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The daily life of nervous boy "Y": information visualization with multi-sensory design

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The daily life of nervous boy "Y": information visualization with multi-sensory design

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Content i

THE DAILY LIFE OF NERVOUS BOY “Y”：
INFORMATION VISUALIZATION WITH MULTI-SENSORY DESIGN

by

Yilun Yang

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 2022

Copyright 2022 Yilun Yang
ii
TABLE OF CONTENTS
List of Figures………………………………………………………………….….……………iii
Abstract…………………………………………………………………………….…………...iv
Chapter 1: Introduction…………………………………………………………...….……………1
Information Design…………………………………………………………….………2
Multi-Sensory Design…………………………………………………….……………3

Chapter 2: Significance and Innovation………………………………………………...…………5

Chapter 3: History of Information Visualization …………………………………….………… 7
The Origin of Information Visualization …………………………………………… 7
18th Century – 20th Century …………………………………………………………9
End of 20th Century – 21st Century …………………………………………………11

Chapter 4: Design Projects ………………………………………………………….………… 13
Project 1: Data Visualization of Abstract Emotions “Tree Journal” ……….……….13
Introduction ………………………………………………………….…………13
Process ……………………………………………………………….…………15
Conclusion ………………………………………………………………………18
Project 2: Skeuomorph Data Representation “Water Bottle” ……………………… 19
Introduction ………………………………………………………………….…19
Process …………………………………………………………………………. 20
Conclusion ………………………………………………………………………21
Project 3: Information Visualization with Multi-Sensory Design
-The Daily Life of Character “Y” …………………………………….…………… 23
Introduction ………………………………………………………….…………23
Process ……………………………………………………………….………… 24
Conclusion ………………………………………………………………………26

Chapter 5: Final Thoughts………………………………………………………………………28

Bibliography………………………………………………………………………….…………30

iii

LIST OF FIGURES
Figure 1: Installation “Scent Time” ………………………………...….…………………………4
Figure 2: Babylonian Map of The World …………………………………………...….…………7
Figure 3: Zhao Yu Tu ………………………………...….……………………………………….8
Figure 4: Introductory Chart ………………………………...….……………………………….10
Figure 5: Harry Beck’s Tube Map ………………………………...….…………………………10
Figure 6: The Electron Density Map and The Molecular Model of Penicillin ………………….11
Figure 7: Metropolitain.Io ………………………………...….………………………………….12
Figure 8: Daily Painting “Tree” ………………………………...….…………………………….14
Figure 9: “Overlap” Data Chart ………………………………...….……………………………16
Figure 10: “Starry Sky” Data Chart ………………………………...….……………………….17
Figure 11: “Poppy Field” Data Chart ………………………………...….………………………19
Figure 12: “Water Bottle” Data Chart ………………………………...….…………………….22
Figure 13: Concept Sketch ………………………………...….…………………………………25
Figure 14: Character Design Concept ………………………………...….……………………...26

iv

Abstract
The advent of the information society along with the development of application
technology at the end of the 20th century resulted in a massive amount of information
“bombarding” our lives in different ways. People found themselves with little time to consider
the accuracy and completeness of the information they received. As a designer, I must consider
how to assist audiences in acquiring knowledge efficiently, accurately, and clearly. Data
visualization is a technique for optimizing complex data through visual language to help people
understand the data. According to Nathan Shedroff, a pioneer in the field of experience design,
and Japanese graphic designer Kenya Hara’s sensory design theory, incorporating five senses
design with information design could further increase the efficiency of information delivery and
reception through enhancing the perceptual experience for information.
I have researched the historical development of information design and multi-sensory
design, and then I reflected the theoretical knowledge and insights gained on design exercises.
One practice embodied the visual representation of abstract emotions in data. The second design
exercise experimented with data representation; adding graphics not only created a reading
atmosphere but also communicated inner emotions, attitudes, and stories. These two experiences
support my final design project. For project three, I explored another dimension of data delivery
by incorporating sensory design into information visualization design. Overall, I attempt to
combine the sensory design in information design with theoretical knowledge, highlighting an
intriguing area for further investigation.
Keywords: information visualization, multi-sensory design, big data era, design
1
Introduction
David Shenk, an American journalist, introduced the concept of “Data Smog” 20 years
ago. He likened the information we receive every day to “a pile of black smoke,” such as product
flyers, video ads, junk mail, and so on.
1
These mountains of data are suffocating and consuming
our lives. Nowadays, with the advancement of information technology and media, information
has become a smaller and more diffused state that engulfs our lives and consumes our limited
time and space. As a result, in the face of the unstoppable flood of information, information
channeling, clustering, and transformation have become the new thinking of human beings, i.e.,
the construction of a new order for people to deal with information.
Information visualization is the representation of data through graphics and visual
language with the goal of discovering and sharing insights into it. In this era of big data,
multidisciplinary research and collaboration my research examines as strategies for
communicating and understanding troves of data. Therefore, I use my daily life as the primary
data to investigate the presentation of information visualization and the impact of taxonomy on
data. The corresponding design projects are “tree” and “water bottle.” Furthermore, with
Japanese graphic designer Kenya Hara’s concept of sensory design, I attempt to broaden the
range of information reception from sight to touch, smell, hearing, and taste. The multi-sensory
design could enrich people’s sensory experience for data reception, which is another design
concept for increasing the effectiveness of information dissemination. As a result, for my third

1
Shenk, David. Data Smog: Surviving the Information Glut. San Francisco, Calif: Harper Edge,
1997.
2

design project, I use the daily data of the character “Y” as the design content, such as weight,
sleep quality, and so on, and reflect the data on the character design to realize a new
representation of data.
Information design
A property of data visualization is a technique for visually encoding massive volumes of
data, which can represent complex, abstract information visually and assist users in discovering,
exploring, and comprehending large amounts of data. McKinsey, the world’s largest
management consulting firm, pioneered the concept that the “big data era” has arrived.
According to McKinsey, big data has now permeated various industries, including financial data
analysis, digital libraries, healthcare, biology, information engineering, and so on.
2
Additionally,
the New York Times mentions that the advent of big data has compelled industries to make
decisions based on data rather than experience and intuition.
3
As a result, information
visualization is critical to our daily lives.
The information design process encompasses data collection, data analysis, data
classification, and visual design. In the era of the information explosion, collecting information is
a problem we all face. Standard methods of collecting data include Internet search and
observation. We can obtain data from governments and authoritative agencies through databases.

2
McKinsey Global Institute. Big Data: The Next Frontier for Innovation, Competition and
Productivity, May 2011.
3
Lohr, Steve. “The Age of Big.” The New York Times. February 2022.
https://www.nytimes.com/2012/02/12/sunday-review/big-datas-impact-in-the-
world.html?searchResultPosition=26&campaignId=6WYWY
3

If you want accurate first-hand data, you need to observe and collect it by yourself. After
completing information collection, designers extract, refine, and filter data from a large amount
of unclear and mixed data, allowing people to understand the information and make judgments
quickly. Furthermore, data mining allows for the exploration and discovery of new problems. For
example, in order to achieve precise advertising, websites such as Amazon and Google analyze
users’ shopping preferences and consumption levels based on their Internet browsing traces.
One of the most critical determinants of data performance is its taxonomy; under a
particular proposition, information will be categorized according to specific criteria. With the
explosion of information, taxonomy addresses the enormous amount of knowledge while also
organizing and defining its nodes and structures. Therefore, the differences in taxonomy directly
impact the data’s final presentation. Eventually, taxonomy makes information more coherent,
simpler in structure, and more efficient in retrieval.
Multi-sensory design
The interconnection of the senses, i.e., eyes, ears, nose, tongue, and body, is what allows
humans to perceive the world and the universe. In Patchwork: Seven Essays on Art and
Literature, Chinese literary researcher Qian Zhongshu mentions that human senses are
interconnected: color can have a temperature; sound can have an image; warmth can have
weight; and smell can have sharpness.
4
For instance, the installation “Scent Time,” mentioned
by Jinsop Lee in TED Talks, contains five distinct scented oils in five glasses. They are

4
Qian, Zhongshu 钱钟书. “Patchwork: Seven Essays on Art and Literature.” [七缀集].
(Shanghai: Sanlian Shudian, 2002)
4

displayed side by side along the path of the sunlight, and as time passes, the sun will gradually
warm up each of the five perfumes. As a result, the air is filled with various scents throughout
the day.
5
This installation challenges our conventional understanding of time by requiring us to
“smell” the passage of time rather than “look” at it. This approach deepens people’s perception
of time, shifting from a fleeting “seeing” to a continuous “smelling.”
Figure 1: Installation “Scent Time”
Jingren Lü, a Chinese book designer, introduced the five senses design theory to the field
of design. He believes that the ideal book should have the function of inducing the reader’s
senses of sight, touch, smell, hearing, and taste.
6
Multisensory design broadens the scope of
book design thinking, which is no longer restricted to visual composition but is a multisensory
synthesis. When the reader holds the book in their hands, they can feel its weight, the texture of
the paper, the taste of the ink, and the rustling sound produced when the book is turned. All of

5
Lee, Jinsop. “Design for All 5 Senses.” Ted.com. TED Talks. February 2013.
https://www.ted.com/talks/jinsop_lee_design_for_all_5_senses.
6
Lü, Jingren 吕敬人. “Shu Yi Wen Dao: Tao of Book Design.” [书艺问道]. (Shanghai:
Shanghai Renming Meishu Chubanshe, 2017)
5

these sensations affect how the reader perceives the book mentally. The multisensory design
allows people to “communicate” with objects, and this hidden message connects the designer and
the audience.
Significance and Innovation
In the era of information explosion, how to get valuable information from the vast data
system is a problem we must consider. In 1970, the American futurist Alvin Toffler proposed the
concept of “information overload” in Future Shock that the amount of social information exceeds
the capacity of individuals or systems, and redundant information interferes with people’s correct
selection and accurate analysis of data.
7
Additionally, according to the research, the human brain
processes images 60,000 times faster than words, and 90% of information is transmitted to the
brain through visuals.
8
Websites with images receive 94% more views than websites with only
text content.
9

Therefore, in response to the data explosion, the traditional “the times of reading text”
gradually changed to “the times of reading images.” Information visualization is increasingly
needed by various industries in society as a tool to convey information, and its application scope

7
Toffler, Alvin. Future Shock. New York: Random House, 1970.
8
Parsons, Noah. “Do Visuals Really Trump Text?” LivePlan Blog. June 14, 2018.
https://www.liveplan.com/blog/scientific-reasons-why-you-should-present-your-data-
visually/#:~:text=Your%20brain%20understands%20visual%20information%20better&t
ext=Because%20of%20this%20long%2C%20long,to%20the%20brain%20is%20visual.
9
Allen, Kevin. “Visual Content Receives 94 Percent More Views than Text-Only Marketing -
PR Daily.” PR Daily. June 19, 2017. https://www.prdaily.com/visual-content-receives-
94-percent-more-views-than-text-only-marketing/.
6

is quite broad, including product manuals, maps, financial statements, public guidance systems,
and so on. Information visualization design conveys highly specialized and obscure information
to the public in a simple and clear manner by converting a large amount of text into graphics.
Nathan Shedroff is a pioneer in the fields of interaction design, experience design, and
information design. He mentions in Information Interaction Design: A Unified Field Theory of
Design that design can be divided into three parts, information design, interaction design, and
sensorial design.
10
The integration of interactive design and information design has transformed
and improved our lives. For example, big data will automatically analyze the shortest and most
convenient route based on real-time traffic. Furthermore, according to Shedroff, incorporating
human emotions into the design will improve the efficiency and quality of information output.
10
Kenya Hara claims that design should not be limited or focused on visual effects but should
incorporate hearing, touch, smell, and taste to enhance our perception of the world.
11
Therefore,
the combination of “interactive technology” and “multi-sensory design” enables information
visualization to begin a new direction. As Jinsop Lee says, “good design looks great, but why
shouldn’t it also feel great, smell great, and sound great?”
12

10
Shedroff, Nathan. “Information Interaction Design: A Unified Field Theory of Design.”
Nathan.com. September 2014. https://nathan.com/information-interaction-design-a-
unified-field-theory-of-design/.
11
Hara, Kenya. Designing Design. Lars Muller Publishers, 2007.
12
Lee, Jinsop. “Design for All 5 Senses.” Ted.com. TED Talks. February 2013.
https://www.ted.com/talks/jinsop_lee_design_for_all_5_senses.
7

The History of Information Visualization
It is possible to forecast the trend in information design and provide feasible design
methods for improved information design by sorting out through the development of information
visualization.
The origin of information visualization
Primitive humans used symbols and graphics to record data on walls and rocks as early as
the Stone Age. People living in South America used weaving to systematize data, called Quipus.
The ancient Sumerians created cuneiform on clay tablets. And the ancient Chinese carved oracle
bone inscriptions on animal bones. All of these practices can be considered the beginnings of the
act of visualization.
Figure 2: Babylonian Map of the World
The Babylonian Map of the World (sixth century B.C.) is considered the oldest world
map. This map is a clay tablet with cuneiform and a circular map. Cuneiform identifies all of the
8

locations and landforms on the map, such as cities, mountains, rivers, the sea, and unknown
territory beyond the ocean.
13

Similarly, Zhao Yu Tu (兆域图) is a map of the royal tomb of the Zhongshan Kingdom,
known as the earliest architectural plan in early China. It dates back to 308 BCE and was found
in Pingshan County, Hebei Province. Zhao Yu Tu is a fascinating example of information
visualization in ancient China, combining graphics and text to describe the topography,
orientation, and layout of the tomb.
14

Figure 3: Zhao Yu Tu represents the function of each building with line symbols, using
different line thickness to express the meaning of “wall” and “mound,” and different graphic
signs to express the meaning of “door,” “hall,” and “palace,” among other things.
14

13
Horowitz, Wayne. The Babylonian Map of the World. Iraq 50 (1988): 147–65.
https://doi.org/10.2307/4200289.
14
Yang, Hongxun 杨鸿勋. “An Architectural Design from The Early Third Century B.C.: the
“Zhao Yu Tu” of the Tomb of King Zhongshan of the Warring States” [公元前三世纪初
的一幅建筑设计图:战国中山王陵 “兆域图”]. Architectural Journal 建筑学报
(1979): 46-47
9

The origins of information visualization are reflected not only in maps but also in other
fields. For example, the Divination Rules in the Tsinghua Bamboo Slips is one of the earliest
unearthed documents discussing the relationship between the Bagua and the human body. In
addition, there are many similar artifacts in China, such as Jing Luo (Channels and Collaterals)
and Tibetan Anatomical Medical Paintings. Meanwhile, the History of Information Graphics and
the Compendium of Computistical Texts contain a large number of hand-drawn visual diagrams
in disciplines ranging from astronomy to the natural sciences. These beautiful diagrams
demonstrate the high level of wisdom and aesthetic of the ancients.
18th century – 20th century
Many researchers cite Scottish engineer and economist William Playfair and English
nurse Florence Nightingale as pioneers of information visualization. In 1786, William Playfair
first applied bar charts and line charts to record British trade and debt from 1700-1782 in The
Commercial and Political Atlas.
15
Nightingale presented the factors that affected soldiers’
mortality in the form of graphics in the mid-19th century. This method enables public officials
who couldn’t fully comprehend traditional statistical reports to recognize that the medical
environment was a major factor influencing soldier mortality, resulting in official support for the
proposal to improve military health care.
16

15
Sack, Harald. “William Playfair and the Beginnings of Infographics.” SciHi Blog. September
22, 2020. http://scihi.org/william-playfair-and-the-beginnings-of-infographics/.
16
O’Connor, Siobhan, Marion Waite, David Duce, Alison O’Donnell, and Charlene Ronquillo.
“Data Visualization in Health Care: The Florence Effect.” Journal of Advanced
Nursing 76, no. 7 (March 8, 2020): 1488–90. https://doi.org/10.1111/jan.14334.

10

There are many excellent and representative examples of information visualization: An
African American sociologist, W. E. B. Du Bois, exhibited The Exhibit of American Negroes at
the Paris Exposition in 1900. Du Bois created a series of infographics using simple graphics and
primary colors to present African American culture and development. Du Bois reveals social
inequalities and stimulates people to know a wide range of Black lives through the beautiful
visual language and powerful content.
17
In 1933, Herry Beck’s London Underground Transport
Map broke away from the conventional design, utilizing vertical, parallel, and diagonal lines to
simplify the previously confusing and complex underground lines. Beck provided meaning for
all of the symbols and colors on the map so that passengers could read station information
efficiently.
18
This design strategy is still used in roadmap design throughout the world today.
Figure 4&5: Introductory chart & