait of a criminal mastermind is the bravery to be manipulative. Really, I just wanted to be these romanticized characters who can charm their way through lies. And as I watched crime films, I started remembering and even bragging about times when I forged documents or tricked people. So I decided to set up a pop-up shop called Masterminds to celebrate and reward misbehavior. And I would let people come and brag about their crimes under a disguise. For disguises, I made face masks of the heist crews from The Italian Job, Fast Five, and Ocean's Eleven. And in case people didn't know the movies and characters, I compiled case files for each face, so my visitors could be inspired from the movie crimes and also trigger memories of mischief. Under disguise, visitors would go to a machine in the back of the shop and brag about a time they were proud of misbehaving, and the machine would rate the deed with diamonds and gold, relating to the Scale of Badassery. So for example, pranking people could be a bold move. Tricksters and daredevils shoplift and steal candy. Forgery and cheating are hazardous and superbad. Then finally, the mastermind comes up with the schemes that take us all by surprise. And here's what happened. (uptempo jazz music) - Hi! - Hi! - [Machine] Welcome to Mastermind. When was a time you were proud of misbehaving? - We stole the exams from a teacher's desk. - I stole candy from a service station. - I cleaned a toilet bowl with her toothbrush. - I forged letters of recommendation for a scholarship. And won. - [Machine] Calculating. (uptempo jazz music) - We've established that criminal mastery is cool and badass but in reality, old school burglars are a dying breed. There's no need for the strategy and knowledge in planning a bank heist anymore, because hackers can do so much more damage with a few keystrokes miles away. So far my last projects, I wanted to bring back the physical knowledge of planning heists and raise a new generation of criminal masters and strategic burglars. I saw that in extracurricular education, children are really taught to break rules and challenge authority. And I found that rebellious kids grow up to out-earn rule followers. So Masterminds Academy allows kids to engage in creative rule breaking. It's an after school program to teach the physical and digital skills of criminal mastery. And we would teach lock picking, safecracking, and sleight of hand to give kids the permission to misbehave and have confidence in their new skills. And I would imagine it competing with other educational maker movement programs, but as you can see from the highlighted direct competitors, there aren't many programs that teach this white collar crime to children. So going further with this skill training, I developed one last product to teach kids lock picking. This is Keyhole Gigantico, a wooden puzzle box and piggy bank, that functions in the same way a keyhole. Basically, kids have to learn how to pick the giant pins with giant tools to get their money. (uptempo jazz music) (coins jingling) In my journey this year, I've learned so much more by breaking rules instead of following them. I'm definitely bolder and braver. I've learned that being creative is subversive and requires confident risk-taking. I can't tell you what my next scheme will be, but I definitely will remember that sometimes it's good to be bad. Thank you. (crowd applauding) And thank you to everyone who supported me for the past two years, you all know who you are. And thank you for all coming. (crowd applauding) - Thank you. I thought you were gonna take it. I have so much admiration for this project. I remember the day you proposed this thesis topic. And I was just so crossing my fingers that you were gonna do it, and like in a year later, I knew that I wouldn't be able to believe what you did. So thank you for that. You had to leave out a lot of projects. Can you tell us about even just a few? She just did so many things this year. - Yeah, when I started this project, really, I just wanted to learn how to run a mafia. And so one of my projects is called Gray Market Studios, which is a design syndicate. Basically it's a bunch of designers designing crimes. And we hacked bibles and plotted prison breaks. I made a lying conversational UI so that it would help people scam on telephone records and stuff. We also, oh, I made like fake plastic bags, and-- - Oh, I remember that one. - Yeah. We also broke into your office. Yeah, you want to see? (crowd cheering) Hit it guys! - I'm very scared. - Are we recording? Yeah? - Yes! (crowd cheering) (uptempo jazz music) (crowd applauding) (group conversing quietly) (crowd laughing and applauding) - Well, I gotta say, I gave a talk at MIT last week and I even showed some of your work and I introduced you as The Amazing Eden Lew, and I didn't blink and they were like, "Oh, I guess that's her name." Thank you so much, The Amazing Eden Lew. - Thank you. - You're the best. (crowd applauding) That's the end of group one. We're gonna have a short break with amazing refreshments outside. It's gonna be pretty quick because we have a lot of students today, and we want to make sure that you're around and they all have the time that they rehearsed for. I think it's just gonna be 15 minutes. We're gonna find a bell and we're gonna ring it, and if you could just sort of hustle back in here, that'd be so much appreciated. Thank you, everybody. (crowd cheering) (crowd conversing quietly) Welcome back, everybody. Welcome to those who have just arrived and welcome back to those who were with us in group one. In the first group of presentations today, the students examined egos, alter egos, and a lot in between. Everything from what happens to the individual when you're in or out of incarceration, journeying to a distant destination, trying to understand the rhythms of other cultures or even just your own breath, overcoming procrastination, or trying to make your time on earth feel a little bit longer, or seeing just how badass your criminal alter ego could be. Thank you. This next group of presenters are going to push the limits of investigating the potential that artifacts have to change our appreciation of the often marginalized in our culture. We'll start by looking at the role of design in helping people with paralysis, through those with ADD and ADHD, and end with an investigation on design's potential role in assisted suicide. And along the way, we'll look at marginalized, underappreciated materials, unexamined movements, video game addiction, and the role of female voices in the tech industry. So yes, pretty fascinating second act. Please welcome our next first speaker, Souvik Paul. (crowd cheering and applauding) - On August 15th, 2014, there was a car accident. My good friend Carina was driving a black SUV when her car was violently rear-ended by a tractor-trailer. The force of the collision severed her spinal cord and left her paralyzed from the chest down. And when I visited her in the hospital, there was one thing that kept repeating itself in my head and that was how can I use design to help my friend? Good afternoon ladies and gentlemen, and thank you so much for being here. My name is Souvik Paul and I'm proud to present Unbound: Psychophysical Design for Paralysis and Disability. A Master's thesis that, over the course of the last year, I realized was as much about helping my friend as it was for me to personally come to terms with the accident with the feelings of helplessness that I felt that day in the hospital. A spinal cord injury, or SCI, entails damage to any part of the spinal cord, and often causes permanent changes in strength, sensation and other bodily functions below the site of injury. When someone to sustains a spinal cord injury, they'll spend the next four to six months in the hospital, receiving a variety of treatments that range in invasiveness. A treatment that caught my eye early on is functional electrical stimulation. FES involves the application of electrical currents to the limbs of people with paralysis, enabling them to pedal bikes, to stand, and to walk with support. But I was warned by a subject matter expert that, "Fresh patients often view FES technology "as the key to their treatment, "instead of focusing on adaptation." Instead of learning how to live with a disability, patients often hold out hope for a cure that's still 20 to 30 years away, and to some extent, my early design work mirrored this tendency. I wanted to use FES and wheelchairs and exoskeletons in order to cure SCI. But this changed when I held a co-design workshop for people with disabilities. I asked them to respond to future scenarios, to draft product press releases, and to create products out of craft materials. And I learned that for individuals who have lived with disabilities, adaptation truly is the primary concern. One participant created the Zero Step, a modular and inexpensive solution to inaccessibility in cities. Another created the Store-n-Fly, a packing solution for wheelchairs so they don't get damaged in flight. And over the course of the last year, I learned that when a person sustains a spinal cord injury, their treatment is seen through the lens of restoration and not of empowerment. And to some extent, this makes sense. According to psychologist Abraham Maslow's Hierarchy of Needs, before we begin to address our mental or emotional needs, we must secure the body first. The problem is that too often, medicine stops at the physical needs and doesn't adequately address mental or emotional needs. And in using design to solve this problem, I knew for my background in social science that there are two approaches to research questions. The first, the emic approach, involves embedding oneself in the culture of study. The etic approach involves studying it from afar. Knowing that I wanted my thesis to be an instantiation of human-centered design, I knew I would take an emic approach, but the very existence of this dichotomy told me that I would have an undeniable bias as an able-bodied person designing for disability. And so I set out to establish a sense of empathy for my users. And I began by asking the taboo question of what does your paralysis feel like? Even though I felt like this question highlighted differences between me and my users, the reaction that I felt when hearing the responses was visceral, and wanting to see if I can inspire the same kind of visceral empathy in other able-bodied individuals, I designed a yoga session during which audio clips of people describing their bodies and their paralysis would play as participants adopted yoga poses meant to mirror or mimic the sensations described in the clips. With the help of Eden, I was able to record a video that captured the event. - [Eden] Paralysis feels different for everyone. For me, it feels like a numbness, like when you have a limb that falls asleep and there's a burning tingle. And for a few seconds, it feels disconnected from your brain, like the sensation and your ability to move that limb has been obstructed in some way, and all you can feel is this overwhelming tingle. - And after the conclusion of the event, I asked people to describe how that felt. I was thinking that I got to a place where I was maybe asleep but not asleep, so it would be like I would hear voices almost like they were my own, kind of like, "Are these my thoughts?" And I think that's interesting for empathy, you know? Where are the thoughts coming from? And it turns out there's a biological basis for this sort of visceral empathy that my participants and I felt for people with spinal cord injuries when we heard them talk about their paralysis. As you heard earlier today, mirror neurons are a class of neurons that fire sympathetically so that when I see or hear someone drinking a cup of water, the same neurons fire in my brain as if I was drinking that water myself. But this was an example of design about paralysis, and I really want to design for paralysis. So I identified three points in the experience of SCI that I wanted to design around; Rehabilitation in the hospital, leaving the hospital, and living with SCI. In terms of rehabilitation, I learned from a registered nurse that nights are really hard for a lot of patients. There isn't a lot going on, and there's time to sit and reflect. And from personal experience, I knew that these moments were the very moments where words just aren't enough. Because everyone has a smartphone now, I wanted to create a smartphone app that would allow users to non-verbally communicate with one another. So I created Journey, a mobile application that pairs recently injured users with one another on the basis of personality, prognosis and injury level. In order to use the application, users must repeat a mantra that frames their recovery in a positive light. - [Woman] I am closer than I was yesterday. - Doing so allows the app to gauge the user's emotional level and change the UI accordingly. The app's home screen prominently features the user's support network with whom they can chat, send video or ping. The ping is an audio visual tone that grows in strength and creates harmonies as multiple users ping the same person and is a form for, is a way for people to non-verbally show their support for individuals who are going through a trying time. Next, I focused on leaving the hospital. I learned from my friend that the two worst wheelchairs that she'll ever have are the loaner chair that you leave the hospital with, and your first custom wheelchair. I learned for myself just how difficult navigating the built environment in a poorly-fitting wheelchair was when for a week, I used a wheelchair to travel around New York City. Though this experience didn't close to approximating what it's like to live with a disability, I learned just how blind I was to the unseen obstacles in the built environment that face individuals in wheelchairs. So when an individual leaves the hospital, they borrow a generic and poorly fitting loner chair from that hospital. And because it just fits so badly, they'll order their custom wheelchair right away with the help of their occupational therapist, without really knowing what their idiosyncratic needs in a wheelchair are. And another five years passes before they can order their next wheelchair because insurance takes that long to cover wheelchairs. And so I designed Test Drive, an occupational therapist-approved online marketplace for used wheelchairs that improves the loaner chair experience. It sources used wheelchairs from SCI veterans and makes them available to inexperienced wheelchair users. With an almost perfect wheelchair right out of the hospital, inexperienced wheelchair users can then order, spend more time in the wheelchair, and order a custom wheelchair, knowing what their idiosyncratic needs and wants in a wheelchair are, allowing them to master the advanced techniques that they'll need in order to conquer the built environment. In terms of living with SCI, I learned that people who are sitting are less participatory in society. And I drew inspiration from marginalized minority groups who have used protest to combat social inequity. I in particular focused on graffiti, one of the most enduring acts of protest, which takes back space from regulated society and devised a vandalism campaign waged by able-bodied and disabled people alike that highlights just how inaccessible aspects of the built environment and infrastructure, businesses, restaurants and even the justice system are for people in wheelchairs and with other disabilities. But I also wanted to design something a little bit less illegal, and so I focused on the problem of elimination, which, "For some people, is the worst notion "of being in a wheelchair." It's not hard to understand why. Urination and defecation are the first two skills that we learn as individuals before we ever learn to walk or before we even learn memory. And so I set out to design an implant that will let people with spinal cord injuries manage their incontinence. I mocked it up using an Arduino and a rough representation of the human bladder system. As the bladder fills this, sensor messages that user's phone and lets them know that their bladder is full and allows them to choose when to void it. The problem is that developing such an implant would still take five to 10 years, and I wanted to design for the here and now. And I learned that people with SCI use catheters every three to four hours to empty their bladders, so that they don't have accidents. But insurance pays for catheters once a month, which means that people that SCI have to predict a month ahead of time how much they'll urinate, which is an impossible task. So a lot of users will reuse single-use catheters. They'll wash them under the sink and store them in Tupperware, but this leaves them at risk of developing a urinary tract infection. So I set out to design a catheter sterilizer. I learned that, "Well-designed objects "humanize the experience of assistive devices", and I looked at the existing landscape and medical devices to understand what kind of aesthetics were used in their design, but I felt like something was missing. I wanted my object to be cool. I know that sounds silly, but if you're using the product every day, I think that the aesthetics of the product mean a lot to the user. And so I began a journey of model-making and rendering, trying to isolate form and aesthetics and use them to great effect in the object that I designed. I also took apart existing sterilization tools and made even more models, and I ended up designing the CleanCath, a portable catheter sterilizer that uses the power of UVC light to disinfect used catheters, giving users peace of mind and greater independence. And I designed it to have a variety of aesthetics because aesthetic choice is something that is denied to many people when it comes to medical devices. It sits at an angle as it charges in its base, so that someone in a wheelchair could see the contents of the device from their seated position. And every detail, from the buttons to the grip, was carefully designed so that in the context of its use, even in the bathroom, it would give users a sense of security and a sense of pride, the same kind of pride that you might have for something like your cell phone. And so over the last year, I've undergone quite a journey myself. I've grown from a designer who viewed function and features as the primary objects of importance when designing a product, and came to understand that for individuals who are undergoing a life-changing moment and recovering in the face of adversity that aesthetics and form can play just a vital a role in their recovery as functions and features can. I'd like to thank Carina for her support, her unwavering support as a friend and for being an inspiration for me. And while I'm indebted to the entire faculty here at Products of Design, I'd like to thank in particular Allan, Andrew and Sinclair for guiding me. Thank you. (crowd applauding) - I have so many things I want to talk to you about. I remember that day when we met and you were looking at graduate programs and you had told me about this accident, and that that was one of your prime motivations for becoming a designer, and for the, some of the time that you'd be spending in graduate school. I'm hoping that you have felt that you have honored her in this pursuit. - Yeah, I think that I still have a lot of work to do, but the thesis was very cathartic in allowing me to take active steps to respond to the accident and what had happened. - I'm also struck by how just wonderfully humble both of, well really, all of your solutions, but in particular, the Test Drive service, which is really made out of nothing. And the CleanCath, which response to in some sense the