University of Iowa Iowa Research Online Theses and Dissertations Spring 2014 Environmental interaction Andrew Shores Desforges University of Iowa Copyright 2014 Andrew Desforges This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/4610 Recommended Citation Desforges, Andrew Shores. "Environmental interaction." MFA (Master of Fine Arts) thesis, University of Iowa, 2014. https://doi.org/10.17077/etd.cratbcr0 Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Art Practice Commons
ENVIRONMENTAL INTERACTION by Andrew Shores Desforges A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts degree in Art in the Graduate College of The University of Iowa May 2014 Thesis Supervisor: Associate Professor Bradley Dicharry
Copyright by ANDREW SHORES DESFORGES 2014 All Rights Reserved
Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL MASTER S THESIS This is to certify that the Master s Thesis of Andrew Shores Desforges has been approved by the Examining Committee for the thesis requirement for the Master of Fine Arts degree in Art at the May 2014 graduation. Thesis Committee: Bradley Dicharry, Thesis Supervisor Ab Gratama James Snitzer Julia Leonard
To Leonard & Lea Desforges ii
Science is magic that works. Kurt Vonnegut Cat s Cradle iii
ACKNOWLEDGMENTS I would like to thank my committee members, my colleagues, and all of my friends who have helped me along the way. I would also like to thank the typeface Trade Gothic as well as the colors Orange and Blue. iv
ABSTRACT My pursuit of contributing a clear visual vernacular to the area of environmental education informs my research on contemporary issues surrounding the debate of current scientific findings. This has led me to explore the notion of altering behavior and correcting misconceptions regarding climate science through the presentation of information in haptic form. Parallel to this I will present non-contested scientific processes in a tactile form. Pulling from research in the field of behavioral studies, I apply a systematic approach to integrating scientific information into both haptic and tactile infographics that function based on user engagement. By addressing the misconceptions and presenting the correct information in a manner that is more retainable through interaction, I aim to create a set of educational tools that can by adopted by practitioners of environmental education. v
TABLE OF CONTENTS LIST OF FIGURES... vii PREFACE... viii CHAPTER I. RESPONCIBLE DESIGN IN ENVIRONMENTAL EDUCATION... 1 II. CORRECTING MISINFORMATION... 3 III. HAPTIC INTERACTION... 5 IV. INTERACTIVE INFOGRAPHIC... 7 V. POP-UP BOOK... 13 VI. CONCLUSION... 19 vi
LIST OF FIGURES Figure 1. Developing the aesthetic... 8 2. Refining the aesthetic... 9 3. Functionality... 10 4. Movement.... 11 5. Interaction.... 12 6. Antarctic pop-up book infographic.... 14 7. Character development.... 15 8. Movability with characters.... 16 9. Pop-up functions.... 17 10. Full spread.... 18 vii
PREFACE In this paper I will describe the benefits that haptic interaction can have when presenting information and correcting misinformation. In this case specifically information that relates to environmental education. viii
1 CHAPTER I RESPONSIBLE DESIGN IN ENVIRONMENTAL EDUCATION Design serves as a liaison between the scientific literate world and the general population. It is the social marketing of ideas that impact every living creature on the planet and informs the viewer of information that was previously obscured to them. The forms that environmental information can be presented are growing at an exponential rate, while the information itself must struggle to be accepted by the general population. To hinder the spread of misinformation, a designer must make the scientific ideas appealing to the general population while remaining true to the accurate information gathered by those with full understanding of it. Interpreting scientific information of any kind can prove challenging for a person without the proper educational background or understanding. To fully grasp the complexities of the hard data behind climate science, a person must spend decades researching and studying in one of the particular scientific disciplines that make up the wide assortment of disciplines involved. The conclusions reached by those responsible for gathering and analyzing the data are presented in the proper formatting for peer review and not necessarily the publics intellectual accessibility. To make these findings and data sets approachable, information must be distilled down in a way that is palatable for a viewer that does not possess the necessary scientific background. The role of design in communicating this information relies heavily in trusting the original findings and trying to the represent data as visually accurate as possible. When visually communicating complex data effectively, it is essential to strive for accuracy while representing the information. Visually skewing the scale or omitting
2 necessary components of the data being presented can cause misleading interpretations of information. Not having a background in the hard sciences can make this task difficult for a designer. When representing numerical figures in a form beyond a table or graph, a balanced approach and giving equal weight to the iteration of numeric figures can aide the design in information honesty. The same approach is needed when condensing down large bodies of text to key points or phrases. Summarizing the content in the same narrative structure as the original scientific findings can do this. The goal of the designer is to simplify information, but there is a responsibility to retain the integrity of the original information. In my approach to remaining honest to the information that I chose to represent, I concluded that clear visual form was needed in order to let the information remain at the forefront. By using simple geometric forms and recognizable visual cues, the viewer is not sidetracked and remains focused on the message at hand.
3 CHAPTER II CORRECTING MISINFORMATION The Scientific information presented in regards to the anthropogenic causes of climate change is at a consensus among researchers in the field of climate science. Leading organizations such as the Intergovernmental Panel on Climate Change, the Royal Society, and the US National Academy of Sciences, have all concluded that humans are responsible playing a large roll in climate change. While the big picture effects are clear, not every detail of the debate has been sorted out, as is always the case due to the nature of science. The idea that not all the results are certain has allowed the spread of misinformation by those looking to gain from inaction in correcting climate change and by those who were merely exposed to the wrong information first. When people accept incorrect information as fact, it would be natural to assume that when presented with the correct information, they would immediately change their opinion and accept the new information as being correct. This is commonly not the case, as people are heavily influenced by which information they adopt first. By simply packing on more information to sway an opinion assumes that the person possess a lack of knowledge, which is often incorrect. Refuting misinformation involves a specific presentational method in order to sway a person s opinion. A more in depth analysis of the psychological process can be found in the Debunking Handbook. In order to present the science behind climate change in a way that both new viewers and viewers with biases of misinformation will adopt, I have followed the steps laid out in the Debunking Handbook through out my design process.
