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The crying project: understanding emotions through an investigative eye
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The crying project: understanding emotions through an investigative eye
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Copyright 2024 Yi Zong
THE CRYING PROJECT
UNDERSTANDING EMOTIONS THROUGH AN INVESTIGATIVE EYE
by
Yi Zong
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
May 2024
ii
Table of Contents
List of Figures................................................................................................................................ iv
Abstract.......................................................................................................................................... vi
Introduction..................................................................................................................................... 1
Chapter 1: Emotions in a Contemporary Society ........................................................................... 6
1.1 Cultural Norms and Gender Expectations ............................................................................ 6
1.2 Cultural Influences on Emotional Valuation ........................................................................ 7
1.3 Gendered Perception of Emotional Expression and Regulation......................................... 11
1.4 Social Context and Emotional Perception .......................................................................... 13
Chapter 2: Emotional Tears.......................................................................................................... 16
2.1 Why Do We Cry? The Role of Tears as Emotional Expressions....................................... 18
2.2 Historical and Societal Perspectives on Crying.................................................................. 18
2.3 Power Dynamics and Crying .............................................................................................. 21
2.4 Gendered Socialization and Emotional Suppression .......................................................... 23
Chapter 3: A Multidisciplinary Approach to Foster Healthier Response ..................................... 27
3.1 Integrating Data Visualization in Emotional Understanding.............................................. 27
3.2 User Experience (UX) Design for Emotional Well-Being ................................................. 46
Chapter 4: Implementation and Exploration ................................................................................. 48
4.1 Developing Interactive Prototypes: The Matrix ................................................................. 48
4.2 Developing Interactive Prototypes: The Harmonograph .................................................... 52
iii
4.3 Designing User-Centric Emotional Experiences................................................................ 61
Conclusion .................................................................................................................................... 61
Bibliography ................................................................................................................................. 67
iv
List of Figures
Figure 1. The Challenge Canvas Template..................................................................................... 2
Figure 2. The Challenge Canvas..................................................................................................... 3
Figure 3. How-Might-We Question................................................................................................ 4
Figure 4. Illustration from “The Repertoire of Nonverbal Behavior” ............................................ 8
Figure 5. Percentage of Adults in the U.S. Rated Their Wellbeing Positively in 2022................ 12
Figure 6. The Shame Web. ........................................................................................................... 14
Figure 7. Shame Resilience Theory.............................................................................................. 16
Figure 8. I’m Too Sad to Tell You. .............................................................................................. 23
Figure 9. Graph of Crying at Live Theater Performances in the United Kingdom as of 2013..... 24
Figure 10. I See a Woman Crying (The Weeping Woman) ......................................................... 26
Figure 11. Data Visualization on Crying ...................................................................................... 28
Figure 12. Tree Diagrams: The Porphyrian Tree (left) and Geometry (right).............................. 29
Figure 13. Phrenology Diagram.................................................................................................... 30
Figure 14. Emotional Experiences Evoked by Video................................................................... 33
Figure 15. Example Questions from the Survey........................................................................... 35
Figure 16. Data Visualization on People’s Empathetic Levels Towards Different Situations..... 36
Figure 17. Stills from “The Crying Visualizer”............................................................................ 38
Figure 18. The Crying Font .......................................................................................................... 40
Figure 19. A Three-Pendulum Rotary Harmonograph ................................................................. 42
Figure 20. Antique Harmonograph Drawings .............................................................................. 43
Figure 21. The Harmonograph Prototype. .................................................................................... 45
Figure 22. Clouds of Unknowing: Edward Quin’s Historical Atlas............................................. 49
v
Figure 23. Florence Nightingale’s Diagram ................................................................................. 51
Figure 24. A Simplified Illustration of the Emotion Process........................................................ 52
Figure 25. How to Read An Emotion. .......................................................................................... 52
Figure 26. Mood Board on Visualization of the Three Emotions................................................. 54
Figure 27-36. Computational Ceramics: Pendulums.................................................................... 55
Figure 37. 3D Pendulum Model, Rhino........................................................................................ 60
vi
Abstract
The Crying Project
Yi Zong
Within the context of today's emotionally charged world, specific emotions are valued or
devalued based on factors such as cultural norms, gender expectations, and social contexts.
These factors significantly shape our perceptions, behaviors, and social interactions, and it
becomes clear how our expressions of emotion are nuanced and deeply personal. Within those
expressive emotions, tears function as a unique human response to emotional state.
Crying is frequently perceived as an expression associated with powerless feelings
because of its tendency to arise when other forms of action or change are impossible. Crying is
also subject to gender stereotypes, often associated with femininity and perceived as a display of
vulnerability in formal public settings. This societal bias stems from strong socialization where
boys are often taught from early childhood to suppress their tears. In contrast, girls, to a large
extent, never develop that skill. Despite societal expectations that teach us to be responsible for
responding in a manner that is socially acceptable, it is important to recognize that crying is not
an act of inadequate self-regulation.
How can we respond in a healthier manner to the variety of emotions that we all feel in
any one day? To address this question, I implement a multidisciplinary framework that
incorporates data visualization, interactive installation, and user experience design to craft
experiences for fostering empathy and inclusivity in the context of women’s public expressions
of vulnerable emotions. This creative journey delves into recognizing, experiencing, and
deciphering the motives behind crying.
Keywords: Emotional Crying, Cultural and Societal Biases, Gender Expectations, Vulnerability
1
Introduction
PROBLEM DEFINITION
In today's emotionally charged world, specific emotions are subject to societal valuation
or devaluation, influenced by factors such as cultural norms, gender expectations, and social
contexts. This societal bias significantly impacts how individuals perceive, express, and interact
with their emotions. Within this framework, crying, a unique human response to emotional
states, has been stigmatized and associated with powerlessness and vulnerability, particularly in
public settings, perpetuating harmful gender stereotypes.
Before delving deeper into the subject in the upcoming chapters, I want to take a moment
to tell you why this topic is important to me. You see, I'm no stranger to tears. In fact, I cry a lot,
and over time, I've accumulated a host of labels from both myself and those close to me. I've
been called "overly emotional," told I lack control over my feelings, and even been likened to a
frail and sensitive child. It's been suggested that I won't thrive in a formal and structured
environment if I continue to exhibit such emotions – that this isn't how I should be. For as long
as I can remember, crying has been the antagonist in my personal narrative, a beast to be
defeated on my way towards becoming a better version of myself. I ask myself is this really the
case? Am I alone in experiencing the shame and vulnerability that often comes with tears?
The problem of societal biases and stigmatization associated with public displays of
crying, particularly by women, is deeply rooted in our cultural norms and gender expectations.
From a young age, individuals are socialized to perceive crying, especially in public settings, as a
sign of vulnerability or weakness. Does a world exist where inclusivity, understanding, and
empathy triumph over judgment? How can we cultivate healthier responses to the variety of
emotions that each of us experiences on any given day?
2
FINDING FOCUS BEFORE DESIGNING INTO THE WILD
After discovering problems and before starting to ideate solutions, it is crucial to establish
a clear understanding of the challenge. To do that, I am using a tool – the Challenge Canvas, 1
something that’s widely used when designing new business models. It enables me to visualize
and effectively communicate the challenge, allowing for a more comprehensive examination of
the project's context. By doing so, I can avoid unnecessary reinvention, remain attentive to
existing opportunities, and navigate forward with a well-defined narrative guiding my path.
This model assists me in deconstructing the issue into more manageable components,
enabling a deeper understanding of the challenge from various angles. It facilitates the
formulation of a perspective and a "how might we" statement, while also allowing for the
establishment of incremental goals that pave the way toward achieving the overarching
objective.
Figure 1: A key weakness in innovation workflows is crafting a compelling challenge.
Illustration by Jorge Sneji, September 3, 2019. The Challenge Canvas.
As a designer who believes in the analytical brain, the Challenge Canvas helps me shift
from a problem-centric mindset to a solution-focused approach. Besides that, it also narrows
down the scope of the project by focusing on specific challenges or area of interest.
1 Jorge Sneij, “The Challenge Canvas — Find focus before designing into the wild,” Medium, September 3, 2019,
https://medium.com/swlh/the-challenge-canvas-822c00750e32.
3
Figure 2: The Challenge Canvas (1. the problem and early solution ideas
+ 2. its context and explanation)
POINT OF VIEW
Advocating for a more empathetic and inclusive approach to understanding and
addressing emotions, particularly crying, within society is an essential component of this design
project bringing together knowledge from psychology, anthropology, sociology, gender studies,
visual communication design, and UX design to propose a comprehensive solution.
“HOW MIGHT WE” STATEMENT
The “How Might We” statement is useful when addressing an audience and when
working on a project. By clearly targeting key groups like women in education/work, educational
institutions, companies, mental health experts, gender studies scholars, and support networks, the
1
2
4
project becomes more relevant and impactful, offering insights into their unique interactions and
benefits, and highlighting its real-world significance.
For instance, women in educational and professional settings, who often navigate
complex emotional landscapes, could find empowerment and validation in the project's
outcomes, fostering environments that support emotional expression as a strength. Corporations
and employers stand to benefit by integrating the findings into their organizational culture and
HR policies, promoting mental well-being and emotional intelligence as core values. This could
lead to fostering a more inclusive workplace. Peers and support networks, crucial in providing
emotional support, could leverage the insights to strengthen their ability to offer empathy and
understanding, fostering stronger, more resilient communities.
By focusing on these specific stakeholders, the project not only gains clarity and direction
but also ensures that the "How Might We" (HMW) statement is grounded in real-world
applications. This targeted approach, beginning with comprehensive insight gathering through
research and empathy, followed by clearly defining the challenges, ensures that the
brainstorming of HMW questions is informed, focused, and ultimately more impactful.
Figure 3: Yi Zong, How-Might-We question, 2023. Created following the template provided
by Jorge Sneji in the article "The Challenge Canvas," which outlines the structure: HMW
(How Might We) + verb + object + context + restriction(s).
5
RESEARCH STRATEGY
To conduct qualitative research, this study employs a combination of secondary analysis
and expert interviews. Surveys, data analysis and literature review provide background
knowledge for creating visual mappings and data visualizations. These methods help reveal the
factors contributing to emotional crying and the stigmatization women encounter in formal
settings. Semi-structured interviews with experts such as academics specializing in gender
studies or sociology and mental health professionals with expertise in emotion regulation,
stigma, and societal attitudes also offer valuable insights. These methods collectively encompass
the diverse perspectives and ideas of individuals from different backgrounds and social roles.
As an interdisciplinary designer, there is a keen interest in exploring specific topics and
conducting diverse experiments to gradually approach tangible outcomes in these areas. The
journey begins with RECOGNITION, involving research and gathering data on crying—
understanding the underlying reasons individuals cry and addressing societal stereotypes
attached to it. The next phase, EXPERIENCE, encompasses accepting strong internal and
external emotions, listening to the inner voice that often carries judgments and biases, and
finding a way for both emotions and thoughts to freely emerge and achieve internal balance. This
method paves the way for empathy and inclusivity, rooted internally. The HMW question, "How
might we foster empathy and inclusivity around women's public displays of emotion in formal
settings?" moves beyond procedural, driving a focused analysis of research, surveys, and design
studies. This directs my focus to the core needs uncovered through my research, guiding me
toward impactful design solutions rooted in thorough investigation and creative exploration to
address the public expression of emotions.
6
Chapter 1: Emotions in a Contemporary Society
This chapter delves into the prevalent misconceptions deeply rooted in our society,
shaped by societal bias stemming from cultural norms, gendered perceptions, and social context,
cast a shadow over our understanding of crying. These conditions have molded crying into a
symbol of women’s vulnerability and helplessness, a trigger for feelings of shame and selfdoubt. Crying, especially in formal and structured settings, has been stigmatized. This stigma
continues to add harmful gender stereotypes into the stories and perceptions associated with
women.
1.1 Cultural Norms and Gender Expectations
Emotions are perceived, expressed, and often constrained by the prevailing cultural
attitudes and the roles expected of different genders. One of the tragic ironies of modern life is
that so many people feel isolated from each other by the very feelings they have in common:
including a fear of failure and a sense of not being enough.
7
Brené Brown2
, a renowned researcher in the field of vulnerability and shame, shines a
bright light into these dark recesses of human emotion and reveals how these feelings can gnaw
at fulfillment in education, at work, and in the home. Brown's extensive research encompasses a
spectrum of emotions, often regarded as intricate and deleterious, including the primary emotions
closely intertwined with crying: vulnerability and shame, two emotions that are often considered
a taboo topic among researchers, practitioners, and clients. Brené Brown's research offers
profound insights into the influence of cultural norms on our perception of certain emotions. She
presents a compelling alternative: the transformation of one's life through authentic selfexpression, the courageous embrace of vulnerability, and the rejection of the constraints imposed
by societal pretenses. As this chapter unfolds, - her research tells a more compelling story that
unravels the contemporary myths surrounding these emotions.
1.2 Cultural Influences on Emotional Valuation
Across diverse societies, cultural norms and values often underpin the intricate process of
categorizing emotions as "positive" or "negative," shaping how individuals interpret and express
their feelings. Emotions have evolved as adaptive responses to diverse situations. Some
emotions, like joy and love, are associated with experiences that are beneficial for an individual's
well-being and the survival of the species. These emotions are typically labeled as "positive"
because they promote behaviors that contribute to an individual's and a society's overall fitness.
On the other hand, emotions like fear and anger are often labeled as "negative" because they
signal potential threats or challenges.
2 Brené Brown is a researcher and storyteller who’s spent two decades studying courage, vulnerability, shame, and
empathy.
8
The article "Mapping expressive differences around the world: The relationship between
emotional display rules and individualism versus collectivism3" by Matsumoto, Yoo, and
Fontaine offers valuable insights into the cultural influences on labeling emotions as "positive"
and "negative." The study examines how cultural factors, specifically the individualismcollectivism dimension, influence emotional display rules and the labeling of emotions.
Display rules are cultural norms that dictate the management and modification of
emotional displays depending on social circumstances.4 They gained prominence in a study in
which Americans and Japanese viewed stressful stimuli first alone and then with a higher status
experimenter.5 In the first condition, there were no cultural differences in displays; in the second,
the Japanese were more likely to smile. These differences were interpreted to have occurred
because of a Japanese display rule to mask negative emotions to the higher status experimenter.
Figure 4: Illustration from “The Repertoire of Nonverbal Behavior: Categories, Origins,
Usage, and Coding.”
3 David Matsumoto, Seung Hee Yoo, and Johnny Fontaine, “Mapping Expressive Differences Around the World:
The Relationship Between Emotional Display Rules and Individualism versus Collectivism,” Journal of CrossCultural Psychology 39(1) (2008): 55–74, https://doi.org/10.1177/0022022107311854. 4 Paul Ekman and Wallace V, “The Repertoire of Nonverbal Behavior: Categories, Origins, Usage, and Coding,”
Semiotica 1 (1969): 49-98. 5 Paul Ekman, “Universal and Cultural Differences in Facial Expressions of Emotion,” In J. R. Cole (Ed.), Nebraska
Symposium on Motivation (1971): 207-283.
9
We define culture as a meaning and information system that is transmitted across
generations.6 One of its functions is to prevent social chaos and maintain social order, and one of
the many ways this is accomplished is by the creation of norms for behaviors. Norms provide
guidelines for thinking, feeling, and acting in specific situational contexts that are accepted and
expected by a group. They reduce the ambiguity of situations, thereby maintaining social order.
They also maximize group function and effectiveness, given a specific situational context and
ecology, and ultimately increase the potential for survival.
Norms are like rules that we follow, and they make us behave in certain ways. These
rules are linked to our emotions because our emotions push us to act in specific ways. Emotions
are how our body and mind react to things, and they help us handle social situations. They do
this by affecting how we act and how we interact with others. When we show our emotions, like
smiling or frowning, it sends a message to others about how we feel. So, one of the important
things in a culture is to have rules about how we show our emotions, like when it's acceptable to
smile or cry. These rules are called "display rules," helping us to fit in and communicate better in
our society.
In collectivist cultures, there is often an emphasis on maintaining harmony and not
disrupting group cohesion, which leads to the suppression of overtly "negative" emotions in
social interactions, a tendency to stigmatize or downplay the expression of certain emotions,
particularly those associated with vulnerability or perceived weakness; crying is one of them.
When someone cries in public in such cultures, it is often seen as an unsettling disruption to the
harmonious social atmosphere, almost like a troublesome monster that evokes fear and unease
among everyone present.
6 David Matsumoto, “Culture, Context, and Behavior,” Journal of Personality (2007).
10
SCARCITY: THE NEVER-ENOUGH PROBLEM
In her book "Daring Greatly7," Brené Brown delves into the concept of scarcity within
our culture, which she describes as a pervasive sense of "never enough." Brown points out that
this feeling of scarcity does not develop suddenly but takes root over time, particularly in shameprone cultures (meaning that enough of us are struggling with the issue of worthiness that it
shapes the culture). Scarcity, as Brown defines it, thrives in cultures characterized by comparison
and disengagement.8 Let's unpack this idea further:
• Comparison: In cultures that emphasize comparison, individuals are constantly
measuring themselves against others. The pervasive nature of these comparisons creates a
climate of competition, where people often feel the need to outdo or conform to certain
standards. This constant comparison fosters a sense of scarcity because individuals feel
they must continually strive to meet or exceed the perceived standards to be deemed
worthy or successful.
• Disengagement: Disengagement refers to the emotional distancing that occurs when
people feel disconnected or alienated from one another. This emotional distance can
further exacerbate feelings of scarcity because it isolates individuals and hinders their
ability to seek support and connection during times of vulnerability. Consequently, many
may suppress their emotions in an unserviceable attempt to cope with this isolation.
Brown's exploration of scarcity in "Daring Greatly" highlights how these cultural dynamics
can significantly impact individuals' emotional well-being. The culture's emphasis on
comparison, disengagement, and shame creates an environment where people feel inadequate,
7 Daring Greatly by Brené Brown is a self-improvement book about embracing vulnerability and shame resilience in
order to lead a more wholehearted life.
8 Brené Brown, Daring Greatly (Avery, 2015), 27.
11
leading to a sense of scarcity that influences their behaviors and relationships. This sense of
scarcity also fosters unhealthy patterns of emotion regulation, and it effectively casts everything
related to vulnerability as a tough opponent.
1.3 Gendered Perception of Emotional Expression and Regulation
Differences in regulation and emotional expression according to gender are a topic of
much study in scientific literature. In general, studies on differences in the expression of
emotions in boys and girls indicate that boys are more likely to present externalizing expressions
of emotions while girls are more likely to internalize them. Gender differences in emotional
expression are the result of a combination of biologically based temperamental predispositions
and as well as the socialization of boys and girls adoption of gender related rules for the
expression of emotions.9 In this regard, a meta-analysis by Chaplin and Aldao10 shows
significant, though small, differences in gender roles in the expression of emotions. Thus, girls
express more positive emotions and more negative internalizing emotions such as sadness and
anxiety, and boys express more externalizing emotions such as anger.
Studies show that girls use more adaptive strategies, such as re-evaluation or active
coping, and maladaptive ones, such as rumination and suppression. This suggests that, although
women use more adaptive strategies than men, this does not help prevent the development of
emotional problems. Instead, women’s use of maladaptive strategies, to a greater extent than
men, predisposes them to a higher risk for the development of emotional disorders.
11
9 Leslie R. Brody and Judith A. Hall, “Gender and Emotion in Context,” Handbook of Emotions, 3rd Edn (2008):
395–408. 10 Tara M. Chaplin and Amelia Aldao, “Gender Differences in Emotion Expression in Children: A Meta-analytic
Review,” Psychol. Bull. (2013): 139, 735–765, doi: 10.1037/ a0030737 11 Chaplin, “Gender Differences in Emotion Expression in Children: A Meta-analytic Review,” 735-765.
12
Figure 5: Percentage of adults in the United States who rated their mental
or emotional wellbeing positively in 2022, by gender.
12
But don’t for a moment think vulnerability and crying is only a problem for women. Men
carry the burden of being strong and never weak. From a young age, individuals are socialized to
perceive crying, especially in public settings, as a sign of vulnerability or weakness. Boys are
taught to suppress their tears, perpetuating stereotypes about masculinity, while girls are not
socialized to do so, leading to unequal emotional expectations.
Traditional masculine norms state that men should be stoic, controlled, and selfsufficient.
13 Thus, from an early age, all boys are exposed to messages such as “boys don’t
12 Statista, “Adults Who Rated Their Mental Wellbeing Positively by Gender U.S. 2022.” Accessed September 24,
2023. https://www.statista.com/statistics/1367615/us-adults-rated-their-mental-emotional-wellbeing-positively-bygender/. 13 James R. Mahalik et al., “Development of the Conformity to Masculine Norms Inventory,” Psychology of Men
and Masculinity 4, (2003): 3–25. doi:10.1037/1524-9220.4.1.3
13
cry”.14 These messages have the impact of decreasing the likelihood of boys and men showing
mental health symptoms to others as they quickly learn that others will not respond in a positive
manner. In fact, many boys are often cruelly teased if they show “weakness” by crying. As a
result, behaviors associated with vulnerability and weakness are often viewed in a negative light
and avoided.15
1.4 Social Context and Emotional Perception
“VULNERABILITY IS WEAKNESS.”
The perception that vulnerability is weakness is the most widely accepted myth about
vulnerability and the most dangerous. When we spend our lives pushing away and protecting
ourselves from feeling vulnerable or from being perceived as too emotional, we feel contempt
when others are less capable or willing to mask feelings, suck it up, and soldier on. We let our
fear and discomfort become judgement and criticism. Vulnerability hence becomes one of the
emotions we choose not to discuss, because of its association with dark emotions like fear,
shame, grief, sadness, and disappointment.16
WOMEN AND SHAME
In today’s society, people are quick to judge and criticize themselves and others. In such
environments, vulnerability is often met with harsh judgment and rejection. When individuals
experience moments of perceived inadequacy or vulnerability, they are more likely to internalize
feelings of scarcity, hence bring out more shame. As mounting empirical evidence points to
14 Eli Newberger, The Men They Will Become: The Nature and Nurture of Male Character. (Cambridge, MA: Da
Capo Press, 1999). 15 Erin L. Pederson and David L. Vogel, (2007). “Men’s Gender Role Conflict and Their Willingness to Seek
Counseling: A Mediation Model,” Journal of Counseling Psychology 54 (2007): 373–384. doi:10.1037/0022-
0167.54.4.373
16 Brené Brown, Daring Greatly (Avery, 2015), 33.
14
shame’s importance, some researchers now describe shame as “the master emotion of everyday
life”17 and “the preeminent cause of emotional distress in our time”. 18
It’s important to distinguish the difference between guilt and shame; guilt is about a
specific behavior, whereas shame is about the self. For women, shame is often birthed out of
trying to do it all and doing it perfectly, whereas for men shame is often birthed from one thing:
not to be perceived as weak.
Brené Brown’s “Shame Resilience Theory: A Grounded Theory Study on Women and
Shame,” explains (a) why and how women experience shame; (b) how shame impacts women;
and, (c) the various processes and strategies women employ to resolve their main concerns
regarding the impact and consequences of shame.19
Figure 6: The Shame Web. Brené Brown, 2006. Illustration from “Shame Resilience Theory: A
Grounded Theory Study on Women and Shame.”20
17 Thomas Scheff, “Shame in Self and Society,” Symbolic Interaction 26 (2003): 239–262. 18 Paul Trout, “Shame,” National Forum 80 (2000): 3–7. 19 Brené Brown, “Shame Resilience Theory: A Grounded Theory Study on Women and Shame,” Families in Society
87, no. 1 (2006): 43–52. https://doi.org/10.1606/1044-3894.3483. 20 Brené Brown, “Shame Resilience Theory: A Grounded Theory Study on Women and Shame,” 43-52.
15
The 215 Participants in the study frequently described their experience of shame as a
complex network of layered, contradictory, and often conflicting expectations. At its core, these
expectations were shaped by rigid socio-cultural norms and standards (as depicted in Figure 5).
The sociocultural expectations are narrow interpretations of who women are “supposed to be,”
based on their identity (e.g., gender, race, class, sexual orientation, age, religious identity) and/or
their role (e.g., mother, employee, partner, group member). These sociocultural expectations are
often imposed, enforced, or expressed by individuals and groups (e.g., self, family, partners,
friends, coworkers, children, membership groups). The socio-cultural expectations and the
expression of these expectations by individuals and groups are, in turn, constantly reinforced by
media culture including television, advertising, marketing, film, music, and print.
The participants found themselves in situations where they felt trapped, ensnared in the
shame web, due to unattainable or conflicting expectations that could not be met simultaneously.
Social Resilience Theory (SRT) proposes that the great majority of the emotions,
thoughts, and behaviors demonstrated by women experiencing shame are attempts to cultivate
resilience against shame. This resilience entails reducing feelings of entrapment, powerlessness,
and isolation, while concurrently seeking to enhance opportunities for empathy, connection,
empowerment, and liberation located on the opposite end of the continuum (see Figure 6). The
research participants clearly identified “experiencing empathy” as the opposite of “experiencing
shame.”21
21 Brené Brown, “Shame Resilience Theory: A Grounded Theory Study on Women and Shame,” 43-52.
16
Figure 7: Shame Resilience Theory. Brené Brown, 2006. Illustration from “Shame Resilience
Theory: A Grounded Theory Study on Women and Shame.”22
22 Brené Brown, “Shame Resilience Theory: A Grounded Theory Study on Women and Shame,” 43-52.
17
Chapter 2: Emotional Tears
Tears have fascinated us for ages. Classic scholars discussed several intriguing questions,
including where tears originate from (the heart or the brain?), how individual and gender
differences could be explained, and why crying brings relief.
23 24
Charles Darwin25 discussed tearful crying in a more modern, scientific way in his seminal
work The Expression of Emotions in Man and Animals.
26 Darwin not only connected emotional
tears to suffering and distress but also to tender feelings. He further acknowledged that basal
(i.e., non-emotional) tears serve important functions like lubrication, nourishment, and protection
of the eye, whereas the vocal crying of infants solicits the attention of caregivers. He saw
weeping (i.e., emotional tears) as an incidental result, “as purposeless as the secretion of tears
from a blow outside the eye, or as a sneeze from the retina being affected by a bright light...”27
While people acknowledge tears of joy and triumph, they tend to shy away from those
that carry the weight of sorrow, frustration, or vulnerability. These "emotional tears" are often
stigmatized. Imagine a world where laughter is celebrated, but tears are kept in the shadows.
They are conditioned to hide their tears, to suppress our emotions, as if crying is a sign of
weakness. It is in this tension that they begin to question the core of their human experience and
the profound role that tears play in it.
23 Pierre Petitus, (1661). De lacrymis [About tears] (Paris: Claude Cramoisy). 24 Manfred Horstmanshoff, “Tears in Ancient and Early Modern Physiology: Petrus Petitus and Niels Stensen,”
Conjunctions of soul, body and mind from Plato to Enlightenment (September 2014): 305-323. DOI:10.1007/978-
94-017-9072-7_16 25 Charles Robert Darwin was an English naturalist, geologist and biologist, widely known for his contributes to
evolutionary biology.
26 Charles Darwin, The Expression of the Emotions in Man and Animals. 1st ed. (John Murray, 1872). 27 Darwin, The Expression of the Emotions in Man and Animals, 176.
18
2.1 Why Do We Cry? The Role of Tears as Emotional Expressions
In the current literature on adult crying28, two possible major functions of crying have
been postulated: (1) catharsis and emotional recovery (an ‘‘intra-individual’’ function). Crying is
seen as a mechanism for the release of pent-up emotions, stress, or psychological tension. When
individuals cry, it allows them to express and process their emotions, helping them come to
terms with their feelings and experiences. This function posits that crying has a self-soothing
effect on the crier. It can lead to a sense of relief and emotional cleansing, providing a way to
cope with and make sense of difficult or overwhelming emotions. (2) signaling to others one’s
need for support and succor, which results in a change in their ongoing behavior and in the
directing of their attention to the crier (the ‘‘inter-individual’’ function). In this case, crying is
seen as a social signal that conveys to others that an individual is in need of emotional or
practical support. It is a way of communicating distress, vulnerability, or a desire for comfort.
When someone cries, it often prompts those around them to respond with empathy, concern, or
caregiving behaviors. This social response can include comforting words, physical touch, or
other acts of support.
2.2 Historical and Societal Perspectives on Crying
Maybe a person sheds a tear in formal settings, perhaps when their performance review
didn’t go as planned or when they received bad news about a family member. While most people
typically associate crying with loss and grief, it can be a reaction to anger as well. Many people
cry when they feel frustrated, anxious, or deeply passionate about and invested in something.
28 Ad J. J. M. Vingerhoets, Why Only Humans Weep: Unravelling the Mysteries of Tears (Oxford: Oxford
University Press, 2013). Ad J. J. M. Vingerhoets and Lauren M. Bylsma, “The Riddle of Human Emotional Crying:
A Challenge for Emotion Researchers,” Emotion Review (2015). doi:10.1177/1754073915586226.
19
If you have ever cried at work, then you know it can feel embarrassing. People may
worry about what their colleagues think of them or become concerned about how their outburst
may jeopardize their professional standing (especially if you are a woman).
Societal perspectives on crying are often intertwined with gender roles and expectations.
Historically, tears have been viewed differently in men and women, with stereotypes suggesting
that crying is more acceptable for one gender than the other. The research by Kring and Gordon
in "Sex Differences in Emotion: Expression, Experience, and Physiology"29 discusses the societal
and biological underpinnings of gender differences in crying.
The research highlights how society has, historically, encouraged men to exhibit
emotional restraint and discouraged them from crying openly. This is often rooted in the
stereotype of the stoic, unemotional male, which has been perpetuated over generations. In
contrast, women have often been stereotyped as more emotionally expressive, with crying being
considered more socially acceptable for them. However, it's crucial to note that societal
perspectives on this matter are gradually evolving. This evolution is, in part, a response to the
social and cultural pressures placed on men to suppress their tears in public settings. The very act
of crying has been associated with vulnerability, which has, in turn, inadvertently cast women as
weaker in professional environments. To challenge these deeply entrenched stereotypes, women
too have felt compelled to suppress their emotional tears, thus contributing to a cycle that
perpetuates these misconceptions and places constraints on emotional expression. Breaking free
from these constraints requires a nuanced understanding of the complex interplay between
gender roles, societal expectations, and the significance of crying as an emotional release.
29 Ann M Kring and Albert H. Gordon, “Sex Differences in Emotion: Expression, Experience, and Physiology.”
Journal of Personality and Social Psychology 74, no. 3 (1998): 686–703. https://doi.org/10.1037/0022-
3514.74.3.686.
20
The research also delves into the biological underpinnings of gender differences in
crying. It highlights how hormonal differences between men and women can contribute to
variations in emotional expression. For instance, estrogen, a hormone more prevalent in women,
is linked to emotional responses and may influence crying tendencies.
In some societies, particularly in formal settings, crying is one of the stress symptoms and
deemed an undesirable or unhealthy behavior, further complicating the intersection of gender
roles and crying. Formal and professional settings emphasize qualities like resilience, selfcontrol, and emotional composure. Crying in such contexts is typically seen as a sign of
weakness, emotional instability, or a lack of self-regulation. Individuals who cry in professional
environments are perceived as less capable or less equipped to handle the demands of their roles.
Many articles discuss the challenges individuals face when navigating the fine line
between expressing emotions and adhering to professional norms, how the stigma associated
with crying in professional settings hinders effective emotional processing and stress
management, impacting both men and women. In a study about emotional expression in
professional settings, many women reported that crying in front of colleagues, particularly male
peers or superiors, was considered one of the most distressing professional experiences.30
On the flip side, societal perspectives on crying also encompass its role as a form of
social support. The work of Rimé in "Emotion Elicits the Social Sharing of Emotion: Theory and
Empirical Review"31 delves into the idea that crying serves as a catalyst for empathy and support,
binding individuals and communities together. Emotional tears are uniquely human and play an
30 Jeneva Patterson, "Why Is Crying at Work Such a Big Deal?” Harvard Business Review, Stress Management,
June 19, 2018. https://hbr.org/2018/06/why-is-crying-at-work-such-a-big-deal. 31 Bernard Rimé, “Emotion Elicits the Social Sharing of Emotion: Theory and Empirical Review.” Emotion Review
1, no. 1 (January 1, 2009): 60–85. https://doi.org/10.1177/1754073908097189.
21
essential role in the communication of distress in adults. Several studies have shown that
individuals are more willing to offer emotional support and help a person in tears.
They study “The Social Impact of Emotional Tears”32 reports the results of two studies on
the social impact of emotional tears. In Study 1 (96 Dutch females), perceived helplessness and
felt connectedness predicted the willingness to help a person depicted as crying tearfully, while
perceived friendliness did not. In Study 2 (US sample, 128 males, 68 females) all three of these
variables mediated the effect the display of tears had on the willingness to help. The results
replicate and extend previous work and add to current knowledge by showing that tearful crying
facilitates helping behavior and by identifying reasons why people are more willing to help
criers.
2.3 Power Dynamics and Crying
MANIPULATION AND CONTROL
Power dynamics affects an individual's ability to regulate their emotions, including
crying. The intricate relationship between one’s position of power and their emotional expression
is highlighted in Power, Approach, and Inhibition.
33 People in positions of power experience
heightened pressure to uphold a façade of emotional composure due to societal expectations34,
while those with less power have more latitude to express their emotions through crying.
Power dynamics and crying are intertwined aspects of human behavior and social
interaction. Crying, as a manifestation of emotional vulnerability, is not merely a spontaneous
occurrence but is also strategically employed as a tool to manipulate power dynamics within
32 Ad. J. J. M. Vingerhoets, Niels van de Ven, and Yvonne van der Velden, “The Social Impact of Emotional Tears,”
Motivation and Emotion 40, no. 3 (2016): 455–463. https://doi.org/10.1007/s11031-016-9543-0. 33 Keltner, Dacher, Deborah H. Gruenfeld, and Cameron Anderson. “Power, Approach, and Inhibition.”
Psychological Review 110, no. 2 (2003): 265–84. https://doi.org/10.1037/0033-295X.110.2.265. 34 Arlie Russell Hochschild, The Managed Heart: Commercialization of Human Feeling (Berkeley, CA: University
of California Press, 1983).
22
interpersonal interactions. Extensive literature emphasizes that crying can be a deliberate strategy
employed to achieve various objectives, such as gaining sympathy, deflecting blame, or
soliciting concessions.
35 This can be especially effective when crying is perceived as a sign of
weakness that others in a position of power may want to protect or console.
GENDER AND CRYING
Emotions, particularly the complex and distressing ones often referred to as "ugly
feelings,"36 go beyond mere psychological processes. They also take shape within the physical
body, giving rise to various consequences, both immediate and enduring. This phenomenon is
explored in the works of Bas Jan Ader, who delves into the embodiment of emotions,
showcasing their paralyzing, enclosing, multi-layered, and vulnerable aspects, particularly within
the context of sadness.
Ader’s 1971 mixed media artwork, I’m Too Sad to Tell You, which portrays what it's like
to feel sad without getting any relief or release, that is ongoing in a three-minute film of
emotional unrest, confusion and rumination. This film addresses how feeling is emotional, yet it
is experienced and manifested in the body, with Ader’s physicality serving as a vessel for artistic
interpretation while also generating a fluidity of other ugly feelings. He particularly focuses on
the male body as a vessel for these emotions, a choice that was notably uncommon and
provocative in the media landscape of his time. This focus on the male body challenges
prevailing cultural norms and stereotypes about masculinity and emotional expression,
suggesting a radical vulnerability and a departure from traditional representations of male
strength and stoicism.
35 Joris Lammers, Janka I. Stoker, Jennifer Jordan, Monique Pollmann, and Diederik A. Stapel, “Power Increases
Infidelity Among Men and Women.” Psychological Science 22, no. 9 (September 2011): 1191–97.
https://doi.org/10.1177/0956797611416252. 36 Sianne Ngai, Ugly Feelings (Harvard University Press, 2007).
23
In some of his best-known works, Bas Jan Ader stages and documents failure itself.
Whether rolling off the roof of a house, falling from a tree or riding his bicycle into one of the
canals of Amsterdam, the idea of falling or failing serves as a metaphor for the artist to think
about the human condition. The artist’s voice can be heard clearly in the confessional tone of the
title: overcome by sadness, he transforms his inability to communicate the reason behind his
tears into the subject of his work. This apparent vulnerability invites us to reflect on the fragility
intrinsic to all individuals and raises important questions about gendered experiences of
vulnerability and expression.
Figure 8: Bas Jan Ader, I’m Too Sad to Tell You, 1971.37
2.4 Gendered Socialization and Emotional Suppression
These societal expectations and stereotypes surrounding gender and crying have
significant consequences. For men, the pressure to conform to traditional masculine norms leads
to emotional suppression, causing stress and potential negative health outcomes. The reluctance
to cry also hinders effective emotional processing. For women, while they may have more
37 Bas Jan Ader, director. I'm Too Sad to Tell You. Mixed Media Artwork, 1970.
24
latitude to express their emotions, they can be unfairly stigmatized as overly emotional or
irrational. These stereotypes can limit both men and women in their emotional expression and
overall well-being.
How often do you cry at a live theater performance? How often do you cry without
worrying what other people sitting there might think of you? If you are a male, would you care
even more about this matter? The willingness to cry in a public setting, such as a theater, is
influenced by the fear of judgment from others. People may be concerned about what those
around them might think if they are visibly emotional. This concern is heightened for some
individuals, especially men, due to societal expectations related to gender roles. Some
individuals may embrace the opportunity to openly cry as a testament to the power of the
performance, while a larger number of others might stifle their emotions to conform to societal
expectations.
Figure 9: Graph of Crying at live theater performances in the United Kingdom as of 2013.
38
38 Statista. “Adults Who Rated Their Mental Wellbeing Positively by Gender U.S. 2022.” Accessed September 24,
2023. https://www.statista.com/statistics/1367615/us-adults-rated-their-mental-emotional-wellbeing-positively-bygender/.
25
Rineke Dijkstra’s video piece, “I See a Woman Crying,”39 offers a compelling lens
through which to examine the concept of gendered socialization and emotional suppression. In
this video, a group of children is observed as they react to Picasso’s painting, “Guernica.”40 The
children’s comments, ranging from: “I see a woman crying”, “has someone passed away?”,
“maybe because she is lonely”, “maybe someone has been cruel to her”, “maybe they are tears of
joy, she is so happy that she cries” to all kinds of speculations about the reasons behind the tears:
“perhaps she’s been given a sports car for her birthday” or “could her evil stepmother have sent
her a letter saying,” creating a discourse that unveils societal attitudes towards emotions and
gender roles.
The dialogue among the children is a reflection of the ways in which society has
traditionally ascribed emotional expressions to gender. While some comments show empathy
and a desire to understand the woman’s emotions, other draw on stereotypes and preconceived
notions about why she might be crying. These remarks reinforce the idea that women are often
expected to be more emotionally expressive, whether it be out of sorrow or joy, and that their
emotions are subject to public interpretation.
39 Rineke Dijkstra, “I see a Women Crying (Weeping Woman).” A three-channel HD video installation with sound,
2009.
40 Guernica, a large black-and-white oil painting executed by Spanish artist Pablo Picasso in 1937 following the
German bombing of Guernica, a city in Spain’s Basque region.
26
Figure 10: Rineke Dijkstra, I See a Woman Crying (The Weeping Woman), Video, 2009.
41
Furthermore, this piece investigates into the concept of empathy in contemporary society.
By capturing the children's reactions to the painting, the viewer is invited to consider the power
of empathy in fostering connections among individuals. It invites the children to empathize not
only with the subjects in the painting but also with the conversation surrounding their
interpretations.
Gendered socialization plays a significant role in how we learn to express, or more often,
suppress our emotions. From an early age, societal expectations dictate the appropriateness of
emotional expressions, often leading to emotional suppression, particularly in contexts that
discourage vulnerability, such as in many formal settings. This suppression not only perpetuates
feelings of shame, fear, and vulnerability but also hinders our ability to engage fully with our
emotional selves. Recognizing the detrimental impact of these learned behaviors invites us to
explore more adaptive responses to our emotional experiences.
But how does one navigate the complex landscape of emotions encountered daily in a
healthier manner? Delving into this subject requires a nuanced approach, as emotional wellness
is deeply personal and multifaceted.
41 Rineke Dijkstra, “I see a Women Crying (Weeping Woman).” A three-channel HD video installation with sound,
2009.
27
Chapter 3: A Multidisciplinary Approach to Foster Healthier
Response
Talking about fostering emotional wellbeing and finding your balance is a personal
experience for the individual. How does one respond in a healthier manner to the variety of
emotions that are felt in any one day? Because this subject is broad, I pursue different aspects of
the same thing from two points of view—building a connection to meditation and surveying the
ideas of shame, fear and vulnerability resulting from crying episodes in formal settings.
To foster empathy and inclusivity when women publicly express their vulnerable
emotions is not easy. As a woman, I have experienced it all. When people see “crying” in public
settings, their reactions are typically based on the acceptable cultural and social norms for
displaying vulnerable emotions. However, ways to improve and help in this situation exist. It is
possible to help people see a different perspective. Interaction design is able to direct
viewers/users’ point of view through the use of data visualizations, interactive installations, and
AR embedded UXUI experiences.
3.1 Integrating Data Visualization in Emotional Understanding
It is clear that data visualization has the ability to make complex information easier for
the human brain to understand and pull insights from. The main goal of data visualization is to
identify patterns, trends and outliers in large data sets that are easier to understand.
“A picture is worth a thousand words.” Famous sayings have a way of developing a life
of their own. A picture is not a substitute for a thousand words; it needs a thousand words (or
more). For data visualization, it is crucial to know the context, the sources of data, how and why
28
they were collected, whether more could be collected, the reasons for drawing the displays, and
how people with the necessary background knowledge advise they might be interpreted.42
Figure 11: Yi Zong, Data Visualization on Crying, 2023. 43
The book Visual Complexity44 by Manuel Lima45 looks at the intersection of two key
techno-cultural phenomena of our time: networks and visualization. If we consider our
consciousness, the possible mental spaces between recognizing and naming, we find networks.
Diagrams offer an enticing glimpse into the rear-view mirror of those.
The connection between concepts like shame, fear, vulnerability, and the more technical
realms of networks and visualization in data visualization involves translating abstract, emotional
experiences into visual forms that can be analyzed, understood, and communicated effectively.
42 Antony Unwin, “Why is Data Visualization Important? What Is Important in Data Visualization?” Harvard Data
Science Review, January 31, 2020, https://hdsr.mitpress.mit.edu/pub/zok97i7p/release/4 43 Yi Zong, Crying is…, Data Visualization, 2023. 44 Manuel Lima, Visual Complexity: Mapping Patterns of Information (Princeton Architectural Press, 2011). 45 Manuel Lima FRSA is a Portuguese–American designer, author, and lecturer known for his work in information
visualization and visual culture.
29
Lima establishes conceptual coordinates and historical trajectories for both practice and
appreciation of visualization. He begins the first chapter exploring into the tree of life as trees are
among the earliest representation of systems of thought and have been invaluable in organizing,
rationalizing, and illustrating various information patterns through the ages. Some great
examples of this idea would be The Porphyrian Tree46and Geometry.
47 fig. 11. Although the
descendants of these ancient tree diagrams are still an integral part in the modeling of
hierarchical structure, it is certainly not for complex systems, so here comes the Networks. The
complex connectedness of modern times requires new tools of analysis and exploration, but
above all, it demands a new way of thinking.48
Figure 12: Tree Diagrams: The Porphyrian Tree (left) and Geometry (right).
The study of the brain has truly come a long way. It is still fascinating to look at some of
the work done in the eighteenth century. German physician Franz Joseph Gall49’s list of the
46 The Porphyrian tree or Tree of Porphyry is a classic device for illustrating a "scale of being" (scala
praedicamentalis), attributed to the 3rd century CE Greek neoplatonist philosopher and logician Porphyry, and
revived through the translations of Boethius. 47 Geometry diagram, from 'The Gentleman's Recreation' published by Richard Blome, 1686 (engraving) 48 Lima, Visual Complexity: Mapping Patterns of Information, 45. 49 Franz Josef Gall was a German neuroanatomist, physiologist, and pioneer in the study of the localization of
mental functions in the brain.
30
“brain organs” contained twenty-seven different regions, including “the love of one’s offspring,”
“the carnivorous instinct; the tendency to murder,” “the memory of words,” “the sense of sounds;
the gift of music,” “the poetical talent,” and “the organ of religion.” fig. 12.
It is absolutely fascinating to see how combining metaphors with scientific knowledge
can greatly enhance the ability to understand a message visually, especially for a topic that is
relatively hard to grasp for normal people. Another way to look at the Phrenology diagram is to
appreciate the visual aesthetic, it is taking you on an imaginary journey, to a mystery experience
of getting to know what could possibility be in a human’s head.
Figure 13: Phrenology diagram, from W. H. De Puy, People’s Cyclopedia of Universal
Knowledge, 1883.
31
A century later, as phrenology was already in decline, the work of philosopher Alesha
Sivartha captured the pinnacle of this ideology in The Book of Life: The Spiritual and Physical
Constitution of Man (1912). fig. 13. In this magnificent collection of brain maps and
pseudoscientific illustrations, Sivartha explores many of the ideas associated with phrenology,
with the brain as the setting for the structuring of all types of social, political, ethical, and
cultural concepts.
We saw how previous conceptions based on hierarchical and centralized tree
organizations are giving way to new ideas that are able to address the inherent complexities of
modern society. Cities, the brain, the World Wide Web, social groups, knowledge classification,
and the genetic association between species all refer to complex systems defined by a large
number of interconnected elements, normally taking the shape of a network. Networks are not
just an omnipresent structure but also a symbol of autonomy, flexibility, collaboration, diversity,
and multiplicity.50
Another important book that has inspired me on this design journey is Maps of the
Imagination: The Writer as Cartographer51 by Peter Turchi52. I have always loved looking at
maps; asking for a map is akin to saying, “Tell me a story.” Who wouldn't love to learn
something by looking at a well-curated visual story? The most enjoyable part of examining a
map or data visualization is discovering the embedded message or story. Turchi writes in the
book, “We recognize the sentiment: it isn’t where you go, it’s the getting there53.” The pleasure
of repetition, of anticipation, and of expectation fulfilled. The reader of a book, like the viewer of
50 Lima, Visual Complexity: Mapping Patterns of Information, 69. 51 Peter Turchi, Maps of the Imagination: The Writer as Cartographer (Trinity University Press, 2007). 52 Peter Turchi has written and coedited several books on writing fiction, including Maps of the Imagination: The
Writer as Cartographer, A Muse and a Maze: Writing as Puzzle, Mystery, and Magic, and (Don't) Stop Me if You've
Heard This Before and Other Essays on Writing Fiction. 53 Turchi, Maps of the Imagination: The Writer as Cartographer, 22.
32
a film, is a kind of traveler: the book. story, poem, or film “seizes moments out of time.54 The
value of a journey lies not just in the destination but in the experience of getting there. This
resonates with the act of reading or viewing a story, where engagement with the narrative
becomes a journey in itself, capturing "moments out of time."
MATRIX: THE LINGUISTIC RESPONSE
Inspired by Alan Cowen’s work series like ,”55 there are various ways to visualize
emotional responses using the form of data visualization. Within this interactive map, videos are
plotted along the 27 dimensions of self-reported emotional experience they can reliably evoke.
Each letter corresponds to a video. Float over to play. Click and drag to rearrange.
I found this method enjoyable as it offers a fascinating way to visually present a wealth of
data, making it not only interactive but also deeply engaging. The storytelling is achieved
through three primary components. Firstly, there's the "scatter plotted map," which categorizes
all video clips according to the distinct emotional experiences they elicit from viewers. Secondly,
the spider graph in the top right corner visualizes participant emotional responses to a series of
videos on a scale from 1 to 9. This graph captures nuances across various emotional dichotomies,
such as positive versus negative, excitement versus calmness, and dominance versus
submissiveness. Lastly, a line graph in the top left corner quantifies the emotional composition
elicited by each video clip, providing a percentage breakdown of the emotions observed.
Together, these elements weave a comprehensive narrative of the emotional landscape shaped by
the video content.
54 Turchi, Maps of the Imagination: The Writer as Cartographer, 151. 55 Alan Cowen, Emotional Experience Evoked by Video, interactive data visualization.
https://www.alancowen.com/video
33
Figure 14: Alan S. Cowen, Emotional Experiences Evoked by Video, Interactive Data
Visualization, 2017.56
To craft a visual experience for those wishing to engage, my initial step involves
providing a platform. This platform enables them to respond to diverse emotional displays in
both public and formal settings. Through this, individuals can freely express and share a range of
attitudes, emotional responses, and societal expectations related to specific scenarios I present.
These questions take on various formats such as multiple-choice, sliders, and comments. They
serve the purpose of fostering a closer, near real-time connection with those who choose to
56 Alan S. Cowen, “Emotional Experiences Evoked by Video,” Interactive Data Visualization, 2017,
https://www.alancowen.com/video
34
engage. Transitioning from this foundational setup, the next critical phase was the actual
development of survey questions. These questions were meticulously designed to gather data
essential for refining and enriching this interactive platform.