most humble need, and ennobling it in such an incredible way. And for you to acknowledge that you wanted to get people to walk again, and to be able to really listen to what the actual urgencies are and to be able to respond to them, again, with incredible humility. - Thanks, Allan. Yeah, I think that when it comes to disability and just the public's perception of what disability is like, we tend to glaze over and try to ignore the most, the most disturbing aspects of it, whether that's traveling around cities or something that makes people as uncomfortable as talking about incontinence, and you can't really serve those populations if you're going to ignore the problems that face the most prominently. - And certainly in watching your work and listening to you describe it week after week for a year, I think it was very much normalizing in terms of the language in the dialogue what people became used to hearing about. I think we're gonna see that in a few other projects today as well. Congratulations, Souvik. - Thank you. - Thank you. (crowd applauding) Please welcome our next presenter, Judy Chi. (crowd cheering and applauding) - Good afternoon. Thank you so much for being here today, I'm Judy Chi, and I'm excited to present my thesis titled Permanism: Towards the Obsolescence of Disposable Furniture. When I was growing up, like most American households, my family owned a washer and dryer set. But I was child of Chinese immigrants, and my parents did not view these appliances the way my neighbors did. They came from a time and place where minimizing consumption was part of a prudent lifestyle. So my brothers and I were not allowed to use the dryer. In fact, we were forbidden to use the dryer, except for emergencies. And so it was from a young age that I was instilled with this aversion to waste, and what led to my interest in studying consumers' habits. I delved into research on consumerism and waste reading books, research papers, articles, watching lectures, and I learned that Americans are the leading consumers globally. One American child will have the same environmental impact in his or her lifetime as that of 35 children in India. And working in Corporate America these last 18 years as an in-house architect for big corporations, I saw and participated in this system of American consumption firsthand. And I became particularly interested in studying the waste generated by the fast-paced lived of young career people. In today's global economy, Millennials are moving at increasing rates. And the shuffle from city to city, country to country, generates a lot of waste, a lot of furniture waste. And young adults account for 42% of all movers, even though they only make up 24% of the US population. The average amount of furniture waste per capita has more than doubled in the last 40 years. And so I asked as a designer, how can I address this issue? And I began by first mapping the current landscape and forming this grounding statement; Good design can help young American urbanites with sustainable actions around furniture consumption, hence reducing waste. And I looked at the behavior around furniture consumption and the nomadic lifestyles that fed into it. And also, the American culture embracing disposable products and how these two intertwine to create this continual cycle of buying and throwing away and buying and throwing away of furniture with each new apartment moved into. And I thought, what strategies can we consider here? And I realized that the features that we find so appealing about disposable products, the affordability, the convenience, the ease of use, if we could harness these same qualities, perhaps there was a path here. So with this in mind, I pursued and investigated several strategies to gain efficiencies, looking at physical product designs and at new technology. With CNC milling, drawings are downloaded onto a computer and all the cuts are automated. Lattice furniture uses CNC milling, and linear slots can be made in the body to give it flexibility. And early prototypes show that this flexibility allows for what are called live hinges, which can then replace traditional metal hardware. And multiple tests were needed to determine the correct bend and flexibility, but once this pattern is determined, a piece of furniture can be cut from a single sheet of plywood, then wrapped up and connected with tabs. The other benefit that lattice offers with this flexibility is furniture can be reconfigured. So here you see it as a shelf, but it can be disassembled and then compressed down and then it becomes a low coffee table. And this compression also allows for flat-pack shipping. The other advantage that lattice furniture offers is a new manufacturing and distribution model. With open-source design, users can download drawings for free and make the furniture themselves, or they can take it to a local digital fabrication shop to be made for them. This decentralizes manufacturing from far away places like Asia, and it also lowers the cost and carbon footprint of shipping. And because products are made to order, materials don't need to be warehoused, and this reduces on warehousing. And lastly, it supports communities by keeping the value chain local. I next turned my attention to undervalued materials. I thought instead of waiting for the next new big technology to save us, what about all the materials that are already around us and have a low carbon footprint and perhaps have been overlooked? Materials as common as cardboard. And I was inspired by the work of architect Shigeru Ban who builds architecture using cardboard tubes, like this monumental cathedral in New Zealand. And I was even inspired by the humble hollow-core door. Most people see this as a cheap product, but the paper honeycomb core on the inside is actually a modern marvel of structural integrity. And so these inspirations led me to create a speculative brand called Common, a sustainable line of furniture. And the first prototype is the added value table using the paper honeycomb and cardboard tubes, and to offset the sense of cheapness that people associate with lightweight furniture that legs also act as piggy banks. And so as you add change, it gives the table heft and the weight that people equate with value, and it also literally increases in value with more change added. I next wanted to create a wood version of this table, and first started with creating this sandwich panel sample. So instead of surrounding the paper honeycomb core with thin veneers, as most, as many furniture products do, I used a thicker quarter inch solid surround. And I also aligned the grains to be consistent with a solid piece of wood. And the Quattro table is made using this sandwich panel combination. And the Quattro bench also uses this sandwich panel combination. And here's a short video showing you the assembly of the interior. (upbeat music) And then the paper tube legs, which are removable for flat-pack shipping can be attached, and the central core being paper honeycomb makes the bench lightweight. So these two features reduce the carbon footprint of the shipping of the bench. And by interbreeding cardboard materials thoughtfully with quality wood, products of high design are possible. As my research continued, I had the opportunity to speak with experts from many industries, from finance strategists to design thinkers to education leaders. When I smoke with Warner Barnes, a designer at NEW INC, working on sustainable product solutions, we talked about the influence of advertising on consumerism. And he gave an example with Nike. He said, "Nike products aren't any better "than others out there, they just have genius advertising." And this inspired me to think about using advertising and leveraging it as a tool, but instead of promoting consumerism, can we use it to promote sustainability? And perhaps, this was a way to change perceptions. And so I created a speculative ad campaign using celebrity comedians. And here, Ricky Gervais, using a lot of profanity, asked the intelligent people of the world to stop throwing shit away. And Louie CK, again, with a lot of profanity, asked people to stop buying disposable furniture. Another route that I explored for changing perceptions was to experience design. I found throughout my research, when I would try to have conversations with people about sustainable design, I would either get a look of boredom or exasperation. And so I wanted to create an experience that would be fun and would engage people. And so I create an event called Let's Get Physical. It uses the ridiculous but also kind amazing vernacular of 80s design to entice participants to join, and it was a way for people to discover a new material combination using paper honeycomb and wood for a sustainable solution. And instead of exhibiting this at a traditional furniture trade show, I used the typology of a personal training session. I felt this would be a more interactive way for people to really touch and feel the physical product. And instead of making wood furniture with the paper honeycomb, I made wood barbells. And I wanted to show how something that looks heavy is actually light and still durable. And I'd like to share a short video of the event. ("Physical" by Oliva Newton-John) ♪ I'm saying all the things that I know you'll like ♪ ♪ Making good conversation ♪ ♪ I gotta handle you just right ♪ ♪ You know what I mean ♪ ♪ And so it works like this ♪ ♪ Like great heaven knows ♪ ♪ That we wish we had ♪ ♪ Not so many clothes ♪ - So it was really rewarding for me to see people really interacting and playing and even dancing with the prototypes, but it was especially rewarding to see people really engaging with interest in a conversation about sustainability. Wanting to reach a broader audience, I next considered looking at collaborative consumption as a path, and created a service called Norman, which is a furniture sharing service. Now, there are many out there who feel the sharing economy is dead, and in fact, a recent Fast Company article declared that it was. And in that same article, one of the entrepreneurs explained the problem with sharing; Nobody gives a shit about other people's things, and then they get damaged. But I don't think the sharing economy has to die, and Norman is a service that gets people to care because all of the furniture that's shared had anthropomorphic personalities that you can't help but care about. So when you go to the website, you can click on the green chat function and talk to Norman. And it's this conversational chatting that really draws users in. And because Norman is like your best friend that knows everything about you, he can make suggestions that you like. Perhaps you need a new nightstand? He introduces you to Frank and Alda, and perhaps you're interested in finding out more about Frank, you click on his details, and Frank will introduce himself and tell you all about his history, his past owners, including his current owner. And Frank's been a little lonely living with his current owner because he's never home. And because he's a little flirtatious, he asks, do you want to take him home? And if you say yes, the Norman service will handle all the details to coordinate the delivery for you. So, Norman provides a convenient and fun to use furniture service, making it easy for young urbanites to choose a more sustainable solution. And this demonstrates how design can be used to encourage better behaviors around sustainability. And on this note on the power of design to script people's behaviors, I'd like to close with a quote from Cameron Tonkinwise. "Designers need to be using that power "to make sustainable behaviors more convenient "or pleasurable or default. "This is how designers in their little ways "begin to combat the bigger systems. "All these are tied together, "an intervention in one "will begin to make ripples in others." And for me, these ripples are what I want to continue to pursue. Thank you. (crowd applauding) There's not nearly enough time to thank the many, many people who had made the last two years an amazing experience for me, but I would like to give special thanks to Sasha Blaug, my husband, to my thesis advisors, Allan Chochinov and Andrew Schloss, and also to my classmates, the POD class of 2016. Thank you so much for your support. (crowd applauding) - There is so much great work here. - Thank you. - I want to talk about the barbells. I want that coin table. I think people loved it. I don't know when we're gonna be able to order that, but we're ordering it. I remember the first time I was doing product design and learned that people were putting these lead weights inside telephones, the consumer phones, 'cause the phone is like, it's nothing, it's a tiny little circuit board, it's a chip at this point, because of this association of weight with value. But the way that you've turned that, you've added the ingredient of time there, and had it actually become more valuable literally, physically, it's just so great. - Thank you. - And I also think that Norman's pretty brilliant. Your argument that people just don't care about their pieces is, I believe it. And I think that giving them actual personalities and history, like provenance, is a great answer. - Thank you. I think the Norman personality might have been modeled a little bit after you. The truth comes out. - Okay. I have never been thrilled with the name Allan, so I'm right with you. Okay, this is a day of surprises. Also again, you showed some process, I've been just teasing and yelling and begging the students to show process of again how hard it is to actually make these things. The hundreds and thousands of hours that you were in the shop, building furniture that ends up looking so obvious and simple, it's like, that's how you know it's good. When it seems like, well, of course, how else would you do it? That's how you know it's great, but it's such a journey to get there. - Absolutely. - And the persistence-- - But I will say, it was a labor of love. I loved every minute in the VFL wood shop so-- - There's lots of pictures of you smiling in there. - Underneath the face mask, the dust face mask. - Yeah, just so many hours. Thank you, Judy. - Thank you, Allan. (crowd applauding) - [Allan] Please welcome my next speaker today, Chelsea Stewart. (crowd applauding) - So like Allan mentioned, my name is Chelsea Stewart, and I'm here to introduce you to Atto: An Exploration between Design and Movement. Growing up, I was always fascinated with the things that moved, but it was driving in my dad's 911 that made me fall in love with movement. He would take me on long drives, which led me to the back roads of Arizona and New Mexico. And I remember the way that we would accelerate through turns, as if we were dancing. And when I got a little older, I began to play soccer, and I loved how the sport created beautiful moments inside of actions and place. And as I entered into my thesis, I was inspired by Martha Graham, who expressed it best when she said that, "All that is important is this one moment in movement. "Make the moment important, vital, and worth living." And when I began exploring the topic of movement, I found Charles and Ray Eames' The Powers of Ten inspiring. I realized that the different scales in which these movements are actionable were equally as fascinating as the actions themselves. And over the course of the year, I created a lot of different projects about movement, but I want to show you five of them today. Inspired by Martha Graham, I held a workshop that explored singular moments in movement. Titled Micro-Observations, it is a study of two people in action. The participants were given a series of prompts. First, they were asked to mirror one another to make quick movements to test reaction times. Secondly, they were asked to move about the room freely and record how they felt through simple line drawings. As you can see, these movements were very different from one another, and participants went away with a different perspective on how those interactions with other peoples in the space created new opportunities. And what I realized is that there was a lot of, that through movement is the key to discovery. I believe movement allows us to find small moments in systems that can be created to inspire us. But it's within those systems and actions that begin to work together I find fascinating. And I'd like to introduce you to Floc, an app for visualizing those different systems moving around us. Floc is a geolocation app which finds instances of small actions happening in specific radius to the user. The app takes those movements and abstracts them to make colors and shapes. From Instagram posts to friends in the area to taxis driving by, subways underneath their feet, and helicopters overhead, this app connects the physical, social and digital aspects of our city systems. Floc is important because it's able to show us all the micro actions happening around us but in the, macro actions happening around us, but through a microscopic lens, which gives the user perspective how all these actions can work together. And after looking at these macro scales of movement, I wanted to go back and focus on the individuals in the one-to-one scale between human beings and their objects. Tempo is a new take on the conventional means of keeping rhythm. Currently, we are tracking our every movement through mobile devices. And products like Apple Health, Fitbit, Nike+ are all great ways of finding the different datasets behind our daily actions, but they cannot physicalize and show us how those actions look. So inspired by the humble metronome, which traditionally kept rhythm for musicians and dancers, Tempo harnesses the individual's personal rhythm and uses it as a snapshot of their daily activities. So in short, it takes these footsteps and makes them actions and rhythms. Tempo connects the user's smartphone through the user's smartphone device. Tempo tracks how fast or slow the steps, and mimics them. For example, when the user is running in full stride, Tempo does the same. Or when the user is not necessarily walking, but performing actions such as tying a shoe, it interprets those actions as small ticks. So Tempo challenges the traditions and roles of our products and smart-tracking devices, and as a designer, I urge them to create products, and as a designer, I urge us to create products that physicalize datasets and information. My next project focuses on something that is often, that often goes unnoticed; The movement of goods. When thinking about consumption, I'm constantly reminded of all of the neighbors that I have in my building, but what I rarely see is their deliveries. Our building alone receives 75 to 100 packages a day. It has become clear to me that buying things online is the newest form of navigation and convenience. And through my research I found that in 2014, the consumer markets reached $453 billion dollars in online purchases, but what I came to find out is a third of those purchases were being returned, and that is a lot of goods and money and movement. And at the moment, we are only using our sense of sight to navigate these online shopping experiences. But traditionally, shopping has always been a physicalized experience, meaning when you saw something you liked, you picked it up and you felt it, you taste it, maybe you even smelt it. So I saw the opportunity to help bring these five senses into a stopping kit. Innate Goods is a speculative kit which intends to make the online shopping experience more physical. The kit comes with three options for every sense, and once you try the kit, you find out what you liked most and what you liked least. From there, you preference it, you can go online and get a curated set of preferences for your instinctual choices. You