Therefore, in this study I proposed physical ephemeral digital music and explored the value of the experience of listening to music and consuming music through it. Through the results of the field study, which recruited 10 participants for 7 days, muRedder helped the user to immerse himself in the music and create a new context and situation for listening to music.
Background
Research Aim and Methodology
Research Scope
Thesis Structure
Counterfunctionality (James Pierce and Eric Paulos, 2014) is used in these cases, such as cement cameras (James Pierce and Eric Paulos, 2015), social clock, radio and sound box (Liang et al., 2012). Based on the field experiment method (Brown et al., 2011), I tried to construct experiential assessment interview questions.
Functional Limitation on the Digital Products: Counterfunctionality
Ephemeral Interface with the Digital Contents
Materialization Connecting Physical Interaction and Digital Music Contents
Summary and Design Approach
In the first part of the research, there were some cases that involved inhibiting the functionality of the digital products, changing existing functionality to find new opportunities or creating new interactions. On the other hand, James Pierce and Eric Paulos tried to find a design method and new possibilities by limiting and removing the functions of the digital products. In FugaciousFilm (Hyosun Kwon et al., 2015), soap bubble materials and the projector were used to evanescently present the digital content.
They created a prototype that creates smoke with exhalation and uses a projector to reflect digital content on the generated smoke (Figure 12). In addition, the digital content was mapped into ephemeral materials using a projector to show the instant of disappearance of the digital content and the simultaneous change of state of the materials. There have been some research examples that use physical interaction with digital music content for materialization.
They sell the physical storage device made of wood and it contained the digital content. There were cases that applied physicality in the digital music content to enhance the experience of listening to music in studies, projects and in the market.
Design Features
Ephemerality to Digital Music Contents
I understood digital streaming services like using Youtube and Spotify, sharing mp3 files and using subscriptions, and using physical music and media content like CDs or LPs. I also focused on limiting the possibility or duration of the music listening experience by limiting or removing certain features in digital products. In addition, users understand that music disappears after listening, so it makes users feel that they are consuming music and that it can be reflected when they choose the song.
Materialization of Music Contents and its Consumption through Paper
After listening to music through muRedder, the used shredding papers were accumulated at the bottom of muRedder, and users can use it as an indicator of how much music they consumed while listening to it.
Everyday Speaker Design as a Research Product
Iterative Design Process
Initial Concept to Dissolve a Paper Song Ticket in the Water
In the first draft, the paper song ticket sat in the water and disappeared completely. I printed the song information on the water-soluble paper that chemically decomposed in water in an instant (Figure 27), and the experiments tried to evaporate it using a humidifier (Figure 28). The first problem was that the water-soluble paper dissolved quickly, but small particles still remained in the water.
The second problem was that evaporation showed a one-time property, but the evaporation effect did not work properly after a certain period of time. In the production of the research product, this device could not be used for long periods of time during installation in users' homes and required researcher intervention during the experiment period. The test using the humidifier to evaporate the water contained soluble paper and the problem of the paper particles continuing to work affected the operation of the humidifier.
Final Concept to Shred the Song Ticket while Playing Music
The size of the song ticket has been adjusted between 3 and 4 minutes to match the average time of music. The last of the tear song card matched the color of muRedder for design theme. In this user study, I wanted to investigate the value of music and the experience of listening to music using devices with the ephemerality and physicality in the process of digital music consumption.
I found that the transience and physicality of the music ticket and the physical interaction through the ticket book made users choose songs and play music using muRedder more carefully. In addition, due to the transient content of music, users can focus on the content itself and create a new context and environment when listening to music. The song ticket was non-refundable and the trail of the shredded paper song ticket remained an indicator of how much music users consumed.
In Proceedings of the Ninth International Conference on Tangible, Embedded and Embodied Interaction (TEI '15) ACM, 189-196. In Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems (CHI. '18) ACM, paper no.
The Design of the Song Ticket and Ticket Book
Use of muRedder
Implementation
Hardware
The upper part contained electronic components that could recognize music data and shred the song ticket. The song card was inserted into the marked color hole in the upper part of muRedder (Figure 41a), and after insertion the song card passed through the passage to the shredder (Figure 41b). The song card was made of paper with the artist, song title and album cover printed on the front, and an RFID tag with music data on the back (Figure 41n and 41o).