4 There main steps to the debunking process that must be followed in order to achieve the correction of misinformation. Along with those steps are other considerations must be taken into account. A clear presentation that that does not contradict itself is necessary. If the presentation is vague or done improperly it can cause rejection of the correct information being presented. Simplicity in language and in aesthetics is also important, especially when trying to incorporate complex scientific processes. Incorporating these considerations into the debunking process aides in maintaining a framework that guides the deign process. The debunking steps are as follows: 1. Core facts are communicated upfront in a headline or the first encounter with information the viewer sees. 2. Core facts are reinforced and reiterated in more text. This text could be in a paragraph or longer, as long as it expands upon the opening statement of the core facts. 3. Core facts reinforced with infographics. Visualizing the information aides in putting it into perspective for the viewer. 4. Addressing the misinformation. Before stating the misinformation associated with the topic, a warning must be provided that informs the viewer that what will be stated next is incorrect. 5. Stating the misinformation. 6. Explaining why the misinformation is incorrect and reiterate the core facts.
5 CHAPTER III HAPTIC INTERACTION Haptic interaction is driven by the sense of touch, it engages a viewer through touch and allows them to manipulate and control the flow of information. Haptic engagement happens on two levels: the physical and the perceptual. Physically, our peripheral nervous system gathers information and conveys it through the central nervous system where it ultimately ends at the main focal point: the brain. Once in the brain the information is processes and interpreted, this makes up the perceptual level. The benefits of haptic interaction when absorbing information are found in allowing the user to engage and control the information at their own speed. By taking sets of data presented in the 2013 Intergovernmental Panel on Climate Change and Skeptic Science, I have created two sets of infographics that deal with the issues surrounding climate change and presented them in digital haptic form that is accessible globally to anyone with an Internet connection. I have creating these infographics and combined them into one parallax website that functions on computers, Ipads, and mobile devises. In doing so, it is my aim to allow this information to be assessable in a form that is user driven. Understanding the natural processes behind climate change is showcased with an infographic pop-up book that explains how the carbon cycle works. By presenting the information in this physical form, the viewer engages in an analog haptic experience outside the conventional forms in which they experience scientific ideas. In perceiving the information through an unexpected haptic interaction the viewer is challenged and ideally open to adopting this new information.
6 Both digital and analog haptic interaction serves as a means to engage the viewer while allowing them to control the flow of information. The medias utilized for this thesis, one being computer based and the other material based, engage different areas of the brain through separate senses creating a distinct experience. The clicking of the mouse and the turning of a page both present a tactile interaction, though the overall sensory experience is separated by the digital interface and physical object. By presenting information in both of these forms, I aim to provide an option that allows the viewer to control information in a way that is comfortable for their particular lea
7 CHAPTER IV INTERACTIVE INFOGRAPHIC The development process for the interactive infographics began with the development of a consistent visual aesthetic. Clarity of information is paramount but a visually appealing presentation of that information is needed to draw a viewer in and maintain their interest. Through a series of infographics that relate to biomass fuel, I began to shape this aesthetic, which incorporated bold figures and recognizable icons combined with clean typography for maximum readability. These choices were made to engage the viewer visually while putting information to the forefront. Technical development focused on interaction and motion achieved through the Adobe software programs, Muse and Edge. Adobe Muse software allows the builder to control parallax scrolling and motion while simultaneously creating web content that works across multiple platforms. Adobe Edge software features animation abilities that can start and stop through various user based cues. The combination of these to programs allowed for the combination of the aesthetic and the interaction necessary to represent the information through user based experience. The end result is an inforgraphic that is both aesthetically pleasing and user friendly.
Figure 1. Developing the aesthetic. 8
Figure 2. Refining the aesthetic. 9
Figure 3. Functionality. 10
Figure 4. Movement. 11
Figure 5. Interaction. 12
13 CHAPTER V POP-UP BOOK The development process for the carbon cycle based pop-up book was tied to the same visual aesthetic development as the interactive infographic. The visuals were then expanded upon with more playful line work and figure development to give a sense of narrative through character interaction. These characters serve as relatable indicators to viewers that all creatures on earth participate in the carbon cycle. Many visual similarities are still shared between the pop-up book and the interactive infographic, such as color pallet, type treatment, and bold icons. The construction techniques needed for the pop-up book was practiced through an earlier version that dealt strictly with the issue of ice melt in the Antarctic and its relationship to polar bear population. In developing an earlier version, the materials and fold techniques had been explored leaving a clear approach on the execution of the carbon cycle based book.
Figure 6. Antarctic pop-up book infographic. 14
Figure 7. Character development. 15
Figure 8. Movability with characters. 16
Figure 9. Pop-up functions. 17
Figure 10. Full spread. 18
19 CHAPTER VI CONCLUSION As society progresses along side the worsening environmental condition of the planet, more engagement and access to climate change information will be necessary to educate the public. By creating tools like the ones presented in this thesis, information can be shared and evaluated in a meaningful way that both informs and corrects misconceptions about climate change and other environmental issues. Visit the infographic at www.factsonclimatechange.businesscatalyst.com.