can buy them right there, or you can save them for later. And although this is a speculative project, it urges the actions to be more powerful and purposeful in hopes of finding new ways to make people happier with the products they buy instead of returning them. And so my last project is the movement of our communities. My project OTF NYC is a built typeface with communities. With the help of my friends and classmates, we prompted people to use their feet to write their first initial of their name in the sand. From kids to adults, everyone followed suit, and I would like to show you a quick video. ♪ I feel so close to you right now, it's a force field ♪ ♪ I wear my heart upon my sleeve, like a big deal ♪ ♪ Your love pours down on me, surrounds me like a waterfall ♪ ♪ And there's no stopping us right now ♪ ♪ I feel so close to you right now ♪ (upbeat music) - I'd also like to show you the process of the typeface itself. It goes from a photo to a vector to being articulated within Circular, the typeface, and then the final 24 characters. I want to leave you with this project because it combines so much of what I love; The movement of our societies, the actions designers take, to create opportunities to harness movement, the aspirations of giving people a voice through design, and I'd like you all to remember like I try to every day that there's a lot of things happening in our societies and our lives, but it's important to pay attention and be inspired to create through those movements. Thank you. (crowd applauding) I'd also like to thank my family, the faculty and staff, including the thesis advisors, my thesis advisor, Amy Johnson, the class of 2016 and the class of 2017, and of course, the last two classes. Thanks, guys. (crowd applauding) - I love the statement that you said that movement is the key to discovery. That's so nice. - Well, I found that when I played soccer, I discovered lots of little things, lots of unseen things, making plays and working with other people that you had know they were in the play with you when you're moving around, but you had to trust them to be in the right spot when you delivered the ball. And when you, at the end, scoring a goal. So there's a lot of that unseen movement that I see in design. - Wayne Gretzky's famous for saying that he skated to where the puck will be. - Exactly. Yeah, it's calculating those moments that haven't happened yet. - I am intrigued with Metronome. I wonder if it would be really fun to be at home watching if you had a partner who is out, you would notice just like, "Wow, they are really rushing home." Or it's like, "Okay, time for dinner." - Yep. I would say that my husband Marcus is the prime example of that. I would love to make this real, as I'm watching him come home, and we connected. - And if made sound like (imitating metronome) - Exactly. - It would be even more like-- - Come on, Marcus, get home. Time to go. - And then you could attach it to your pets. - Pico. - Right? - She could just run around all day long. We have a wonderful little dog named Pico that we're obsessed with. - Who has a pretty great Instagram too. - Yep, she has Instagram. - Do you want to announce that? Too many followers already? - Oh, she's pretty good. Pico underscore the underscore chi. She's a little chihuahua. - Pico_The_Chi. - Yeah. - All right, make her famous. - I'm hoping to. - All right, thank you, Chelsea. - Oh, thank you. Thank you, guys. (crowd applauding) - [Allan] Please welcome our next speaker today, Belen Tenorio. (crowd applauding) - Good evening, everyone. Thanks for sticking around. My name is Belen Tenorio, and today, I'm gonna be talking about ReMind: Reevaluating ADD and ADHD in a Quick-Fix Society. We live in world where distractions are seen as evil, where distractions are seen as disorders, where distractions work against productivity, where distractions are sedated with pills. This made me look more into my personal life with attention deficit disorder, as society will call it. And guess what? I'm not alone. There are between 70 and 80 million people diagnosed with ADHD and ADD in the world. Do you know what this means? We're taking over, baby! (crowd laughing) No. (laughing) kind of. For people around us, it means we're easily distracted, but it's not that simple. There are many types of ADD and ADHD, and since this is very personal to each individual, no one really knows how each person reacts to stimulants. So going back to general terms, when people with ADD and ADHD walk into a room, we notice everything; The tactile cues, sound cues. The very rich and satisfying things in life are amplified. The problem is that whatever's the most captivating, more sparkly and shines the most, that's what we focus on. If we look at the systems map I developed, there's a lot to solve under the umbrella of ADD and ADHD. It's been challenging, and I wanted to focus on better understanding this aspect, which is agreeing with Thom Hartman. In my work, I chose to concentrate on what designs could be developed if I treated ADHD and ADD as a result of adaptive evolutionary behavior, and not a disease, because ADD and ADHD only means a different perception. And so, I did a lot of primary and secondary research from talking to subject matter experts, like Jay Parkinson, co-founder of Sherpaa, a nationwide online physician practice who thinks ADHD and ADD is a fictitious disorder. Ignorance is big. I also read articles from Dr. Julie Schweitzer, who believes constant movement can be as beneficial as a stimulant. The cost to ADD-ers and ADHD-ers is between $36 billion and $52 billion annually on therapy, medications and apps. In this billion-dollar industry, there is not a single service that helps ADD-ers and ADHD-ers to focus by encouraging them to do what they do best; Fidget. What if we could empower ADD-ers and ADHD-ers to do what comes naturally to them so we can help them focus? Fidget means double-tasking. I find a lot of research that highlights how important it is to fidget in stationary spaces for productivity in classrooms, workspaces, you name it. Here's a paragraph of the definition of double-tasking explained. "If something we're engaged in is not interesting enough "to sustain our focus, the additional sensory input "that is mildly stimulating, interesting or entertaining "allows our brains to become fully engaged, "allowing us to sustain our focus on the primary activity "in which we are participating." And so with this idea in mind, I decided to build fidget.xyz, which is an online button that encourages you to double task by counting your fidgets. I user tested it, and the response was overwhelming. Guess what? 60% of people hated it, because they were aware that fidgeting usually is a seamless movement, and by taking a phone and using it as a fidget object, they were suddenly aware of their actions. But for the people like Oren Arks, former ADHD-er, he used it consciously. He was rewarding satisfying. He even used it as a meditation tool to avoid impulsive behaviors. Introducing Locus. We encourage you to double task in order to focus. The app is free to use, and the service for the same typology of fidget.xyz. Once you see the benefits of fidgeting, you can go to the Locus website and buy a smart-clicking tool that keeps track of your fidgeting patterns. With the device connected, and the app downloaded, that users test their measurements, and the tracking of the fidgets begin. Thanks to this, we can listen and change what needs to be changed. It's an exciting new relationship between the environment, your movements, and most importantly, yourself. You can also go online and check monthly and annual reports about when you're most productive so you can use that time to focus on stationary tasks and use the fidgeting tools to keep you engaged. The monthly reports also show your emotional state, telling you when you're anxious, when you're bored, and when you're concentrating. Over time, patterns emerge, and taking the time to observe one's body from the view of an outsider is the best gift a person can give to themselves, because once we visualize this data, then we can look for solutions to our problems. After this, I wanted to test if everyone can benefit from double-tasking. So with the help of Jennifer Flores, I orchestrated and designed an experience; Interlude, a fidget lab. So the primary task is to solve a maze. The secondary task is to use a fidget pad to tap while you solve the maze. The steps were recorded through Sampulator, and made into music so users, after solving the maze, could recall their experiences and analyze their past behavior. And so this is how it looked like. (peaceful music) - [Man] This music was created by this. Yep, fidgets. Interlude is a one minute sound exploration of our bodies and movements. We wanted to test if ADD-ers and non-ADD-ers could focus when double-tasking. (upbeat music) We wanted to create generated music with people's fidgets. The task is simple. Tell us about your experiences with ADD. Complete the giant maze using the textured pad to help concentrate. After you've completed the task, you can literally listen to your body through your fidgets. - I didn't notice myself fidgeting, but I guess I did fidgets throughout it. I code during the day, so it reminded me a lot of trying to problem solve, but moving your finger, trying different options, I do that all day in front of a computer. It made me think of the same sort of, like it put my mind in the same sort of place. - I noticed that when I did hit the pad, it was at an inflection point, where I needed to take a left turn or right turn or go straight in the maze. So it helped me sort of center myself before I made a decision. When I listened back to the sound of it, I kind of recalled where I was having decision points in the maze. - The song near the end was so great. Because then it's like (humming) but then there was like a break, it was like (imitating drumbeats) it was so good, I really liked it. - And so this gave me the green light to go back to the drawing board and explore the taxonomy of movement in their spaces. And really think about our daily objects that we use and those satisfying things like squishing, clicking, and pulling things. And so I shot this video to explore this tacit knowledge. (light music) (clicking and crunching) Introducing Didgits. They're a set of small fidgeting tools that are pocket sized so you can carry them around with you all the time. (upbeat rock music) If you go to the website I designed, the user experience, so the interaction can actually invite you to use your hands in a playful way. It also asks you what's your fidgeting preference? Let's say we pick to squish. So this will guide you to the perfect object for you to squish, which in this case is a Squishy. You can also pick different materials. What about weight and the spring resistance? This is very important. Here we can see more, here we can see more product, which is the Roller. And it has haptic interfaces and different surfaces. You can pick it all online. And also the Cubix, if you want it all, if you want to rub it and click buttons, et cetera. So there has to be a balance in life. I'm not suggesting we should focus or be productive all the time, because if we did, when will we experience the beautiful things like creativity or the unique idea that really only happens when we are distracted, having fun and wandering around? Thank you. (crowd applauding) I want to thank my family, my mom, my dad and my sister. Also, those special people like Taylor, Dani, Brooks, Thor, Hilary, Tori, Simian, who've been all the way supporting me from the outside. Thank you of course to the amazing class of POD 2016. Thank you guys. Thank you, again. (crowd applauding) - I'm firing it up, live demo. So somebody had 975 taps? - Yeah, that was me. - Oh. (crowd laughing) - Probably in your class. - I've used this a lot, so here it is. 60. - Oh, wow, a lot. - Well, you can download this at fidgets.xyz. - Exactly. - I highly recommend this. I have also been testing some of the Rollers, which I love. - Also, yeah, I brought up a pair for you because I know you love them so much. So you can keep this prototype. - Oh, that's very sweet. And I remember that you get, yeah, towards you to get good at it. Thank you, Belen. - You're welcome. (crowd laughing) - I have nothing else to talk about. (crowd and Belen laughing) - And then I'll be your competition, I'm clicking around here. - Yeah, exactly. I really like, again, it's just so simple. I like how you've turned something that is seen as such a negative thing and celebrate it and coming across this notion of double-tasking, this discovery that it's actually helpful, instead of like, "Stop doing that", it's just, I don't know, like this is the power of design to me. - Exactly. I agree with you, why would you stop doing something? Everyone is different. We shouldn't box everybody in the same place, and everybody are different learners, different thinkers. We should actually encourage originality and difference. - So, I will be doing this for a while. I challenge all of you to beat 60 on the fidget.xyz. Give it a shot at the break. - Thank you. - Thank you. (crowd applauding) Please welcome our next speaker today, Lijia Yang. (crowd applauding) - Hello everyone. Thanks for being here for our thesis presentations. I'm so proud to present my thesis, Reload: Triggering your Passion for Life with Gamification. My name is Lijia Yang, I'm from China. Like many other Asian kids, I grew up with comic books and kung fu movies. My childhood was full, was so full of fantasy and imagination, and one day my cousin showed me this Super Mario game. And, that's given me a brand new perspective to everything. And that was the beginning of my 15 year long journey with video games. I'm a video game enthusiast. What you see on the screen right now, these games, and these games, and these games, they're a part of the games that I played in the past few years. I have to say that they made me really happy playing these games, but sometimes I feel distracted, so distracted when I'm playing these games. It's very hard to balance playing video games and dealing with the reality of everyday life, especially when the time that I got in my undergrad at school, it was more time that I spend on the video games more than what I feel what that works. And during the great opportunity of working on my Master's thesis, I started asking myself the question, why don't we combine working and gaming? And this question lead me to my primary research around gamification. Now I began my interviews with the experts in the field of game study. I did more research to help me understand what's gamification and why do people enjoy video games? And at the early design stage, I came up with 100 ideas around the topic, and they addressed various social issues. And let me share some of it with you. The first one is called Ninja Hunting. It's an historical, no, it's a public installation based on the historical Japanese character, ninja, and who always hides himself within the environment. And if you can tell, if you can find a ninja hiding in this picture. Here. And oh, by the way, I also hid some of these stickers around you, and if you feel interested, maybe you can take a second and try to find them during the break. And the intervention is aiming to recall people's curiosity and the desire to explore by encouraging them to find the stickers. And by seeking and sharing the ninjas posters spread all over New York City, Ninja Hunting is encouraging people to go outside. The next concept is called Squeaker. It is a public installation designed for subway riders. And people being observed by their smartphone is a far too normal sight on the subway. And Squeaker's goal is to break the silence by creating sound. When people are looking for the sound source, they will have a chance to press pause on their digital life. And I like these two projects, but it looks like they were not very tied with my target users, the video game enthusiasts. Then I went back to my research, and during the process of the researching, I found there are many people actually struggling with the issues from playing video games. In 2015, there was 67% persons, united households playing video games, and that means 150 millions of gamers. And more importantly is 10% of the young gamers have been considered to have more or less a symptom of video game addiction. Having a healthy diet is the one of the issues within the group. Caused by playing video games, these people prefer to spend less time to eat. Sometimes they do not eat at all. And why does this happen? Why does a video game have the magic power to change gamers? By talking with the experts of gamification, Felania Liu, I understand what's missing in the real world. This is a concept map that I built based on the research and the interviews, and it shows a clear difference between playing video games and dealing with the reality of every day things. The gamers look easily to gain the satisfaction caused by, created by the video game mechanics, such as immediate feedback, rewarding systems, ranking systems, but these people are barely able to find these systems from their real life. Based on the learning from the map, I created this experiment design, The Great Chef, which is aiming to enhance the engagement of the cooking experience by using video game elements. In other words, I turned this cooking process to a game. I picked up historic Chinese dishes and broke down the recipes to many steps that put all of the steps into a customized game board. I also gave all the of the ingredients individual characters based on the game, based on the story of the game. Let's see what happened there. (upbeat rock music) (electronic beeping) - This is Chavez, he's one of my participants. And he's also a video game enthusiast who never cooked before. When he told me the whole process was really engaging and evaluating, I realized the success of the experience, The Great Chef. If I can find everything, there's potential to help these gamers to explore the satisfaction and delight from their real life. But should I just care of their relationship with video games? This image is from the documentary movie, Web Junkie. And it shows that how we are treating the young web and video game addicts currently. The isolated treatment is awful and inappropriate. I was inspired by talking with Richard, who was once a video game addict. After quitting and reentering the world of video games several times, he finally realized that video games actually are seen as our basic needs, such as music and sports. The point of dealing with addiction is control instead of isolation. And meanwhile, I was limited by the scale and the complexity of The Great Chef, I want to reach more people, more audience, so I mocked up this app, Feedeat. Feedeat is a video game management program. After connecting with the video game consoles, the electronic pads, PP, and you see in the corner that guy, will keep an eye on user's gaming behaviors. If users overplay, then PP will eat the game temporarily. In other words, freeze the game. And the only way to get the game back is to negotiate with PP. Well, PP has been designed, is an artificial intelligence having been designed with a versatile personality. In other words, it's not that easy to get a game back. You can also check your play data, and sharing them with your friend. Except controlling and managing users' game behavior, is there anything else I can do for them? There's another issue within the group, helping gamers, a sedentary lifestyle will lead them to have body pains. Then others say that, "Why don't we do some physical exercise?" Built on the concept of Feedeat, I have made this, I have designed