In addition, the ticket book can be folded in a zig-zag pattern, and 9 ticket tracks were arranged and placed in half inside the ticket book for easy viewing. The RFID reader (Figure 41f) was attached to the outside of the pass where the ticket was dropped, so that the ticket could recognize the track data at this moment. The shredder (Figure 41k) was connected to the motor (Figure 41g) and the ticket was shredded while the music played automatically.
At the top of the muRedder, there were 2 speaker modules (Figure 41c) and amplifiers to be used in everyday life like a real speaker. The songs on the tickets were contained on the micro SD card as an mp3 file (Figure 41f) and the corresponding song was played when the music data on the RFID tag was detected.
Prototyping and Development
I created the different colors of muRedder for diversity and used highlighted colors as opposed to the base color of muRedder (Figure 46). The logo was printed using a screen printing method (Figure 47) so that it looked like a real product to users.
Study Goal
Methodology
Participants
Deployment and Interview
User Data Collection and Analysis
Findings
Immersed in Listening to Music
Prudent Selection of Ephemeral Physical Songs
Tangibility Draws an Ownership toward Music Contents
Sharing Music Consuming Experience
Summary of Findings…
They had distinct music preferences and were used to search for the songs and listen to music through the one-line platform such as digital streaming services. So they said that they can enjoy listening to music in the foreground rather than listening to it like the surrounding music. In addition, P6 said that he saw the residual music track he was listening to, mentioning that it was like his artwork and that he could concentrate more on listening to music whenever he looked at it.
Although they enjoyed listening to music alone, 8 participants listened to music with others via muRedder. Two participants living with family had the experience of listening to music with muRedder. My father had listened to music on CD a long time ago and he thought that part was beautiful and good.”
In this finding, there are possibilities when people share listening to music with others through muRedder. This means that this feature creates a new value for listening to music and focuses on the process of enjoying music.
Semi-ephemerality
Ephemeral Music Interface Used in Public Space…
Self-Fabricated Ephemeral Digital Content…
Extra Test for Ephemeral Content…
In addition, semi-ephemeral material containing digital content can solve the inconvenience of limited functionality by designing to store the content in various ways and through visualization of display (eg curling, chopping and melting). I have seen the possibilities for the ephemeral music interface to provide a temporally memorable participation in a public space. All participants suggested the use of muRedder in public spaces, especially in cafes and pubs where the user can listen to music with unknown people.
This can be used as self-presentation (William Odam et al. 2014) and has the ability to select a song in a public space so that an individual can have a sense of transitory ownership (eg providing a ticket for a song to change the music in a coffee shop). A self-made ephemeral digital content platform can provide an opportunity to adapt physical ephemeral content (Retrofab, 2016) (SPATA, 2015). I researched transience based on the characteristics of each digital content and which digital content they wanted to personally customize.
Various digital content ticket: (1) music, (2) voice news, (3) read poem and (4) voice letter by person who has a relationship with participant. Furthermore, it can be a starting point for research on suitable digital content for ephemeral interface.
Future Study…
Summary and Contribution…
In Proceedings of the 19th ACM conference on computer-supported collaborative work and social computing (CSCW ‘16) ACM, 1662-1675. Multiple uses of the digital camera obscura 1C: reflecting on the design, manufacture, packaging and distribution of a counter-functional device. In Proceedings of the Fourth International Conference on Tactile, Embedded, and Embodied Interaction, TEI ’10, ACM (New York, NY, USA.
먼저, 제가 2년 동안 석사학위를 성공적으로 마칠 수 있도록 지원해주시고 지도해주신 박영우 교수님께 깊은 감사의 말씀을 전하고 싶습니다. 또한 석사 과정 동안 IPD 연구실 구성원들에게도 진심으로 감사의 말씀을 전하고 싶습니다. 함께 일하면서 많은 것을 배울 수 있었고, 즐거운 마스터 생활을 할 수 있었습니다.
마지막으로 사랑하는 가족들과 사랑하는 남편 상진오빠에게 감사하다는 말씀 전하고 싶습니다. 본 작품은 산업통상자원부 지원으로 한국디자인진흥원 '창의디자인공학대학원 육성사업'의 지원을 받아 수행되었습니다.