I have developed three sets of questions for conducting surveys, each tailored to different
respondent groups: (1) males and females, (2) males only, and (3) females only. The focus of this
survey is to delve into perceptions and reactions to emotional expressions, particularly focusing
on instances where a man or a woman is observed crying in different settings. The survey
comprises a series of questions that examine attitudes, emotional responses, and societal
expectations surrounding these scenarios.
The segregation into three separate groups serves a strategic purpose: it mitigates any
potential psychological bias that might arise from generalized questioning. This approach allows
for a nuanced analysis of whether there are marked differences in how people react to and feel
about men and women showing vulnerability—whether it's in private, in public spaces, or within
formal settings. Additionally, the survey seeks to understand the personal dimension of
vulnerability—how individuals feel when they themselves are crying and their perceptions of
others' judgments in those moments.
All questions have five answers, and each one is labeled. The labels given to each survey
response option, such as "Judgmental," "Critical," "Neutral," "Empathetic," and "Extremely
Empathetic," can be referred to as response categories. These categories serve to classify the
respondents' attitudes or reactions to the scenarios presented in the survey questions. They are
designed to capture a range of perspectives from negative to positive, with varying degrees of
emotional engagement and understanding towards the person displaying emotions. Each
35
category provides a scale of empathy that reflects the respondents' levels of judgment or
compassion.
Figure 15: Example questions from the survey, Yi Zong, 2023.
36
I’ve gathered 300 responses in total to analyze the results, and here is what I have found:
Figure 16: Yi Zong, "Data Visualization on People’s Empathetic Levels Towards Different
Situations," 2024.
This visual representation of survey results uses color intensity to differentiate between actual
votes (represented by less saturated circles) and the average response (represented by more
saturated circles). It was somewhat anticipated that levels of empathy would diminish when
analyzing the data by gender, as opposed to the combined survey that addressed situations
involving both genders showing emotions. Interestingly, there was a noticeable increase in
empathetic responses in the 'Men Alone' category in the survey of males only, compared to the
combined results. This suggests that people might express greater empathy when the scenario
37
involves only men, rather than a mixed-gender context. Additionally, the data indicates a
tendency for men to receive more criticism than women for crying when by themselves or in
professional settings.
A particularly revealing insight emerged from the question regarding personal
vulnerability: 'If you cried in front of 10 people in a formal setting, how do you believe others
would perceive you?' The majority of responses were categorized as 'judgmental,' with female
participants reporting feeling particularly scrutinized. This emphasizes the perceived deficit in
empathy and inclusivity in public settings when women express vulnerability, reinforcing the
hypothesis that women believe society views their public displays of emotion as largely
unsympathetic.
OTHER EXPERIMENTATIONS
In the course of my research, delving into the nuances of my own emotional
vulnerabilities, I have created a series of works that embody the intricate emotional entity that I
am, encapsulating both its resilience and fragility. I've noticed that when individuals attempt to
articulate their emotions, they often encounter difficulties. What truly enchants me about these
letters is their capacity to echo complex emotions, acting as metaphors that reach beyond the
confines of words. For me, the profound strength of these works isn't just in their depiction of
emotions; it's in how they invoke and unveil the depths of emotional experience, reaching into
realms that, I think, words alone fail to capture.
Before I talk about the harmonograph, I want to express my keen interests towards
visualizing sound. It offers a tangible form to the intangible, enabling the visualization of sound
waves, frequencies, and rhythms. Sound visualization opens up new avenues for aesthetic
expression. I can experiment with shapes, colors, and patterns to represent different sounds.
38
Another reason why I think visualizing sound is meaningful is that it can enhance interactive
design, making it a powerful tool for creating immersive environments, interactive installations,
or educational tools.
I did a motion graphic piece called The Crying Visualizer.
57 In this one, I visualized vocal
crying by using shapes, lines, colors, and movement. Except physical sensations, experiences
acquire an inner meaning and eventually a spiritual harmony. It is the same with the elements I
am using The Crying Visualizer, which makes only a momentary and superficial impression on a
soul but slightly developed in sensitivities. The shapes, lines, colors, and movement produce a
corresponding spiritual vibration, and it is only as a step towards this spiritual vibration that the
elementary physical impression is of importance.58
57 Yi Zong, The Crying Visualizer, motion graphics, 2023. 58 Wassily Kandinsky, Concerning the Spiritual in Art (Dover Publications, 1977), 40.
39
Figure 17: Yi Zong, Stills from “The Crying Visualizer,” Motion Graphics, 2023.
I then created The Crying Font59, a distinctive display font that incorporates elements
from The Crying Visualizer. What captivates me most about these letters is their emotional
59 Yi Zong, The Crying Font, type design, 2023.
40
resonances. Each character boasts a unique personality, despite being crafted from identical
components. This unity in diversity underscores the font's ability to convey deep emotional
textures, making it a reflection of the varied expressions of vulnerability and strength.
41
Figure 18: Yi Zong, “The Crying Font,” 2023.
HARMONOGRAPH: THE PHYSICAL RESPONSE
As I delved into the surveys and data visualizations, a new body of work emerged,
revealing a dual nature in my approach: one aspect is intellectually rigorous and scientifically
structured, while the other represents a deeply personal journey into understanding my own
emotional sensitivity and well-being. This juxtaposition mirrors the classic dichotomy of leftbrain analytical thinking and right-brain creative exploration, highlighting a holistic engagement
with both the empirical and the introspective.
A harmonograph60 is a mechanical apparatus that employs pendulums to create a
geometric image. The drawings created typically are Lissajous curves or related drawings of
greater complexity. There are seven parts in a harmonograph: a table, three pendulums, gimbal,
paper platform, arms, pen lifter, and finally a pen.
My initiation of the harmonograph project within this exploration of crying stems from
its symbolic significance and the intriguing nature of its mechanisms. The harmonograph, with
its pendulum movements, serves as a poignant metaphor. It embodies the quest for equilibrium,
illustrating how emotional states zigzag and fluctuate, yet are ultimately governed by a natural
pull towards balance and stability.
60 Originally invented in 1844 by Scottish mathematician Hugh Blackburn.
42
These dynamic, three-dimensional pieces offer a meditative reflection on the emotional
landscapes I am navigating in my research. They symbolize the intricate dance between our
internal states and the external forces that influence them. In the broader context of my
investigation into emotional well-being and states of mind, the survey and data visualization
represent the analytical and intellectual facets. In contrast, the harmonograph introduces a layer
of speculative inquiry and sensory engagement, bridging the gap between empirical study and
the visceral experience of emotion.
Figure 19: A Three-Pendulum Rotary Harmonograph.
61
61 Karl Sims. "How to Make a Three-Pendulum Rotary Harmonograph." https://www.karlsims.com/harmonograph/.
2009.
43
Figure 20: Antique Harmonograph Drawings.
62
The graph that the three pendulum harmonograph produces is like labyrinth looking from
above. Every time you walk the route to the exit is like a form of meditation. There is always a
lot of breathing work evolved. The article Remembering, Repeating and Working-Through63 by
Sigmund Freud64 is a great reference to build up the concept here. Discussing the harmonograph,
it's fascinating to consider it as a representation of emotional patterns. Much like the pendulum's
swing, our emotions oscillate, moving from one extreme to another, yet there's a rhythmic return
to a central point. This dynamic mirrors the ebb and flow of our feelings, suggesting a natural
equilibrium within the flux of our emotional landscape. The harmonograph embodies this
concept of movement, reflecting the continuous dance of balance and change in our emotional
states.
62 https://anitachowdry.blog/2014/06/22/antique-harmonograph-drawings/ 63 Freud, Sigmund. (1914g). Remembering, repeating and working-through. SE, 12: 147-156. 64 Sigmund Freud, the father of psychoanalysis, was a physiologist, medical doctor, psychologist and influential
thinker of the early twentieth century.
44
While the process of exploring, taking notes, and drafting may make us feel we’re
searching for a route through a labyrinth, in the final version of what we write we are creating
the labyrinth: moving walls, creating dead ends and profitable turns. The act of drafting and
revising is essentially an act of gaining authority over the work – and our understanding of the
work is an important element of its authority.65 People get one kind of pleasure from a complete
shape and another kind of pleasure from perceiving a shape only partially represented – from
playing a role in bringing the work to completion.
In the journey of exploration—whether on paper or within the recesses of our mind—we
eventually transition from discovery to presentation, crafting artifacts that serve as tangible
records of our journey. There is a pivotal moment when an internal realization dawns, signaling
that the structure, in its entirety, is complete.
Imagine if intention were akin to gravity, and intuition resembled a magnetic force,
operating within a realm governed by the delicate interplay of gravitational pull and magnetic
repulsion. The drawings produced by the harmonograph emerge from this dance of forces. We
embark on this creative process armed either with a clear vision of our quest or with nothing but
curiosity and patience, placing our trust in our imagination to guide us along a path unseen by
any before us.
As for the harmonograph prototype (fig. 20) and its initial, seemingly rudimentary
sketches, they represent the raw, unfiltered genesis of creativity. These 'primitive' drawings, as
they might be called, are not just simple sketches; they are the foundational expressions of an
idea in its infancy, where complexity and refinement have yet to take shape. They embody the
essence of exploration and innovation—unpolished, yet brimming with potential.
65 Turchi, Maps of the Imagination: The Writer as Cartographer, 195.
45
Figure 21: Yi Zong, “The Harmonograph Prototype,” Interactive Installation, 2023.
46
Constructing a physical harmonograph facilitates the shift from abstract symbolism to
tangible application. This entire process embodies a journey of escape, confrontation, and
liberation. The three-dimensional creations are not merely portraits; they are embodiments of
vulnerability. They capture and express this fragility in a vivid, pictorial manner, offering a
visual testament to the nuanced complexities of emotional states. Through these physical
manifestations, vulnerability is not just represented; it is honored and explored, providing a
profound, tactile dimension to the concept.
3.2 User Experience (UX) Design for Emotional Well-Being
The next step in this creative journey is the development of a platform designed to bridge
personal experiences with digital creativity. A website is the best way to showcase the amount of
data and information, and it also enables users to input specific dates, triggering the generation of
a unique visual pattern, distinct from those produced by the harmonograph. Upon the creation of
this bespoke pattern, users are given the choice to share it with the community, should they feel
inclined to do so. The website offers unlimited opportunities for users to engage with this
process, allowing them to adjust their initial inputs in pursuit of crafting a visual representation
that aligns with their vision of emotional well-being. This innovative feature introduces a novel
way to conceptualize and enact healthier emotional responses, encapsulating the transformative
power of personal reflection through digital artistry.
Now, it is time to go deeper into empathy's essential qualities in UX design: perspectivetaking, withholding judgment, recognizing emotions in others, and the ability to communicate
understanding of those emotions. These principles serve as the bedrock for genuine empathetic
connections. However, to safeguard empathy from being diluted into mere rhetoric, it's
imperative to engage in more profound discussions. These discussions should address the roots
47
of human disconnection, such as shame, which hinders our capacity to fully experience and
practice empathy. Only through confronting these underlying issues can we hope to foster a more
empathetic society.
THE ANTIDOTE
Shame will always need to be countered with perspective. While not revolutionary, its
antidote is simple: vulnerability and empathy (actual empathy, not this cliche Kool-Aid crap our
industry has apathetically been drinking). 66
Empathy-Driven Community Engagement: Design features that recognize emotional
shifts and prompt users to connect with a supportive network. Encourage sharing feelings with
trusted contacts who excel in empathetic listening, fostering a sense of community and support
within the app.
Reciprocal Vulnerability Cultivation: Develop interactive tools promoting reciprocal
vulnerability. Encourage users to share personal struggles, fostering empathy and rapport within
the app's community. Facilitate a safe space for mutual support and understanding.
Authentic Emotional Navigation: Create user-centric tools for handling emotional
distress. Prioritize genuine engagement over task completion, allowing users to pause and
navigate emotions. Emphasize the importance of authentic connections, nurturing stronger userapp relationships.
This journey, informed by surveys and visual analytics, has provided a layered
understanding of this deeply human expression. As I transition from the realm of data to that of
direct engagement, I approach a pivotal moment in my exploration.
66Vivianne Castillo, "Ethics & Power: Understanding the Role of Shame in UX Research." Medium. May 14, 2018.
48
Chapter 4: Exploration and Implementation
This chapter unfolds in two interconnected sections, delving into the intricate relationship
between cognition and experience within the realm of emotional exploration. The first section
highlights the exploration of Data Visualization, focusing on linguistic and physical responses
that chart the course of emotional experiences in a digital format on a website. This exploration
is underpinned by comprehensive surveys and data visualization efforts aimed at deciphering the
complex layers of meaning behind "crying."
The narrative then transitions into the practical application of these insights through the
creation of an interactive installation, the harmonograph, marking the experiential segment of
this investigation. This installation embodies the tangible intersection of cognitive understanding
and physical experience, inviting users to navigate the nuanced terrain of emotions. Together,
these sections weave a cohesive narrative, positioning the harmonograph as a critical tool in the
quest to balance cognitive recognition with experiential insight.
4.1 Developing Interactive Prototypes: The Matrix
Edward Quin’s Historical Atlas painted cartographic knowledge as a candle coruscating
against the void of ignorance, represented in his unique vision by a broiling mass of black cloud.
Each map represents the bounds of geographical learning at a particular point in history, and it is
clear to understand that here the black clouds stand for the unknowing, which is very smart and
has inspired me for my matrix design.
49
Figure 22: Clouds of Unknowing: Edward Quin’s Historical Atlas, 1830.
67
67 https://publicdomainreview.org/collection/edward-quin-historical-atlas/
50
Another data visualization piece that has inspired me is Florence Nightingale’s diagram
from Mortality of the British Army: At Home, and Abroad, and During the Russian War, as
Compared with the Mortality of the Civil Population in England, London, 1858.
68 Spider charts
are excellent at showing the relative “weaknesses” and “strengths” of different entities across
various dimensions.
Spider diagrams provides shapes at results which make it interesting to observe how the
men’s shape are really different than the women’s shape, or is all the women’s shapes are really
different. If that is the case, then it means it is very individual from person to person. I can start
seeing something about both the men’s and the women’s profiles, and compare and contrast
them to get exciting visual results.
68 Nightingale, F. “[Mortality of the British army at home, at home and abroad, and during the Russian war, as
compared with the mortality of the civilian population in England].” Sogo Kango. Comprehensive Nursing,
Quarterly 23, no. 4 (November 1988): 7–37.
51
Figure 23: Florence Nightingale’s diagram from Mortality of the British Army: At Home, and
Abroad, and During the Russian War, as Compared with the Mortality of the Civil
Population in England, London, 1858.
The visualization of emotion is meant to be an attempt to make visible a process that is in
large part invisible and only partially perceived by the one experiencing it. It must reflect the
narrative quality of our personal histories, even if only as a visual metaphor. In order to do that,
the visualization must be engaging. What we make of our emotion experiences helps us create our
identity. If we are able to express our emotionality through a visualization, we able to connect
with, engage with and reflect upon it.69
The process of emotion (see fig. 21.) begins with a stimulus, to which our brain and body
processes, and then gives us an impulse to react.
69Anna Wiederkehr, "Visualizing Emotions — For What?" Medium. June 22, 2017. https://medium.com/masterthesis-fine/visualizing-emotions-for-what-d878436e0bc4.
52
Figure 24: A simplified illustration of the emotion process.
Figure 25: How to read an emotion.
4.2 Developing Interactive Prototypes: The Harmonograph
PENDULUM
The act of vocal crying evolves a rich array of emotions, often intertwining vulnerability,
shame, and fear. I designed the three pendulums based on this intertwining emotions. Imagine a
scenario where an individual, let's call her Alice, finds herself in a public space, suddenly
53
experiencing an unexpected emotional outpour, tears streaming down her face while audibly
sobbing.
Vulnerability becomes apparent as Alice's emotions overflow, revealing her unguarded
feelings. In this moment, her vulnerability might stem from various sources—a recent loss, a
challenging life event, or overwhelming stress.
Simultaneously, feelings of shame may surface. During her tears and vocal cries, Alice
might experience a sense of shame for her public display of emotions. Social norms imply that
emotional outbursts, particularly vocal crying in public settings, should remain private.
Consequently, Alice might feel a sense of shame, as if she has violated these norms.
Furthermore, the atmosphere surrounding Alice’s emotional breakdown might evoke a
sense of fear. People witnessing her vulnerability might experience an unexpected discomfort or
fear—fear of the unknown, fear of intruding, or fear of their own emotional response to the
situation. This fear could also arise from the worry that Alice might feel judged for her visible
display of emotions.
The complex interweaving of vulnerability, shame, and fear within the context of vocal
crying illustrates the multifaceted nature of emotional expression. It underscores the importance
of comprehending and acknowledging the diverse emotions embedded in such displays for both
the individual crying and the observers. This emphasizes the need for a moment or space that is
empathetic and inclusive to all involved.
54
Figure 26: Yi Zong, Mood Board on Visualization of the Three Emotions: Vulnerability,
Shame, and Fear, Mural.70
I decided to use Rhino because it offers a calculated approach to creation. It's not random;
it's not akin to impulsively molding clay. There's a part of me that appreciates the mathematical
rationality behind things.
70Yi, Zong. Mood Board, 2023.
https://app.mural.co/t/uscroskigraduatedesign1120/m/uscroskigraduatedesign1120/1696793845079/8ed0369e82d7fb
51d8b53823ce21ed86eb6409b6?sender=u547edd8dffba48637e374977
55
56
57
58
Figure 27-36: Yi Zong, Pendulums, Computational Ceramics, 2023.
59
After creating the 3-D printed model, I moved on to the process of mold making using
plaster and eventually produced multiple ceramic pendulums. The mold-making process turned
into a disaster when I attempted to remove the mold and separate the pieces. Despite using a
hammer, a blade, and other tools, it was still challenging. Ultimately, I had to break a piece to
extract the 3D-printed model from it (see Fig. 26).
The ceramic pendulums also didn't turn out as I had envisioned. I had expected them to
be perfect, like the model I created with Rhino. However, the crack in the plaster mold added
unexpected ornaments to the pendulums; rock-like decorations covered some corners of all the
pendulums. These cracks led me to see reflections of myself, portraits documenting my own
experiences. They are intellectual. Embracing these imperfections is akin to accepting life's
"failures." When I observe a crack, I not only see a flaw but also a connection to the concept of
crying, to fragility, and to finding myself in uncomfortable situations.
Many of the issues I anticipate finding in the survey are internal. We judge ourselves, cry,
feel bad, and then berate ourselves for crying. However, embracing our vulnerabilities, similar to
accepting the cracks here, aids my mental state. Thinking, "Fine, I'm not feeling good, I may
cry," allows for a quicker recovery and resilience. This acceptance is linked to embracing the
imperfections in the mold, acknowledging that it might not turn out exactly as I had imagined.
This process mirrors emotional fragility.
I had a precise narrative in mind, a correct way to behave in public settings, similar to the
perfect geometric shape I created using Rhino that ultimately broke. It didn’t turn out exactly as I
had envisioned. However, this departure from my original plan ultimately made it more special.
This unexpected shift, much like the unpredictability of my Rhino-created geometric shape,
60
paved the way for a unique outcome. It serves as a perfect segue into the harmonograph design,
where the principles of precision and spontaneity merge.
THE HARMONOGRAPH DESIGN
To echo with the shape of the pendulum, which is a hexagon, the table is designed as a
closed polygon with six sides, six vertices and six angles.
Figure 37: Yi Zong, 3D Pendulum Model, Rhino, 2023.
I enrolled in the class, Computational Ceramics, with a clear intention. My thesis
revolves around crying, emotional expression, and judgment. I chose ceramics as a medium
because it offers a physical outlet—whether through the tactile engagement of molding clay, the
emotional release it facilitates, or its meditative qualities. I'm exploring whether this is a means
to physically manifest the negative emotions often suppressed in public settings, or simply a
practice in mindfulness, allowing me to enter a state of deep focus.
Each piece I create serves as a tangible record, akin to the way data captures snapshots of
reality. There are myriad methods to document information, yet these ceramics capture it in an
entirely distinct manner: they are imbued with emotion and a physicality that defy scientific
explanation.
61
4.3 Designing User-Centric Emotional Experiences
I want to create something that will evoke and inspire feelings and inner energies. It is
not an experience that is dedicated to educate in any sort of way, but to inspire and hopefully it
will land on a soft place deep in the heads, where all the emotions are clogged and wanted to get
out and express themselves. It is for everybody in a very individual way.
The interactive website serves as a meticulously curated digital gallery, where data and
insights gathered from the survey is brought to life. As I orchestrated the survey, the diverse
strands of information collected were abundant and multifaceted. This platform is designed to
not just display these findings in a static manner, but to allow users to engage with the data
dynamically.
It’s a space where the abstract numbers and responses transform into visual stories and
patterns, enabling a more profound understanding of the underlying narratives. For me, this
website is the nexus where research meets user interaction, where each click and scroll through
the data unveils a new layer of interpretation, making the exploration of this information a
personal journey for each visitor. It’s an innovative bridge between the raw, quantitative inputs
and the qualitative, emotional resonances that they represent.
62
Conclusion
I often view myself as a designer bound by certain rules. Throughout my journey, I've
mastered numerous methods for tackling challenges through a design lens. However, I've never
encountered a challenge as complex and multifaceted as this one—rooted in societal norms that
date back centuries and are tacitly accepted from generation to generation—yet profoundly
personal to me. This issue has plagued me since adolescence, with internal criticism intensifying
over time as I've become increasingly attuned to societal perceptions, particularly regarding the
"crying problem."
Through the design process, I've discovered my voice. On one hand, there's the technical
aspect of my persona: a designer fascinated by numbers and the myriad systems from which we
can derive data, be it through experience, upbringing, environmental influences, or psychological
and emotional states. On the other hand, there's the empathetic and emotional facet of my
identity: a designer dedicated to forging connections with the audience, creating a space where
individuals feel secure and comfortable to open up. This dual approach has allowed me to
navigate this deeply personal yet universally relevant issue with both analytical rigor and
compassionate understanding.
Exploring the intricate dynamics of behavioral psychology related to "crying," my
research delves into the realms of gender suppression and expression, the impact of
environmental factors on learned behaviors, the societal norms dictating acceptable emotional
displays for women in the workplace, and the potential adverse effects of such displays on
professional advancement and gender equity. I'm particularly focused on identifying the qualities
that enable women to progress in their careers despite these challenges, probing the delicate and
often precarious balance between vulnerability and strength, and pinpointing the tipping point
63
where physical, psychological, and societal factors converge. Bridging the gap between analog
and digital realms, akin to exploring the nuanced reflections between twins or mirrors, I am
crafting a design system that accommodates multiple perspectives and yields diverse outputs.
This approach allows me to scrutinize the various dimensions influencing the stigma around
emotional expression and how individuals navigate their emotional landscapes.
As I delved into various methods for navigating vulnerable emotions, I encountered
several significant developments. These moments were pivotal in my research journey. Initially
uncertain about how to tackle these issues, I started by gathering information and data, exploring
and beginning to draw connections among them. The process proved to be rewarding. The idea
revolves around recognition and acceptance, and then transitioning. When emotions emerge,
avoiding them isn't the solution; recognizing, experiencing, and understanding their underlying
motives is essential: why does this emotion appear? Accepting and then transforming these
emotions aims to let them come and go swiftly. Yet, a frequent challenge encountered is the
brain's intervention just as one is about to experience these emotions. It might suggest that such
emotions are inappropriate and should be suppressed. However, this reaction often has the
opposite effect; opting for avoidance only leads to more accumulated, repressed emotions.
Nevertheless, the brain represents one's aspirations, so it shouldn't be deemed negative. Neither
emotions nor thoughts should be judged. Allowing emotions to flow when they arise and
understanding thoughts to prevent internal conflict is the pathway to balance.
The cognitive aspect involves the surveys, data visualization, and motion graphics I
conducted. Essentially, everything is about understanding the meaning behind "crying." The
experiential part is the interactive installation I created, the harmonograph. Combining cognition
and experience is the core of my thesis. Crying, along with the vulnerability, fear, and shame it
64
embodies, are all emotions. Thus, appropriately leveraging cognition and experience allows these
emotions to flow internally, achieving a balance with the thoughts provided by the brain.
I began to question whether it is external or internal pressure that leads to our breaking
point, mirrored by the breaking of my ceramics. Embracing this realization transformed my
frustration into pleasure. This leads me to ponder: if individuals applied this mindset to their
emotional well-being in formal work settings, could it instigate a positive change?
INTEGRATING DATA VISUALIZATION AND INTERACTIVE INSTALLATION
INTO PUBLIC SPACES
To enhance the real-world impact of the thesis explorations on fostering empathy and
inclusivity, it is beneficial to outline potential collaborations and integration methods with public
institutions, galleries, or digital platforms.
A comprehensive plan for exhibition or deployment involves identifying and
collaborating with key partners. These include local schools, art galleries, museums, and digital
platforms like websites that align with the project's ethos. Such partnerships aim to embed the
installations in communal areas, educational settings, and online platforms, thereby ensuring a
wide-reaching impact. These venues offer a captive audience and a meaningful context for the
installations, promoting public interaction and dialogue.
The exhibition plan unfolds in several phases, beginning with the development of
detailed proposals that articulate the project's objectives, technical needs, and envisioned societal
impact. Following this, a targeted outreach to potential partners would adjust plans based on
feedback and logistical considerations. Subsequently, the design and development phase would
focus on creating interactive, engaging installations tailored to each venue's specific context.
65
The expected societal impact of these installations is multifaceted. By raising awareness
and stimulating discussions around empathy and inclusivity in the context of women’s public
expressions of vulnerable emotions, the project aims to engage a diverse audience in meaningful
ways. Furthermore, the project envisions creating a dynamic feedback loop, where participant
responses and engagement metrics inform continuous refinement of the installations, ensuring
their relevance and effectiveness over time.
In conclusion, the proposed plan for exhibition and deployment underscores a strategic
approach to leveraging public and digital spaces for societal impact. By fostering collaborations
and thoughtfully integrating data visualization and interactive installation into public settings, the
project aspires to create a transformative experience that resonates with the audience,
encouraging a healthier manner to the variety of emotions that they feel in any one day.
EXPECTATION VS. CHANGE
As I was crafting the intricate design of a twisted vase, shaping its mold, I found myself
navigating the tangible challenges that come with working with physical materials. I grappled
with the variability of plaster drying times, the transformation of liquids into solids that form
delicate walls, and the slight cracking of the mold upon opening. These tactile experiences, these
hurdles, were all part of the process. Reflecting on this, I realize that personal expression mirrors
these material intricacies. We grow up surrounded by a framework of expectations—from the
familial to the academic, each layer shaping our principles and outlook. Yet, when it comes to
design, this predetermined structure gives way to a realm filled with uncertainties, choices, and
variables that ultimately influence our creative output. Just as with the unpredictable nature of
materials, the act of creation is a dynamic interplay between established norms and the fluidity of
real-time decision-making.
66
At the beginning of this journey, I approached understanding these concepts with a
clinical mindset, as if they could be neatly dissected and analyzed. However, I quickly realized
that's not the way it happened for me. I am not a piece of science. While I documented all these
facts, they do not influence whether I will cry, nor do they dictate how or when I might choose to
express those tears. Understanding all of this may not make any difference in my life, but it has
helped me begin to understand my own control—or lack thereof—over these emotions. I am
learning to celebrate and accept what I feel, contrasting with the survey and data visualization
efforts that focus on judgment. Here, though, I am not critiquing my emotions; I am allowing
myself to express them fully. There’s no shame in feeling.
67
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Abstract (if available)
Abstract
Within the context of today's emotionally charged world, specific emotions are valued or devalued based on factors such as cultural norms, gender expectations, and social contexts. These factors significantly shape our perceptions, behaviors, and social interactions, and it becomes clear how our expressions of emotion are nuanced and deeply personal. Within those expressive emotions, tears function as a unique human response to emotional state.
Crying is frequently perceived as an expression associated with powerless feelings because of its tendency to arise when other forms of action or change are impossible. Crying is also subject to gender stereotypes, often associated with femininity and perceived as a display of vulnerability in formal public settings. This societal bias stems from strong socialization where boys are often taught from early childhood to suppress their tears. In contrast, girls, to a large extent, never develop that skill. Despite societal expectations that teach us to be responsible for responding in a manner that is socially acceptable, it is important to recognize that crying is not an act of inadequate self-regulation.
How can we respond in a healthier manner to the variety of emotions that we all feel in any one day? To address this question, I implement a multidisciplinary framework that incorporates data visualization, interactive installation, and user experience design to craft experiences for fostering empathy and inclusivity in the context of women’s public expressions of vulnerable emotions. This creative journey delves into recognizing, experiencing, and deciphering the motives behind crying.
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Asset Metadata
Creator
Zong, Yi
(author)
Core Title
The crying project: understanding emotions through an investigative eye
School
Roski School of Art and Design
Degree
Master of Fine Arts
Degree Program
Design
Degree Conferral Date
2024-05
Publication Date
04/03/2024
Defense Date
05/10/2024
Publisher
Los Angeles, California
(original),
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
cultural and societal biases,emotional crying,gender expectations,OAI-PMH Harvest,vulnerability
Format
theses
(aat)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Lemgruber, Bruno (
committee chair
), Burruss, Laurie (
committee member
), O'Connell, Brian (
committee member
), Wojciak, Ewa (
committee member
)
Creator Email
vickyzong7799@163.com,yizong@usc.edu
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-oUC113867471
Unique identifier
UC113867471
Identifier
etd-ZongYi-12758.pdf (filename)
Legacy Identifier
etd-ZongYi-12758
Document Type
Thesis
Format
theses (aat)
Rights
Zong, Yi
Internet Media Type
application/pdf
Type
texts
Source
20240404-usctheses-batch-1135
(batch),
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Repository Email
cisadmin@lib.usc.edu
Tags
cultural and societal biases
emotional crying
gender expectations
vulnerability