this physical product, GrGr. GrGr is a smart object. It is also an electronic pet. It is a video game partner. It has features to connect with video game consoles. Also, if users overplay, it will freeze the game temporarily. And if you want to get the game back, you need to do something like this. And let's see how it works in the user's scenario. (loud crunching) (light jazz music) (dramatic jazz music) (light jazz music) By interacting with GrGr, users will have the chance to exercise their shoulders, back and arms. It is an engaging way to break their sedentary lifestyle. And then, I want to thank all of the people who give me their generous help. And I want to thank my parents, who probably cannot see this video on livestream yet. I also want to thank Shiqi Li, and I want to thank Allan, Sinclair, Gabrielle, Marko, Alisha, and also want to thank Andres Iglesias, Adam Fujita, Arjun, Oscar, and also Josh. And all of the classmates of class... (crowd laughing) 2016 and 2017. Thank you all. (crowd cheering and applauding) - I'm gonna have you demo it. - You want me to do that? - Yeah. It's a little harder than it looks, yeah. Thank you. So tell us a little bit more about Gr. You pronounce GrGr. - Yeah. - GrGr. - Okay. So I really wanted to get the emotion between people with their pet. For those of you who have a pet in your home, you may know that sometimes your pet will carry your socks or the other tiny stuff and just run around your house, and you just want to catch them, and you know, it just looks like, just like what I did with GrGr, open their mouths to say that, "Give it to me, give it back to me!" And that movement I think is very natural and even though you didn't do that, but I believe you would want to do that. Yeah, that's it. - Thank you. I remember we were having a discussion about, oh, it's like putting your head in a lion's mouth, and culturally, you didn't have that. I said that, "Oh, well like putting your head "in a lion's mouth is a thing." And Yang looked at me like, "I don't know what you're talking about." It's like a circus stunt. So that would be, still, I just, so there's like a GrGr Pro or a GrGr Senior, I can imagine? At the foot of the bed, maybe. (Lijia laughing) So the-- (crowd laughing) The game avatar comes on screen and essentially just shuts it down or eats across the screen? Love to see that in the next version. - Yeah, will do. - And how many minutes exercise? - It's a little different now, depends on different people. And I guess there's still a lot of work we need to do. For example, based on different people, and also there are different body qualities and we have different sighting, different options. - All right, so let's say 20 minutes. Okay, and so my last question, are you a video game addict or an enthusiast? - I prefer to say enthusiast. (crowd laughing) - All right, thank you. Do we have a lot of enthusiasts here today? Yeah, thank you so much, Yang. - Thank you. (crowd applauding) - [Allan] Please welcome my next speaker, Roya Ramezani. (crowd applauding) - Hi. Thank you so much for being here. My name is Roya Ramezani. Last summer, I started working in one of the tech giants in Silicon Valley. And I was aware of the gender diversity issue in the tech industry, but what shocked me was that even when we were equal number as men in the room, women weren't contributing to the discussions equally. To me, those quiet women weren't present in the room. I noticed that online commentary platforms were facing the same issue. A contribution rate of 85 to 15% was common, according to the OpEd Project, an organization in New York City that monitors gender contributors through thought leadership forums. Introducing Exponent, amplifying the female voices in tech discourse. So I mapped out the landscape of the gender contribution gap, and there is a complex ecosystem around workplace problems such as diversity or equality. And they are typically offloaded to policymakers, but they can be mitigated through the process of design. My thesis is an attempt to put a dent in this issue by focusing on the female lack of agency, which is listed by the two scholars from Princeton University as one of the main reasons behind a woman's silence. Agency is defined as the thoughts and actions taken by people that express their individual power and capacity. Women's agency is negatively influenced by being a minority voice, and it radiates out in their communication. They tend to weaken their authority by using undermining language. There was an article in the Washington Post last year that they rewrote the famous public speeches by men as if a woman was delivering them in a meeting. For example, "I have a dream today" would be, "I'm sorry, I just had this idea. "It's probably crazy but look, "just as long as we're throwing things out here, "I had sort of an idea or vision about maybe the future? "If that makes sense? "I'm sorry, I feel like I'm rambling." Or President Reagan's, "Mr. Gorbachev, tear down this wall!" Would be, "Sorry, Mikhail, can we agree that this wall "maybe isn't quite doing what it should be doing? "It just seems like we could consider removing it. "I don't know, what does the room feel?" So this self-sabotaging behavior is not innate, it's an acquired habit, and when we talk about a habit, we're talking about a behavior that is unconscious and is imprinted in our neural pathways through repetition. My product's focusing, so I realized that I needed to make women conscious of their word bank. What is a word bank? A word bank is defined as the vocabulary that one uses rather than all the vocabulary that one knows. My product's focus on enriching women's word bank by making them conscious of their undermining habits and replacing it with assertive language through repetition. Introducing Exponent Keyboard. So, keyboards are the main tools that we use to convert our thoughts to words online, and I wanted to use them as a starting point for my interventions. The form is inspired by the Hansen Writing Ball, which is the first commercially available typewriter built in 1870. I started researching the history of typewriters and how QWERTY keyboards were meant to slow down the typist in order to prevent the mechanical type bar jamming, and I got carried away prototyping the optimum key layout and ergonomic form for faster typing. And when I tested my prototype, the feedback that I got was very disappointing. So users mentioned that I did a great job and it was perfect for women with long nails, and it reminded me of this. - The Petticoat 5. It's a computer made by women for women. Designed to make it easier to type with long nails. - Oh, that is a good idea. - And over here, is a manicure mirror which pops up when you press this button. And the space bar is an emery board. - So, I suppose you could fix your makeup while you work? - Well yes, you could. (crowd laughing) - So I definitely didn't want to be misunderstood for creating products that perpetuates gender stereotypes. And I revisited my sketch models and my initial goal of creating a keyboard that was based on women's cognitive advantages. Looking at gender cognitive differences, women have better fine motor skills. So I intentionally made the keys smaller, and now I have extra space to add more keys, and those keys became the assertive powerful verbs that were missing from most women's language, such as claim, disagree, insist and so on. It tracks every keystroke and adds them to the user's word bank on Exponent Platform, which I'm gonna talk about in a bit. The Exponent server then analyzes the words, and based on individual's input, generates powerful verbs. These verbs will be repeated until they become part of the user's word bank. Introducing Exponent Bank. I envision, oh, this was a Google Chrome plugin that came out a few months ago. It detects the undermining language in an email and then suggests improvement to you for a replacement. And I even envisioned Exponent Variable as a simple ring. It's a discrete product and it's paired with a user's phone. Once the app is activated through touching the ring, every time the person says just, basically, and these undermining words, it will vibrate to notify her of the undermining language. The spoken words are added to the platform and users can monitor their progress, such as the words that they use mostly or the new acquired word on the dashboard. Introducing Buddy. (Buddy vocalizing) Buddy's a personal speech coach. It helps users to build confidence for public speech through constructive rehearsal. The app leverages the conversational UI to build a relationship between the users and the built-in bot called Buddy. How does it work? Buddy asks for your presentation topic, scans commentary forums and grabs the most used words by professionals. Then you will record your presentation during rehearsal, and at the end, it will give you an overview of how you did and suggestions on how you can sound more like you know what you're talking about. I was able to create a prototype with the help of a machine learning PhD candidate at Carnegie Mellon University, and when we tested the prototype, I got a great insight from one of my users. She said, "It's not the same experience when you're up there "with all those eyes staring at you. "People make all the difference." Which I can relate at this moment. (crowd laughing) So in order to make the rehearsal closer to the actual experience, I envisioned a VR space that users can rehearse in a venue with audience. Buddy will be augmented in the audience to give immediate feedback. Introducing Exponent Voices. So one of the best practices for expanding a powerful vocabulary is to listen and mimic people who are successfully doing it. I created Exponent Voices for women to listen to powerful female voices in their industries. Here's a video of what happened. (light piano music) And we published the interviews on Exponent Platform. - [Hannah] So I have a very honed sort of set of things that I do before I give talks. It's almost like a ritual. - So I think that, even though the colors were based on individuals' dominant pitch, the relationship between each pitch and the assigned color was a bit arbitrary, but I noticed a pattern. Every time the person did upspeak, the needle went a note higher. And I thought this was a great way to make people conscious of their upspeak, which is, as Allan mentioned, a habit of having a higher pitch at the end of sentences as if they were questions rather than statements. I'll leave you with this bonus track. All you need is the GarageBand application on your Mac. I made a tutorial on my website that you can follow the steps to detect whether you're doing upspeak, and there's an exercise to get rid of it, maybe. Thank you. (crowd applauding) I wanted to thank my parents specifically. (speaking foreign language) They couldn't be here today with us. And my POD family. And all of my professors who held my hand in this two year journey. Thank you. (crowd applauding) - So we're gonna do this? - I guess so? - Okay? I like the work very much. - I like it too. It's very hard. I've been trying, so one of my best friends, Mohammad Sharaf, he's been helping me with putting this, yes. - My student. - Yes, your student. He's been helping me to put this presentation together and he actually does a lot. So I'm not saying that this is a women's thing to do, men do it also, and it was very hard for me to, because it's very contagious, so I was being conscious not to pick it from him and it didn't reflect and come out in my presentation. - But did he improve at all, do you think? - What do you mean? - Guess he'll have to do the tutorial, right? - Yes, he didn't have time, he was busy helping me but-- - Well, he was speaking up. Yeah, so go to your website, and all you need is a Mac, you have the GarageBand, you have Quicktime, you do a sample video taping and then? - And then you, because when you do it, even though I've been studying it and I've been researching, still when I do it, like I don't notice it when I pick it from other people. So it's great that you can record your, yes, you can record your own speaking, and then once you play it back, you can see whether you're doing it or not. So, recording yourself and looking at the needle and-- - And you see it going up, and then training yourself not to make it go up. - Sure. - To make it go down. - Yes. - Thank you, Roya. - Thank you, Allan. (crowd applauding) - [Allan] For our final presentation of this group two this afternoon, please welcome Natsuki Hayashi. (crowd cheering and applauding) - Hello everyone, my name is Natsuki Hayashi. And my thesis is Sincerely: Towards a Contemporary Design of Assisted Suicide. A bioethicist, Margaret Battin said, "We are living in a contemporary world of slow deaths." Deaths that have shapes like this. This is how most of us are going to die. Death is predictable and occurs later in life. With advanced medical technologies, doctors can do a lot to prolong life, even if that means more suffering for the patients. And that is how a good friend of my mother died. Before she passed away, my mother took me to a nursing home to visit her. She had Alzheimer's and age-related health issues. At the end of the visit, my mother said to me, "If I ever become like that, just kill me." It was a difficult conversation to have with my mother. I didn't want to hear her talk about dying, but she wanted me to know that she doesn't want to have a lingering life at the end, dependent on other people and possibly machines. So this thesis is for people like my mother who want to have control at the end of life. Currently, five states in the United States legally allow assisted suicide, and more than 25 states have the bills to pass the law. Following the footsteps of countries like Netherland and Switzerland, three weeks ago, the Canadian Prime Minister announced a bill to legalize assisted suicide in Canada. And Dr. Timothy Quill at the University of Rochester said, "Whether or not this practice is legalized, "seriously ill patients are asking us to talk about it. "They are asking us to consider it seriously." Times are changing, and it is time for designers to get involved and be ahead of this change. "Final Exit" is the how-to book for people who are thinking about ending their terminal suffering. In the book, the author Derek Humphry categorized our right to die options into four ways. For my thesis, I'm focusing on self-deliverance, which is considered as suicide, and physician prescribed suicide. If you are lucky to live in the states where assisted suicide is legal, the process looks like this. The important thing is to get prescription from your doctor, prepare the medication and ingest it yourself. And when you legally obtain the prescription, it usually comes in 100 capsules of barbiturate. You are supposed to open each capsule and mix the powder inside with six ounces of water. Inspired by tea ceremony, Passage is the final cocktail kit that introduces ritual into the preparation of your final drink. The form of the tray dictates the placement of open and unopened capsules. It is made out of raw wood to reflect the taste of the medication, secobarbital. The product is for single use, and the bottom of the cup is rounded so that you can't put it down until you drink the content inside. And here is a depiction of how the ceremony may look like, enacted by two actors. (gentle piano music) So if you live in states where assisted suicide is illegal, or if you are mentally or physically unable to ingest medications, you have to choose the route of peaceful suicide, with the help of your family and friends. And the process looks a lot like a theater, because you have to plan every action carefully to make sure your friends and family won't get arrested after your death. So for people who live in states where assisted suicide is illegal, but manage to obtain similar medications, I realized Passage in the same format wouldn't work because the materiality of the product becomes evidence for assisted suicide. So I created a disposable version of Passage for people who live in illegal states. It is made out of paper pulp, so that the evidence can be destroyed. And once you put it in the sink, it dissolves into the water. If you can't get a prescription, some people take overdosage of sleeping pills and use a plastic bag. A visor hood is a speculative product that enables the process of using a plastic bag. The visor creates space between your face and the bag to remove the discomfort of the bag sticking to your mouth. And this is how the product will be used. After putting this product into a real-life context, I saw the disturbing imagery and the potential impact of this product, even though my intention was to help people who want to end their terminal suffering. This is Peter and Pat Shaws. They had a wonderful life together and they couldn't imagine the life without each other. As they aged, the quality of life decreased. On October 27th, 2015, they decided to end their life together, both at the age of 87. Then I asked myself, how can we respect the decision of a devoted couple reaching the end of their lives? This is a speculative product Couplehood. A plastic bag that uses inert gas to achieve a peaceful death. For example, helium gas is a fast, effective, and accessible way to achieve death. Within a minute, you will fall asleep, and five to 10 minutes, you will be gone peacefully. One person seals the bag, and the other person turns on the gas. This is the act of collaboration. But death is not that easy and quick to achieve. I was inspired and shocked by a true story I heard from an interview with a man who helped his friend commit suicide. His friend was 75 years old, dying from throat cancer. He decided to end his life using liquid morphine, but he had a tracheotomy on his throat, so he needed help from his friend. After drinking a whole bottle of morphine, unfortunately, nothing happened. For some reason, the morphine wasn't working, and everyone panicked. At the end, it took five hours, another bottle of morphine, and a plastic bag for him to achieve death. So when something goes wrong during medically justified suicide, people have nowhere to ask for help. They can't call 911, because they want to keep the police and paramedics away from the situation. CompassionAid is a 24/7 hotline service that provides medically justified suicide consultations. People can call a toll-free number to reach to a trained professional who can provide information and guidance. The phone call will be routed to four states where providing information, aiding or abetting suicide is not a crime, so that we can protect the caller and the information provider. It is free of charge, and the service is the same through a gifting model. Users can gift or donate afterwards through CompassionAid website. Through my research and interviews, I was reminded that death is not just about sadness. When you have control over it, you can celebrate the life before it is too late. Farewell Party is a dining experience that celebrates the life of a man. Dying process is an intimate practice, so I wanted to create a personal experience where a group of people can come together to reframe the way we approach death. This past march on the 20th, a group of people spent an intimate evening together around the dining table. The tablecloth brought the experience together and served as a blank canvas for conversations about friendship, life, and death. - Hi, my name is Crysdian Llemson. I'm a 46 year old gay male, I live in New York City, and I have been HIV positive since I was 11 years old. Tonight, I'm having my party of the people that are the most close and loving to me that I've had. (somber piano music) And tonight, we are serving three of my favorite meals that bring me back to childhood, throughout my entire life of something that whenever I felt sad or I felt very sick from medications or whatever, I always, were a go-to food to make me feel good. In case anything ever happened in the near future or even farther off in the future, I think so many times people say things after someone is gone that they really wish they would have said to them when they were here. And this is a time where we can share our feelings and really open up then tell each other what we really care about each other. If something ever happened to me, I want them to write on the table of their biggest fear. And so I will take this tablecloth with me and they will no longer walk out the door with that fear because they know that I'll hold that. - So originally, this event was for Crysdian to celebrate his life, but at the end, it became the guests reflecting on their fear they might have about their own death and how they want to approach the end of life. To end with this note, I would like to leave you with a question, how would you like to celebrate your life at the end? I would like to thank Crysdian and Valerie who have helped me throughout the year. And Allan, Sinclair and Steven who, and the rest of the POD faculties who have supported us and guided us for the past two years. And the class of 2015 and '16 and '17, you have became my extended family members, and I will miss you guys so much, and I love you guys. (crowd applauding) - I have talked to so many people this whole year about this project. And I found myself saying all the time, like in any other designer's hands, I would be worried. The sensitivity with which you have approached this topic is just extraordinary. And it required enormous knowledge gathering very quickly in the beginning. Can you talk about that a little bit in terms of the legality of just getting up to speed on everything that you needed to know in order to make any kind of dent in this that was informed? - Well, it was really difficult to get people to talk about it, but I was lucky enough to find someone who happened to assist someone, so that's how all the information started to flow in. But I think it actually happens quite a lot more often than we know, because this is a really serious topic, and once you really start to talk about this with someone, they start to open up and they will tell you the true stories about their experience. So, I think it was really just to talk to people, face-to-face, and be an actual human being, talking to someone that helped a lot in the process I think. - You talked a lot about the danger of this work, the danger of showing this work, the danger of publishing this work. I remember your very first initial prototypes on week two, the visor, and in abstraction, it was a very beautiful object. It was very well made, it was sewn, it was constructed very well. And then when you showed it in an image, the whole class just, it was not an acceptable image. And then the next week, you had brought in that image, but with a line drawing of a person instead of that person in that product, and it was different and maybe it was more acceptable, but then we had a discussion about, well maybe that image was not acceptable because we've never seen that image before. Our minds have never been asked to process an image like that, that it wasn't, by definition, unacceptable. It's just that culturally, we had never had the experience before. I've thought so much about that. - Yeah, I think using a plastic bag is something pretty recent because it was after pretty much the plastic was invented, and we see accident, scene of accidental great violence in the news a lot, but you don't really see a peaceful suicide because it's really personal and it's people's choice to do so. So I think that became the challenge of actually designing for this, it's really dangerous because some depressed person can use this same method to commit suicide. But sometimes I also ask myself do I, can I actually really take this responsibility to put this work out there, knowing that somebody else might misuse my product or service? But at the end, I feel like this topic itself is really becoming a hot topic in society, and more people are really seriously thinking about it. So I think if my work can help people like that, then I think I'm willing to take the risk and put my work out there to start the conversation about everything is pretty much designed. - Can I applaud your bravery and your sensitivity one more time, Natsuki? - Thank you. (crowd applauding) - Thank you everyone, we have one more break with one more delicious set of snacks and beverages. Once again, 15 minutes. Please stick with us, we have six more projects to go after the break. We are so appreciative for your time and consideration for being here today. Thank you. (crowd conversing quietly) And, yeah, break. And welcome to the people on the livestream, who I forgot to say hello to again at the last break, so thanks for being with us. You can eat dinner if you're in the east coast on the livestream, if you are on the west coast, you can grab a coffee, and if you're in Europe, thanks for staying up, and if you're in other parts of the world, good morning, this is gonna be a really great day ahead, so we're really happy to have you. In the second group of presentations today, we looked at areas where design might not have necessarily played a role, and hopefully convinced you that it absolutely must. This final group of projects will pick up where we left off, Natsuki's proposals for the design of assisted suicide, and continue with Panisa Khunprasert's extraordinary treatise on memorialization. After that, the students will offer products of design that examine the other, from the magical distraction, to the artful immersion, from the experience of trying to make sense of racism, to helping displaced migrants. We'll end with John Lung's thesis on the paradox of danger and preparedness, in a fitting bookend to where we started with Marianna's research into the perils and consequence of a country that has the largest prison population in the developed world. Please welcome our first speaker of this third group, Panisa Khunprasert. (crowd cheering and applauding) - Hello, good evening everyone, I'm Panisa Khunprasert. And my thesis is Hereafter: Remapping the Landscape of Death and the Way it is Remembered. I would like to take you into a journey of exploration, into the world of bereavement, in the contemporary society that does not talk about death or grief. This thesis does not seek for solution or ways of culture, but it lets grief be felt. Death is a natural part of life, and we in society have to learn how to live with it. And grief is the price we pay for love. Throughout my journey, I explored modern custom and rituals around, as well as individual and public displays of grief. I was interested in the virtual world of bereavement, that is, how we use online medium to express actual grief. I spoke to Mark C. Taylor, chair of Department of Religion at Columbia University, and author of many books related to death and memorialization. Our conversation revolved around this subject. "Virtualization and digitalization "brought in dematerialization. "Shift from stuff to images, images to codes, "and with that common, delocalization and displacement." I was interested in the paradox between the tangible and intangible display of grief and remembrance and expressed that thought to John Thackara, design thinker and author. He told me why a photograph of a loved one has so much meaning, even if it's just a piece of paper. It is not about the artifact itself, but is what we project onto it. These resonated with my experience because I would often sneak into our storage room at our home in Thailand and spend hours looking through old photos album of my childhood. Today, we use Facebook or other digital platforms to store our memory. We miss those tangible items, so I envisioned a way to take information from the existing digital platform to create physical interaction. Introducing Memento Mori. Memento Mori physicalizes contents from the deceased's Facebook account. The bereaved first signs up, adds the deceased's names, and selects important dates to commemorate. Contents, photos, posts of those dates are collected, printed in old photos album-style, and delivered to the bereaved's door. Unlike Facebook or other social media, where there are many distractions of common advertisements and posts, the bereaved will solace in the tactile experience of unboxing the old photos album, as well as cherish memories on the special days. Physicalizing an app to be a profound grieving ritual is a powerful healer, according to the Elizabeth Kubler Ross and David Kessler. We need tasks and responsibilities to help occupy our mind during the healing process, which inspired the idea of Allusion. Allusion is a wall-mounted altar that physicalizes different stages, or way to grieve. Through the prototyping and fabricating process, I explored complexity of grief and expand all elements into simple visual representation, and here is how all elements come together. (gentle music) Users are encouraged to store physical items that are important to them or the deceased, and establish their own symbolic rituals and routines to commemorate. When it comes to personal grief, I want to share with you my story. 13 years ago, my family was in a terrible car accident. I was seriously injured. I remember waking up in an unfamiliar room, barely able to feel my body or my face. It was a relief to see familiar faces of my parents and my cousin, but the faces that were missing were of my twin sister and my younger brother. The accident took away the life of both of them. After the accident, my family signed up for organ donation in Thai Red Cross Society. We wanted to find a way to rebuild and find meaning to their untimely death. For Thai people, this card represent the realization of no attachment to the physicality of the body, and it is an act of honor. In New York, I discovered LiveOn, a New York organ donation center, where I connected with amazing people, from psychiatrist, social worker, coordinator and organ recipients. According to Maria Torres, Director of Donor's Family, and also an organ recipient herself, she say that, "My donor was younger than I was. "It took me 10 years to write back to my donor's family "because I didn't want to bring them back "to the time and place of their loss. "So for me, it was very difficult." I was fortunate to join annual LiveOn Remembrance Ceremony and Luncheons, and witness the beautiful moments of transformation, where the donor's family and the recipients first connect. This is part of the idea to create Organ Donation Stationary Set, which is a set to dignify qualifying moments in organ donation process. The set consists of donor's card, donation policy documents, and letter-writing stationary, with which donors can leave testimonial to family or future recipients. As time goes by, we find it harder and harder to talk about my siblings. We have developed the custom of being silent. But the only visible things that speak to me everyday about the trauma are scars on my body. These also serve also serve as testimonial of memory that I want to remain with me. This is why I started to look into a form of scarring that allow people to honor and remember loved one; Tattooing. When I interviewed Amanda Wachob, an artist that use tattoo machine to create innovative artworks, she expressed that, "I think scars can be beautiful "because it's like your battle wound. "It is you existing in life, "and it's your real life experience." I imagine Bloodline, a therapeutic way of liberating grief through scarification. Pain created by the needle of the tattoo machine represent pain of loss, and the art of tattoo create marks of remembrance and beauty. Bloodline is an impermanent tattoo, a technique a tattoo artist use to create temporary boundary before coloring, using water to lubricate needle. The marks will fade within two to six weeks, and as the skin heals, it is time for you to move forward. User can always come back to get another Bloodline tattoo when need be, and another, because grief comes and goes, and somehow, you never want to stop coming. "My scar is a testament to love and relationship "that I have with that person. "And if the scar is deep, so was the love. "So be it." This quote was shared with me at one of the night of support at GoodGrief. For 13 years, I've always thought that grieving is a personal journey. I was curious to learn how community can help you go through difficult time of deep loss. I joined GoodGrief, a bereavement support group, and commuted to go to New Jersey every other week to join a one hour session of listening, hardly speaking, and mostly crying. I learned many valuable lessons, but one of the things that strikes me the most is that it takes a lot of courage to be vulnerable. And sometimes it's easier to express those lost to strangers. This realization was confirmed when I went to test my first prototype of The Grieving Wall on the street of New York. I was inspired by the typology of message board exists in many cultures, and also reiterated by many artists. My design, Grieving Wall, was built and installed in East Village neighborhood community garden. This experience invites individuals to express their grief through writing. They are encouraged to repeat those messages and appreciate collective hard work to help create. (gentle music) - Grieving is an intense personal experience. And I just went through three different night outs, and one who's not dead yet. So I'm thankful to be able to cry a little. I'm thankful to be able to see the flowers bloom right now. And just to be at peace with something, so... - So what I wrote about was when my father passed away from cancer when I was 13. It felt like pretty much every night for a whole year, I would see him in my dreams, he would just kind of show up, and then I remember it felt like almost a year, almost a year right after that, I woke up one morning, and I realized that I had a dream and I didn't see him in it. And so it was a moment that I both very sad, for me, but also I was happy because I knew, I sort of felt like we were both moving on. (gentle music) - I learned that grief, while painful, need to be expressed. The expression of our grief allow us to heal our pain and remember those we love. Allowing people to grieve is a gift that we can all give to others. I would like to thank these people for guidance, support, love and kindness, and I'm thankful for the stories of grief that were shared with me throughout my journey. And I thank you all here today for allowing me to share mine. (crowd applauding) - I want to thank you for your courage, for trusting us with this topic, for sharing with us your personal tragic story at the halfway point of this project. And I know that you've really honored your family and your siblings with this work. - Thank you. - Panisa, you had said that design was a way for you to actually do something with these memories, with this tragedy. Can you talk to us a little bit about that? - Yes. So I think that this is like the first time in 13 years that I actually say everything and share my memory, the good part, the bad part, the sad part, and everything. So it's really important, project's really important to me and to my family. - It was fascinating when you were bringing in the first work and the donor card, and you had had such an incredibly beautiful work on such a difficult topic, and again, it was hard to know where it was coming from and then when we found out where it was coming from, it's just, everything took on so much more profound meaning. I just again want to thank you for trusting us with this, trusting us today. - So I also want to thank everyone. The first semester was hard because I didn't get to share my experience and I just like, come up with these ideas, that is based on my own experience, and people were like, "Where's this coming from?" But then they all trust me and just let me do what I thought was good, and then helped me kind of put it all together at the end. It was really supportive. - We're honored to have you. Thank you. - Thank you. (crowd applauding) - [Allan] Please welcome Ziyun Qi. (crowd applauding) - Hi everyone, my name is Ziyun Qi. Today, I'm excited to present my thesis, Animate: Bringing Charm and Magic to Everyday Life. My thesis is a celebration of everyday life. When I was four years old, my father made a horror story to get me to bed. He pointed to the jumping shadows of the light on my bedroom walls and told me, "The shadow is always watching you." Unfortunately, the story didn't work on me. However, it opened another world for me. Things began to talk to me. I have treated the past eight months as a process of achieving my childhood dream. This is to bring the magic and happiness of experience from fairy tales and stories into our daily life. I started my thesis with the exploration of, thank you. (crowd laughing) I started my thesis with the exploration of the magic and the power of stories, especially horror stories. I found it really interesting when I collected different versions of Bloody Mary. Bloody Mary's a scary game that teenagers play for experience ghost adventure through mirror. The visions that appear in the mirror change during different periods of time, but they all have one thing in common; Bloody Mary represented fear. Originally, Bloody Mary is a woman who takes over young women's faces to keep herself young. It represent the fear of getting old. When cars become popular, Bloody Mary was a woman who died in a car accident. It reflected people's concerns about cars. The story of Bloody Mary warns us of danger. The danger changes, but the story remains the same. I interviewed Katie Ahern, a strategist. I asked her how she pick up strong stories for the exhibition. She told me, "There's something we want people to learn, "that's my first filter. "The second filter is looking for elements that the story "is going to pull somebody in." I realized stories influence us and shape our behavior. Design also shape our behavior. I started to explore how to transform story into design. So, meet Baku. Baku is a mythical creature in Japanese culture. Baku is a dream eater that eats people's nightmare, but for all of you, what is the real life nightmare? It's Mondays! (crowd laughing) If you type Monday blues in Twitter, you will find countless people feel low spirit, annoyed, anxious, and a bit fearful about facing Mondays, so how could I help people fight against this real life nightmare of Monday blues? I created Baku. Baku is a companion and public intervention that offers complaint booth for people to articulate their feelings about Mondays out loud. So every word out will help to inflate a huge Baku balloon. At the end of the day, the huge balloon will be set free into the sky, indicating that the dream eater monster had taken your nightmare away. In order to help more people deal with blue mood in everyday life, I develop the app Baku. Baku eats your boo boos. It invites people to complain and it enable individuals to transfer negative emotions into something fun and uplifting. So you press on complain and then hold down the button, and it activates the microphone to start a complaint. The longer you complain, the larger Baku becomes. So when the user releases their finger from the icon, Baku stop inflating. Then you can pick up the needle to pop the monster that is filled with your negative emotions. But, is that what you really want to do with Baku? So I test my app with students. I had her write down her frustration on the balloon. And then pop it. She was sad. In fact, she told me, "There is a moment I want to save the balloon "and keep my complaint. "I don't want to kill them." So this inspired me to look for new ways to deal with the complaints, maybe more human and comfy, a transformation that turns negative into positive. So I designed a second choice, set Baku free. As people keep releasing their complaint monster to the real world, Baku enables user to check monster around them in augmented reality. So after Baku, I wanted to explore the nature of positive complaints. Inspired by my interview with Nicolas Guillin about oral history. I became interested in the power in voice. Could I transfer the negative emotion in complaints into something fun and uplifting? Oh, sorry. It reminds me of the story of Tree Hole. In ancient times, people walked into the mountains and the forest to find a hole in the tree. They would then tell the tree hole their secrets, and seal the hole with mud, so that the secret would keep forever. Nowadays, because our lives are flooded with so many things and we put more pressure than we can bear, we have an increased need to experience our thoughts and emotions, and release of tension and excess noise. So I designed Tree Hole, an interactive intervention that repurpose one's negative emotions by collecting a complaint and transmitting it into music by echoing your voice. Tree Hole encourage people to complaint, to vent, to be self-aware. After the complaint, Tree Hole will play the music back to you. So there's a video showing how it works. - Why don't they put away their phone and take a minute to enjoy their work? All they want to do is take a picture and go to the other one. Go to the other one, go to the other one, go to the other one, go to the other one, go to the other one. (crowd laughing) - My product was inspired by Diana Deutsch research. We could turn our voice into music by repeating what we say. After prototyping, I found this simple way to filter your negative emotions and reduce our pressure. Then I was wondering, why do we have so many complaints? Because people are so easy to get into routine today. And thinking for ways to break the routine, I came up with the service Reanimate. Reanimate is a food service that redesigned the repetitive eating behaviors you do everyday into a new experience that brings surprise and delight. Reanimate freezes the most elegant moments of the ballet dance and transform the movement to eating experience. I designed a tableware with a tracking spoon. Whenever one reach for a spoon, user must slowly slide along the curvy track in a ballet move. Then, I want to take Reanimate further. What if the experience could actually be saw around you? I started to focus on the other actors around our life and rethink the communication and relationship between human and objects. I held experience Petting Zoo of Animated Chairs. It shows a chair coming to life. To better show my idea, I invented a story between an animated chair and its master. Then I transferred the story to my Petting Zoo, an imaginary space for my audience to imagine and wonder about their chairs and other objects around their living circle. Here's the video. (uptempo jazz music) (crowd laughing) After people interacted with the animated chair, they were invited to the sticker wall to make a special pad that enables them to say things animated in their life. I hope animate as a positive perspective to critiquing will inspire them to find happiness in the most ordinary details of life. In the end, I want to thank all these people who animate my life in the past two years. Thank you. (crowd cheering and applauding) - So we should be sitting in your chair actually. We have a classical design delight that Emilie Baltz teaches. Your work is like the definition of delight for me. Just everything you touch just turns out happy and joyous and joyful. Do you have a secret to that? Is it your worldview? - Actually, that's my everyday life. (crowd laughing and applauding) - All right, asked and answered. - You know, grad school is so stressful. - Yeah. - So if the-- - I had never heard that actually before. - Okay, fine. Actually, our program is pretty, so I'm really easy to get stressed, so when reality sucks, I just turn off the reality, and run into my imaginary world, just thinking about, "Oh, I'll finish other assignments. "And Allan was so satisfied with my thesis." - It's just like I'm talking out of your mouth. It's unbelievable. I am very satisfied with your thesis, and I believe I have commissioned one of the Tree Holes for my office. She had a picture of like a blue tape square. It's like, "One day, the Tree Hole goes here." You only spent about 850 hours building that model and circuit and there's the Raspberry Pi to the Arduino to the microphone to the power supply. It's coming. - Yeah, I actually did the math, I spend 672 hours. - Okay. (crowd applauding) Yeah, so not stressful at all. Yeah, all right. I can't wait to have one. I think lots of people would want it. I just want to yell into that thing and then chill and listen to it and have it sing song to me back and then I'm just gonna think of you, think of the joy, be more like you. - Yeah, they need to try in your office. - Yeah. Thank you, Qi. - Thank you. (crowd applauding) - [Allan] Please welcome my next speaker, Adam Fujita. (crowd cheering and applauding) - Good afternoon. My name is Adam Fujita, and I'm so honored to present my thesis work to you today entitled Xeno: An Exploration using Design to Navigate from the Foreign to the Familiar. Xenophobia is defined as an unreasonable fear or hatred of foreigners or strangers. But my definition is that xenophobia is a system of shame, unspoken bias and community disruption. As a fourth generation Japanese-American, I learned of this shame as a boy, hearing the whispers of how my family was forced to put their lives on hold while they were relocated to an internment camp during World War II and that this would forever become a part of their legacy. In my teens, I wrote graffiti as a way to process my feelings of entitlement and anger from a troubled childhood. The world owed me something, and I promise you, I took it. What I wasn't aware of at the time was that I was finding my voice and simultaneously developing in this unique community. And 11 days before starting this program, my wife Jane and I had our daughter, Paloma. And I wondered if part of her experience in life would be hearing the same whispers of fear, or if I was prepared to use design to transform her experience. So my initial and primary research focused on children. The US Customs and Border Protection estimates that 60,000 unaccompanied children every year are apprehended at the US-Mexico border, and that the numbers of these children are steadily growing, fleeing corrupt governments and violence. I wanted to support these children, and I needed a touch point to find a way to help them by utilizing the resources that they had. And while none of them had an adult with them, a large percentage were carrying smartphones. And with that insight, I created the Underground Expressway, which on the surface, looks like a traditional foundation to raise funds for these children to pay for their legal fees, but it had a clandestine underbelly, a covert app that these children could use that hacks into border patrols' thermal imaging cameras, putting this sophisticated technology into the hands of the migrants. So on this screen, the red markers represent the border patrol agents, and the migrant is in yellow. And as the agents move towards the migrant, he or she could avoid capture. An additional feature of the app would be this live map of safe houses where migrants can stop to refresh and rehydrate and continue along their path. In Tim Gaynor's book, "Midnight on the Line: "The Secret Life of the US-Mexico Border", he writes that of these paths and migrations that one-size-fits-all solutions rarely work. And I was now focused and dedicated at this group and the long and dangerous paths that they must take. My design was reinforced when I spoke with Ajay Rebels of Polite Machines, who told me that, "Design objects need to follow "the same social rules as people." And knowing that everyone takes a different route to get to their final destination, I created The Indian Paintbrush Seed Pack. Like the Zelinsky's tale of Hansel and Gretel, the migrants carrying these packs would sprinkle seeds behind them to highlight their route for others to follow, instead of covering it up in fear. Inspired by this Emerson quote, "Do not go where the path may lead, "go instead where there is no path and leave a trail." My own path was becoming more intricate at this point, and I too needed some direction, so I went back to my research, as I was concerned that I might take a wrong turn in my systems thinking, and as I slowly began to gather my thoughts, my thesis concept map gained some clarity. I chose to focus on this area around fear and exclusion. And when I spoke with Moussa Sarr, a recently documented New Yorker from Senegal to tell me how his undocumented experience, he told me that, "We live in the shadows, "and we are invisible here in New York City." I then developed the I B New York ad campaign. Inspired by Milton Glaser's iconic I Heart New York logo but with a literal twist, a public intervention designed to highlight the contributions of immigrants and undocumented people make to our city everyday, reminding New Yorkers that by building New York that they ultimately become New York. And that if we could advocate and celebrate the immigrant population of New York City that we could ultimately foster more tolerance. But I think we all could agree that advocacy is more assertive sometimes. In Alissa Quart's book "Republic of Outsiders", she says that, "Technology is not a form of resistance unto itself; "It can often by a tool for passivity as much as anything." And in order to push back on that passivity, I mocked up Civil Dis. Civil Dis is an app that encourages civil disobedience online and will get your ideology of resistance hacked onto digital billboards. Once logged on, you can see what topics are trending, like immigration, the economy, or jobs. You can see what people in your social circle are discussing. You can also look at what the opposition is talking about. But again, the point of Civil Dis would be to take your words and messages and hack them onto digital billboards with the help of some form of nefarious hacktivist group. And if you were walking through Times Square and noticed this, you might know that a Civil Dis-er was responsible. Civil Dis was about spreading information, but getting clear information to the undocumented community is increasingly difficult. The Pew Charitable Trust released a study, stating that over five million undocumented, excuse me, five million US-born children were born to an undocumented parent, and that 95% of these kids ages five and over speak English better than those parents. And knowing that these children could be the gatekeepers of information that pertains to their community and parents, I created the Theory Coloring Book Service. A coloring book service, monthly editions would come out covering critical topics that outline undocumented people's rights. The inaugural issue would partner with the ID NYC program and would show all of the steps needed to acquire the municipal ID. Additional issues could cover signing up for the Affordable Care Act, or how to properly file your income taxes. My design thinking changed completely when I spoke with Gaspar. Gaspar is an undocumented Mexican man who lives in New York City who told me that in his 11 years it the United States that no one had ever shown him kindness. I thought about the other 600,000 undocumented New Yorkers like Gaspar who have contributed so much to our city with very little thanks. And further research led me to Micah White, one of the organizers of Occupy Wall Street. In his new book "The End of Protest", he says that, "Protest is broken and that activism "is at a crossroads: "Innovation or irrelevance." Which led me to organize Kind of a Protest, a compassionate protest intended to send messages of support out to the undocumented community, using the typology birthday party as the universally understood experience of when we celebrate individuals. We offered cards with a blank space on the back for people to write these messages of support, and then we let them fly. (upbeat music) - [Woman] Thank you, thank you so much. - We learned through Kind of a Protest that it was a successful attempt at generating support for the undocumented community and the people of our city today, but the current headlines are not quite as cheerful. In a dystopian future that I imagine, by 2036, the government will have deported all of our immigrants and undocumented people, and consequently, the economy is plummeting. A post-Trump presidency will have created a ripple effect of hate and fear from his nativist policies, where Muslim people are forced to wear government-approved tracking devices, that have become so accepted that brands like Dior have elevated their status to couture. And in this dark where division and labeling has become acceptable, coupled with apathy and consumerism, the Lighthouse Platform was born. The Lighthouse Digital Candle is an Internet of Things device, where two users from a distance can illuminate each other's candle by the use of a free app with the goal of nurturing connection and keeping families together. (light music) (car horns honking) As the Supreme Court hears arguments in the United States versus Texas, a case involving a challenge to President Obama's order deferring deportation to some four million undocumented people, breaking families apart, I hope that all of you can leave this theater today inspired to make a difference in our collective legacy by breaking down unspoken bias and fear, by being a little more kind and a little more disruptive. Thank you. (crowd applauding) And I would be, it goes without saying 2016, '17, people from '15 class, such great support. If I didn't thank my wife Jane, I would be an idiot. She has been an unbelievable supporter. I think in the history of wives supporting husbands in grad school, she wins. Sorry, Steve Hamilton if you're here. But, thank you, Jane. (crowd applauding) - We have a few things to talk about. The first of that you had a baby 11 days before the program started, and you did the program. (Adam laughing) - Yes. - I just, I still marvel at it. The second thing is you saw some of Adam's sketch notes animation. I had talked earlier about the books that the students had done. Have you asked to look at the books, a little bit? Maybe at the champagne reception. You gotta show off the books. - [Crowd Member] Can I buy them? - Yes, you can. You can, but you can also read them for free. So we do both. There might even be a freemium model, where you could read it online for free and then buy it to give as a gift. So Adam did a bonus, another book, of this sketch notes that he has done for the last two years. This was a complete surprise to us. And he has his beautiful dedication, "While these pages were drawn by me, "they could not have come into being "without the inspiration of the people in this program." Which I think is really a beautiful thing to have done to your classmates and faculty and staff. - They deserve it. - It's really something. This was a difficult territory. I think it's obviously a very timely territory and urgent, but for you, I think was very important that you kept it personal, and yet, it also had to be about not you. And I was very, I was encouraged and I was always wondering about you as you started to oscillate between these two things, week to week, month to month, trying to figure out what kind of work to make. Go. - Ah, so yes, and it got, it was very, it was difficult. And it was, I think I mentioned about getting sort of lost in systems thinking for a point there and I guess trusting my research, going back to that. - You didn't show the stickers that you had done before. You'll find those in the book. But the I B New York, I think it's wonderful, right? And you can all take a souvenir of that. So I think that they were such simple things that you did, and then such outrageously, well not outrageously, but very ambitious projects that would be so difficult to pull off. And so I really like again the latitude between doing things, it was just very doable and reaching for things that were maybe not so doable. - Well, I think that is a credit to you, encouraging us all, like you said, to be brave and to be audacious. - I appreciate those kind words. Thank you so much, Adam. - Thank you. (crowd applauding) - [Allan] Please welcome our next speaker, Louise-Anne van't Riet. (crowd cheering and applauding) - Hello everyone, I'm Louise-Anne van't Riet, and today, I'm very excited to present to you my thesis, Side Step: A Momentary Escape from The Real World. Since birth, I have spent my spare time in galleries and museums. When I'm surrounded by art, my mind, my mind flies, time is suspended and nothing else matters, except recharging my energy. I'm a designer who is very often influenced by art. Art always inspires me and helps me to meditate and escape. But my thesis is not about creating art. Many people ask me, "What do you like about art? "What does art means to you?" And answering these questions is never very easy, if art is not one of their interests. So I want to change the relationship between people and works of art by using design to enhance the experience and environment in which we view them. So my products and services are an attempt to make art accessible, enjoyable and understandable to people who don't appreciate art. So I have read a lot of books and interviewed many experts, and these are some of the most rewarding quotes. The key that helped me during my work this year, so, "The key for exhibition is to astonish and surprise "and awake visitor's senses with diversity." so this is a quote from Christopher Guerra in regards to his exhibition goals. And Philippe Decelle, an artist and plastic furniture collector told me, "Every generation has a new way of looking at things." So everyone experience art in a different way. With all this research, I begin designing new ways to interact and experience art. So I divided my work in early explorations, a co-creative workshop, an app, and an experience. So people don't really look at art anymore, they wander from one artwork to the other one, and instead of really engaging with the art, so I wanted to take art out of the context of a traditional gallery, and I created the gallery called Act. So, Act is a gallery where the user cannot be passive anymore. I took and observed this approach in an attempt to make people look again at works of art in an irrational way, in response to Stephanie Rosenbloom's observations that, "The average visitor spends 15 to 30 seconds "in front of a work of art." So for example, in the art gallery, people would look, every paintings will be turned backwards to the visitors, but in front of mirrors, so that they have to get close to it and turn around to see what exactly it is about. And in another room of the art gallery, there would be a hole in the floor, and the visitor can see the art from a different perspective and they can also observe the people looking at the art, making the act of observing art a piece of performance art itself. So I challenge unwritten rules that you cannot touch, talk, get close, or take an active role in your relationship with the gallery. But one point on this theme, I realized that when we look at art with our eyes, we are not allowed to touch it. So this is why I created Sense. Sense is a book containing pictures of paintings and black-on-black reliefs. So on one page, there would be two similar paintings, and on the other one, a black-on-black relief. And user has to touch it and guess which one they feel. This sensory approach allow us to experience art on a completely new level. For the last exploration that I will show you today is Shades, so it's a set of different lenses that have different benefits and emphasize different elements of paintings, so that we can see color, form and lines in various ways, which allow us to analyze an artwork in more detail. All those are different lenses. They increase color contrast, they improve the depth perception, and reduce the brightness, almost like an analog version of Instagram. For example with this painting, I use color lenses, and I also created pixelated one with another painting, that I will ask you to guess, does anyone recognize this painting in the room? Let me help you a little bit. Anyone? No, sorry? Yeah, I heard-- - Renoir. - [Louise] Yes, thank you. (Louse laughing) So it was Bal du Moulin de la Galette from Renoir. And I have another one, a little bit more difficult this time, even more difficult, I don't know. - [Crowd Member] Guernica. - Yes. Guernica from Picasso. You passed, okay. So creating this product was inspiring, but I wanted to continue to push my work even further, so I organize a workshop where I asked the attendees with and without a creative background to imagine themself in 2015, and to make a collage of their ideal space to see art and to reenergize themself. I have my own assumptions about the future of art, principally, that art will become even more ubiquitous, and I wanted to see how they corresponded with other people's assumptions. So the findings were, "We live in a world where social media "forces us to be online all the time. "The world is too oppressive, too judgemental. "Technology has entered our lives on a huge scale "and is having negative affects. "People need to disconnect from their real world "as well as from their virtual world." So the takeaway was that I realized how important social media had become. It's omnipresent and will continue to be so. So I wanted to make an art object to help people to escape the oppressive social media obsessed world we live in and created Beyond. So Beyond is a book that looks and feels like a book, but it's not an ordinary book. Once you open it, you are absorbed by an illusion of infinitely deep tunnel of light. So I transformed this specific daily object into a meditative one, because books have the capacity to transport us anywhere and at any time and I wanted to do the same, but with lights and not with words. So I did many different iterations of Beyond to find the perfect shape, circuit, materials and texture. This is my usual way of working, but for my next idea, I decided to make a platform that would reach out to people everywhere. So let me introduce you to Gateway. Gateway is a virtual reality app that allows people to experience the latest art installation anywhere and at any time. It was created for art lovers who neither have the time nor the money to go to art exhibitions. So Gateway feature a different experience on a daily basis and teleports you to spaces you would never have had the time or ability to go to. So let me explain to you how it works. So every day, you should use the app, for example today, the 6th of May, if we all together want to see the art of the day, it would be this product installation. This is what you would see on your screen, but this is how it would look like if you use it with the Google Cardboard. So you can turn around 360 degrees, you can look up and look down. When you look down, you have information about the artist, about the year, where it's shown. You can add it to your favorite ones or you can go back to the calendar. You can use it as often as you want during that day. You can also revisit your favorite ones, since you have the option of saving 20 of them a year. You cannot like them every day, because otherwise, that would be too easy. So it's only 20 a year, and it's on purpose so that people use it daily and that they can enjoy the art. In museums and galleries, there are more people, and they make a lot of noise, and using Gateway in combination with the Google Cardboard removes the distraction and intensifies the experience. So I wanted to test it out, and I create Wander Spheres, an event where I use my app to teleport people into virtual art worlds. (light mysterious music) So what exactly was there in those helmets? So each contains a Google Cardboard, an iPhone, and some sound. For the design of the helmet, I was inspired mainly by Walter Von Beirendonck, Ingeborg Morath and Saul Steinberg. Here are different steps of my work. After my experience, I also realized that people were using the helmets between 30 seconds and three minutes, which is longer than the earlier time that I mentioned. People wearing the helmets see something unique and that specific moment is very strong, because nothing else can intervene. There is no distraction. It's just the user and the virtual art installation. Again, I took an absurdist approach. The view from inside the helmet is intensely personal, and people looking at you using it, it's almost like experiencing a performance. This relationship between the viewed and the viewer is something that has always intrigued me. The observed experience can be social media, but the virtual reality experience is unique and not possible to share, and not possible to share with pictures, only words and memories. Which just about sums up my two last years in this program; Many, many words and lots of memories. So I would like to thank all my classmates, the faculty, VFL, everyone who is here today, my mom and sister, and Laura, Eva and Alisha who are looking at me right now. Thank you. (crowd applauding) - Thank you. So this was another cultural reference. I said, "Oh, it's like to stop aliens." And Lou was just like, "Huh?" And I said, "Oh, it's a thing, you put on the tinfoil helmet "to stop at aliens from like, you know, "taking over your mind." And she's like, "Okay. "You know, that's not really where I was going with it." You brought the book. - Yes, I did. - Can you demo the book? - Yeah. - I don't know how. (crowd oohing and applauding) Can you see the infinity? Can you experience it? So here's another bonus track. When you ask to see Lou's book in the lobby, she'll be like, "Which book? "The secret book or the 30,000 word book?" So, you showed-- - And it'll also be at Wanted Design. - And it'll also be at Wanted Design tomorrow night. Please come. Industry City. You showed the Michael Heizer sculpture in the beginning, and my wife Victoria and I visited that sculpture and just freaked. I mean literally, we were both on the ground, we both are not so good with heights, although this is like, this is these massive cavities in the floor. We were crawling up to it. It was just so visceral and so physical. I hate museums, I mean it's just, the people, the noise, the cell phones. When you first came up with this thing, I was just kind of resisting. I was just like, "Well, all right." (crowd laughing) Pretty honest. And the more I thought about it, and then when I tried it, I was just like, "You know what? "There are many ways that this is actually better, "as corrupt an idea as I think I find it, "I'm just not sure it's true." I mean, if it gets me out of there, it's like, I'm sort of all in. And I love the idea that if you miss the day, sorry, that's gone if you didn't see it. So there's incentive to actually see the app. Maybe you can talk to us a little bit about, well, just really any of the projects, they're so great. - For the app maybe, so I sent out a survey and asked people which app they use the most, and it was Instagram because it was changing every minute. So that's why I just wanted to change the art installation everyday and not leave the choice to the people, so they just had to use it everyday. - And I like the fact that it's not just predictable. Like, "Oh, you're gonna walk through a virtual museum "and go from room to room." It's just like it, "No, don't do that." And you didn't. I think that it's really just a nice amount. It's not too much, it has wonder, but it has constraints and limits as well. What was your, did you have a favorite museum or gallery moment in your past that inspires you? - In my past, maybe related to New York. When I was here on holiday six years ago, a friend of mine was like, "Oh, we are going to museums, "it's a little bit far away, but just trust me." I was like, "Okay, sure." And then we had to take the train and it was one hour and 30 minutes, and I was like, "Where are we going?" And it was Dia, Dia Beacon. - Oh yeah, it's amazing. - And I just loved it. When I entered that space, I don't know if everyone has been there, but it's just amazing, and there are so many artists that I like together, that I love spending the whole day there. - Yeah, Dia Beacon is really, it's a treasure. Can you just flash book one more time for the audience? (crowd oohing and applauding) - All right, thank you Lou. And you can see it live in the lobby. Thank you for sticking with us everybody. We know that we're beyond, we're beyond schedule. But you're here now and this is live, so we're very appreciative. Please welcome our next speaker, Tahnee Pantig. (crowd applauding) - The evening of March 2nd, 2012, will forever be ingrained in my memory as one of the most violent and intimate evenings of my life. On that evening four years ago, I was physically assaulted in front of my home. This person dragged me out into the street, tried to steal my bag, and only after a lengthy struggle did he relent. I felt guilty. Had I somehow contributed to the conditions where this man felt the need to steal from me? I used my thesis to reconcile and understand the circumstances which led to the events of that evening to the one thing that I know; Design. I started by exploring the intimacy and violence of that night, even before thesis in my first year of school. I defined intimacy as a physical, emotional, and mental closeness. That evening let me to understand that intimacy is not always warm and fuzzy. It can be violent and forced, even dangerous. And I use the word intimacy intentionally, because who can argue that his fist against my cheek is not intimate? Or that his smell invading my nostrils and my memories is not intimate? This invasion was something I considered when I created Scentury, a perfume set that recreates the moment of trauma through the sense of smell. One of the most effective treatments of post-traumatic stress is exposure therapy. This therapy requires patients to relive trauma-related thoughts, feelings and situations as a way to reduce the power they have to cause distress. This therapy is often conducted verbally. Instead of talking through the traumatic events, Scentury gives you a way to desensitize yourself from the aromas of the trauma. Then this summer, I read "Between the World and Me" by Ta-Nehisi Coates, and it was stunned to see how my own experience of violence was so similar and so vastly different from the experiences he describes of people who are actively oppressed by racism, particularly black Americans. In his book, Coates talks about how, "Racism is a visceral experience that dislodges brains, "blocks airways, rips muscle, extracts organs, "cracks bones, breaks teeth." How was it that Coates' descriptions felt so much like my own experience, but was so vastly different? What these experiences share is that violence is intimate. Today it's my pleasure to present to you the results of my thesis; This Great Violence. In 2015, eight out of 10 stopped and frisked New Yorkers were innocent, and an overwhelming majority of those who were innocent were black. Stop-and-frisk has never proven to reduce crime, and in fact it has been found to corrode trust between the police and local communities. Being stopped and frisked is an intimate and uncomfortable experience. Will E., a 20 year old black and Dominican man from Hamilton Heights describes his experience. "Checking other people's private areas "and people's rectal area to see if they have drugs in them. "It's just too much, outside. "It's embarrassing." Officers are given the right to stop and frisk a civilian under the following grounds shown here. They're required to give this receipt after conducting a stop-and-frisk. However, this exchange is one-sided. The receipt is given to the civilian, but nothing is kept by the officer. I saw this as an opportunity for design and conceived a simple intervention called Stop the Frisk. This intervention made the receipt a two-part procedure, one which is given to the civilian, the other kept by the police. The form for the officer to keep makes note of the civilian's name, age, factors contributing to their suspicion, gender, race, and ultimately, the outcome of the procedure. After filling out numerous forms like these, the staff forms a visualization of the tendencies of the officer, allowing leadership and the precinct to make changes to policy. One of the more compelling interviews I conducted was with Peter. Peter had the experience of being a young black man questioned by the police. His experience escalated to the point where a gun was held to his head. He told me that it was in that moment he was dehumanized. He realized how dispensable his life was. This dispensability disturbed me. We live in a time where body parts of celebrities can be insured for millions of dollars. How is it that Heidi Klum can insure her legs for $2 million while the lives of young black men are considered dispensable? I wanted to question this imbalance through the lens of a speculative business called Assurance. Assurance is an insurance company that provides body part insurance, also known as surplus lines insurance at a low premium. This is in contrast to the current practice of insurance companies like Lloyd's of London who charge high premiums to people of influence for the same insurance. Our low premium body part insurance would allow people in low-income neighborhoods and particularly young black men to insure body parts, particularly, the parts of their body used to provide their income. This is the same practice used by celebrities, for example, David Beckham, who insured his legs for $195 million when he was a soccer player. Conventionally, body part insurance has been most effectively used as a publicity stunt to raise the profile of a celebrity. Assurance is rolling out an extensive ad campaign, bringing attention to this imbalance between celebrities and young black men. We're rolling out billboards, websites, and branded content, including this feature in the New York Times. Now, Assurance is a design of commentary. This is a business that is disturbing to me. And I don't believe this business should exist. But what I think is more disturbing is that we live in a time where I've been prompted to conceive of such a thing. Assurance in the context which gave rise to it sheds light on the statement all lives matter, because I think it's evident that through our culture that this is not true. Talking about my thesis has made many people uncomfortable. When I talk about racism, violence, and then follow that up with intimacy, it's like stepping into a minefield. I spoke with one of my subject matter experts about this, Deray McKesson, one of the leaders of the Black Lives Matter movement. And he told me that when you talk about racism, people go on the defensive. They assume they're automatically at fault. But, "We can's address what we don't talk about." I wanted to find a way to have people, particularly people of privilege, talk about racism in a way where they didn't feel defensive. So I created a visceral experience that allowed open dialogue complemented with drinks. Speak Easily is a pop up speakeasy I held over two weeks in various locations around Manhattan. I invited two participants to a secret location where they would be guided through a conversation on race to the creation of cocktails. Their guide included activities about privilege. They read statistics that brought to light the disparity between races. And I provoked participants with the very first quote from Coates I showed you at the beginning of this presentation. Participants were tasked with creating cocktails that reflected their answers in conversation. (smooth jazz music) The feedback from my users was encouraging. One of the participants spoke with me a few days after the experience, and she told me how her conversation had changed her perspective on her every day. Experiences that were quotidian and mundane were now filtered through a lens that showed her the implications of race. Language has played a key role in my thesis. Speak Easily was successful because it got people talking, but a model like this wouldn't work on perhaps our biggest forum, the internet. Online, there is freedom of speech, but also freedom from consequences, and this has allowed different parts of the web to be rife with racist rhetoric, from Reddit, to Facebook, to YouTube. And to address this, I designed Sans Consequence, a conversational user interface that flags when a phrase or term with racist undertones is used. A conversational user interface is an interface you interact with the same way you would interact with a human through platforms like email or text messaging, but it's a robot. Think Siri on iPhone, or Alexa on Amazon. This is how Sans Consequence works. Within the context of your email or text messaging, you start out by typing your message. When a trigger phrase is used, in this case, "I don't see race", Sans Consequence highlights that text and then auto-completes the sentence to include contextual information that shows why the phrase is problematic. In this case, it says, "Because I occupy a space of privilege "that allows me to ignore the oppression of others." Some of the other trigger phrases include, "All lives matter, "I'm not a racist", and, "Race has nothing to do with it." Ultimately, the reason these phrases are problematic is because they dismiss the experience of many Americans. Similar to Stop the Frisk, I wanted to provide a moment of pause for the user to consider the words they use and the meaning behind them. This emphasis on language is great, however, the words we use account for only 7% of communication. 93% of effective communication is actually nonverbal. 55%, the majority, is body language. Someone's body language can tell us what they mean faster and more honestly than their words can, and I explored this within the context of difficult conversations. Incline is a set of furniture I designed which facilitates difficult conversations through the placement of bodies. Included in the set is a chair and table. The chair has a sloped seat that tilt the pelvis forward. Research shows that this encourages the spine to be upright, shoulders relaxed, putting you in a position to better hear the other person. The incline table brings two individuals together, physically and metaphorically. Through the movement of the two sides coming together, and the choreography of the bodies moving their seats forward, the incline table brings people to a place of common ground. The intention behind this design was to position of each person to be receptive to the other, to make room for understanding to the physical openness of their bodies. The evening of March 2nd, 2012, will forever be ingrained in my memory as one of the most violent and intimate evenings of my life. And by exploring that evening in my thesis, I've been able to understand the dynamic between violence and intimacy. We must look to the body to challenge racism and other violent experiences effectively. It is worth remembering that great violence can also be met with great courage. Thank you. (crowd applauding) - Just such an articulate presentation. I have to tell you, publicly, I participated in one of these Speak Easilys, and in the last few weeks, I've had a couple different discussions with people of a different race than I, and I actually felt very different about it. - In what way? - And I want to thank you. I was more comfortable. I felt a kind of permission and license that I will absolutely attribute to that workshop. - That's awesome. That's one of the best testimonials to Speak Easily. - It was really something, thank you. - Thank you. - Thank you. Your work, it's interesting you talk about Ta-Nehisi Coates. When I was reading that book, I mean, just the paradox between, just the brutal information and communication in that book and the fact that it's like a poem is just very hard to reconcile. I mean, it was almost distracting. I couldn't believe what I was reading was so beautifully written, but what I was reading was just so unbelievably difficult and disturbing. Your work from the very beginning has always struck me as a kind of poem, that you're able to take this difficult work and somehow make something beautiful out of it. It's a handy thing to be able to do. - Thank you. - Is it conscious? How do you do that? Big question. - That's a really great question. I think for me and my own creative process, I, there is a level of nuance that I like to integrate into my work, and there's a level of poetry that I like to integrate into my work, and I think a lot of that actually comes from listening to myself. So I know that my colleagues can attest to it. There's a lot of research, there's a lot of things that we're doing, there's a lot of noise, and at some point, you kind of just have to step out of that and be quiet and just listen to yourself, and I think that's really where it comes from. - Also, a lot of hard work. - Yeah, also, a lot of hard work, but somehow amongst all of that, you gotta find five, 10 minutes if you can just to be by yourself and let it, let the work come out of you. - I know you wanted more scale, and I think the app is smart. I would be very pleased to know that Speak Easilys were continuing to happen, and happen in other cities around the world. I think it would be well worth it. And I think that the workbook that is the methodology for the workshop is only gonna get better and smarter and more effective. - Yeah, definitely. I'm definitely hoping to Kickstarter another version of Speak Easily sometime this summer, so if anyone is interested, please let me know 'cause it was probably one of the most successful out of all of the designs that I created, and very, very enjoyable for everyone involved. - And the booze helped. - The booze definitely helped. That was a lot of fun-- - It definitely loosened lips. - Prototyping-- - There's no question. - Coming up with those cocktail recipes-- - I think I looked to you at one point, I said like, "The booze is very clever." It's like, I can't believe what's coming out of my mouth. It was good, thank you, Tahnee. - You're welcome, thank you. (crowd applauding) - [Allan] And to drive it home today, please welcome Jonathan Lung. (crowd cheering and applauding) - This feels like I'm coming down on The Price is Right. I'm coming down like, "Yeah, I'm gonna win a boat, "I'm gonna win a boat!" But I guess no boats today. But I'd like to take 30 seconds to just congratulate my fellow peers. Can you join me in a round of applause? You did it, you're done! (crowd applauding) That's right, fantastic, there you go. And I'll be joining you in 11 minutes and 30 seconds. So let's do it, right? So my name is Jonathan Lung, and I am a second-generation Chinese-American. So what that means is my parents came from Hong Kong, and with coming over to America, they brought that dream of starting a new life, and they also bought over a sense of traditional, cultural distrust of their surroundings. I think if you, Judy, you can attest to this. - Yes. - Yeah, thank you. And so, as I was growing up, they lovingly passed this kind of distrust on to me. Thank you very much. And so what that's become as I grew older is a sense, this constant sense of needing to be prepared, right? Needing to be ready, for anything that could happen in the unpredictable world. So today, I'm extremely proud and excited and nervous to present At The Ready: Preparation for Just About Anything. And so when I say preparedness, I mean it's a state of readiness to counter or react to situations that may cause physical or psychological harm. And so on my thesis journey, that's me, and there's my hair, see? I started looking into how can I prepare myself and what can I do to prepare myself? And then taking those skills and continuing the journey, how can I prepare the people that I cared about? How could I take care of them? And then I realized you can't be there all the time, as much as you want to be, so what can I do to help them prepare themselves? And so starting this thesis, I did what I do best, I just started building things. And starting with a speculative project called The Hive, really inspired by Harvard School of Engineering's Robobee Project, and watch it. A micro robot capable of sustaining fight, I created The Hive. And what that is is a series of probes, or rather, I envisioned The Hive, right? It's a series of probes that are completely open source and they collect data. So you kind of type in and program what you wanted to collect, and they transfer that information back to you by these haptic stickers. So what this does is completely let's you feel your environment more so than you can ever smell, touch or do anything to your environment around you. And next, I looked at doomsday preppers. And so for those of you who don't know what doomsday peppers are, they are people who've left the modern society to kind of prepare for the end of the world that they think is coming. So whether that's a nuclear holocaust or financial collapse, they kind of hide out in the forest and just prepare. Now, I don't want you to be like that, but I do want to kind of take that fervor for preparedness and turn it into a product to give it to the general population. And so I created three products based on the elements that sustain survival, sustain life; Air, water and fire. Focusing on air, I built many, many prototypes. This one's a modular one that allowed me to test like breathing tubes, filter sizes, mouthpieces, all this stuff, and just looking at how I could shrink this down to pocket size preparedness, something you can carry around every day. And finally getting to the last one, I created this, which is a pocket size respirator, as I just said, that features what I believe to be a simple design, Allan, if you'd back me up on that one? That's easy to clean and easy to maintain. And so it features a silicon mouthpiece that really gives you a nice seal between the device and your mouth. It also features removable filters that can upgraded or changed depending on the situation. Next, I looked at water, and just similarly to the pocket-sized respirator, the water pump is also pocket-sized, can be thrown in your back and forgotten about. So when you need it, you can take it out, and use the handle and pump water through a series of filters, you can turn any water into clean, drinkable water. Moving onto fire, took inspiration from, if you know the strike steel, you typically take a piece of steel and you scrape it and it produces sparks hot enough to ignite tinder. And so I've turned this scraping gesture into a stamping gesture that can help you create fire very quickly. And so, here we have all three together. Next, I wanted to take these skills and just protect the people I love, the people that I care about. Right now, all these people are here. And so I focused my lens first onto bullying, something that happens more and more prevalently nowadays, which is unfortunate, and created the Flex vest. Really building off the research that Amy Cuddy's done, she's a social psychologist who believes in the outside-in approach, which is using the body to affect the mind. I found out that this, if you'd all join me in doing this, this power pose is scientifically proven, if you want to keep your hands up there for another two to four minutes, is scientifically proven to increase testosterone and decrease cortisone, which is a hormonal response for stress. And what's also fascinating is this pose that we all just did together is a universally known power pose. So people who are visually impaired, who have never seen anything like this in their lives know instinctively to do this when they do something awesome and they feel great. And so by channeling that into the vest using a system of inflatable skeletons and emergency release valves and pumps, it would bring the user up from that kind of submissive pose into a prominent shoulder back, chest out pose. And seeing that all of us have smartphones in our pockets right now, I moved my preparedness into the digital space, creating an app called Run and Help/Run and Hide. Yes, that's one title. One. And so that really was inspired by my research for the bystander effect, which is the refusal to help a victim when the individual is around a crowd of other people. It also inspired my research of the opposite, which I have dubbed the John McClane Effect, which is when the inactivity of many kind of spurs someone to go and help. And so let's just say you're looking at your phone, and what does is it takes that kind of, the ability to scrape unencrypted police radio frequencies, which you can actually download that and listen to it on your phones now, and it turns it into a push notification. So in this case, what do we have? We have a, ah, we have a stabbing roughly two blocks away. And so if you're like, "You know what? "This is not really for me." You can look at the screen and you can see that other people are choosing whether they want to help or hide, and so the counter kind of builds off from my research for the John McClane Effect, or the bystander effect. And if you're like, "You know what? "Not today", right? Then you can swipe, hide, and it'll give you locations of book stores, restaurants, things like that for you to take shelter. So there you are, there's the stabbing, those are the yellow places that you can go and hide. But you know, if you see this notification, and you're like, "God damn, I am in!" Well then, you swipe to help. And what that does is it kind of gives you the immediate GPS location, and also using Google Maps, the best, fastest route to that thing. And so now after all this, you can actually look at the statistics of how many times you've attended. It keeps the log of the things that you've done, gives you the ratio of help to hide, and it has this kind of conversion rate for seeing whether you're participating more or less in society. But you know, this could never happen. Can you imagine if someone went to go to help and they got stabbed? The liability would be a disaster. It could never happen. I mean, unless it did, right? Unless this app was so prevalently used that it was a deterrent for violence and crime. So just something to think about. Next, I looked at how we could teach people to prepare themselves. So if I can't be there, just how, it teaches people to get ready. And so I created Tread. Surveying the room, how many of you know how to get back in your house when that door slams behind your backs? Anyone? Just boom, lock yourself out. That's not bad, all right. - [Allan] Now I know how to get into my office. - Exactly, I know Eden Lew knows. We know Eden Lew knows how to get back into a locked room. Now, we'll be wrapping up. How about like a grease fire? If you have one in kitchen, you know how to put that out? Do not use water. It will explode in your face, it's a bad idea. So you want to use baking soda or something like that. And let's wrap it up one more time. If you wake up and you find yourself sinking to the bottom of a lake in your car. Anyone? It happens. Well actually, you know what you do? You calmly lower the window, and you actually want flood the car, which is the opposite response, because you want to equalize the pressure inside and out so that when you can finally open the door, you don't have water, hundreds and hundreds of gallons of water pushing the door closed. So, just remember that. And so what Tread is is a complete hands-on training camp really inspired by SEALFIT, which is, it takes the most difficult week of US Navy SEAL training, it's called Hell Week, and it trains civilians. So Tread takes that kind of hands-on approach and teaches you how to respond to just these kind of situations. And while I was doing interviews, I got the opportunity to talk to Jeffery Fong, US Army Sergeant. His job was to disarm bombs on the side of the road in Afghanistan. And so he really turned me onto the idea of having the importance of muscle memory, just like I can probably talk to you right now and then tie my shoe, he can disarm bombs while he's being shot at. I know they don't seem related, but the muscle memory part is. And also, so if you want to become really good at a thing, we all know we need to practice, whether that's learning to play an instrument or some kind of skill, but how do you get someone to practice long enough to become a master at something? Well, if you guys know what CrossFit is, it is an intensely physically grueling daily activity that people voluntarily do. They actually go and they do these insane things in this workout, and they sweat it out, and they go back every day. And that's because it's a very competitive kind of workout. They have best times of the day and they come together to compete. So I wanted to take that kind of competitive attitude and push it on to Tread. So if you're looking at Tread, as a service, it's really competitive training with applied knowledge, kind of the best of both worlds. And then taking that and pushing to the real world with these ad campaigns, I envision these advertisements with the catchphrase, "You can survive this and we can teach you", using intentionally-vague imagery to let the viewer kind of imagine their own worst nightmare. And when I presented this to VCs, they actually got a real, they loved this, but the thing is, I want to do something now. What can I do to kind of prepare these people now? Something I can do right now, everyday objects, what can we do? And so in doing this kind of research and everyday preparedness, it's hard to not think about this guy. So, does anyone know who this is? - [Crowd Member] MacGuyver? - That's right, thank you so much. From the hit 1980s TV show MacGyver, this guy basically solved seemingly impossible problems with everyday objects like paper clips, duct tape, things like that. And so this kind of a wily, being able to solve problems has earned him the Urban Dictionary definition of, "Someone who can jump-start a truck with a cactus." And I know we all want to be that bad ass, but I mean, it takes a while to get there. So before we can start jump-starting vehicles with vegetation, I created B.A.M.F. Academy. If you don't know what that is, it stands for bad ass motherfucker. (crowd laughing) So what B.A.M.F. Academy is it's a game that tests its participants' abilities to rescue an object that's fallen into our storm drain with nothing more than everyday object like pens, paper clips, tape and paperclips within 10 minutes. And so for those who really want to get immersed in that MacGyver spirit, I had a vest filled with the objects, the everyday objects with instructions of where they were. I also had a mullet, business in the front, party in the back, and instructions also came with the mullet. And for people who really just didn't have experience with this before, I created a series of posters that took these everyday objects and broke it down into how you can manipulate them and kind of the functions they had once you did that. And so we have paper clips, you can pick locks, you can do all this kind of stuff. And so I'd love to present to you B.A.M.F. Academy. (uptempo dramatic music) (crowd laughing and applauding) Thank you very much, yeah. And so, B.A.M.F. Academy is great because it was a culmination of all the research I've been doing. If you noticed the power poses, did you notice that? After everyone won, they just did that. And just the research on how to do things and how to teach people was great. And so from B.A.M.F. Academy, I learned two very important things. One, everyone looks good in a mullet. I mean, that was a full 60 seconds of people in mullets, and they look amazing. And the second thing is when it comes to preparedness, you have tools, you have gear, gadgets, and you have muscle memory and doing things like that, but I really think when it comes down to it, preparedness is a state of mind. It's being ready to respond to any kind of situation. And so whether you're gonna apply a second layer of suntan lotion, or you're gonna pick up Krav Maga, I hope that my thesis has one way or another inspired you to be at the ready. Thank you very much. (crowd applauding) And I would love to take this opportunity to thank obviously the faculty and staff who've shown us nothing but support, thank you for believing in me, and thank you all of the friends and family who've come. My mom's back there, hi mom! Whoo, there is she is, there you go. And all the people watching on livestream, thank you so much for your support and understanding why I dropped off the face of the earth for two years. So there you go, thank you very much. (crowd applauding) Oh, here you go. - I have nothing to ask you. I would like to know what it was like to, I want to meet the mom who raised Jonathan Lung, basically. So we're gonna talk after. I want to thank you for being John for these last two years. I mean, just your energy and just the commitment. The number of all-nighters I think is what we really need to talk about. Five per week, roughly? - On a good day, maybe, maybe. - It's just, you're like a wonder of the world. - Thank you very much. It's not just me though 'cause when I stay late, everyone else is working there too. So it's kind of like a family event. - See, and deferring the credit. Look at this guy. All right, you know what? We haven't taken questions. Does anyone have a question for Jonathan Lung? - [Crowd Member] Where's your confetti cannon? - Oh, I have it. Oh no, no, no, I have it. - Maybe tomorrow night at Industry City? - Oh no, when we take pictures later, I'm just gonna fire it in the air and we can all bask in the glory of confetti. - Anybody else? - [Crowd Member] Where'd you get the shoes? - [Crowd Member] Yeah. - These were actually my father's shoes. He got them hand-made in Italy and that was kind of a thing he passed on, so-- - Oh, honoring him tonight. That's beautiful. - You think? - Yeah. (crowd laughing) They match your hair. - Yes, this is the whole get-up. - And the tie, actually. I look like an idiot. - No! - Yeah, you're put together here. - [Crowd Member] He graduated from design school. - Ah, thank you. Comment of the night. Thank you, John Lung. - Thank you so much. - Yeah. (crowd cheering and applauding) That is the end of the presentations. We will welcome everybody out for a champagne reception. You get to talk to them, you get to learn more about them, see more of their work. Then all the students are gonna come in for a portrait, like a group photo, an annual group photo. Thank you all so much for coming. You make this an unbelievable day, so very, very honored to have you. And come on back next year, thank you. (crowd cheering and applauding)

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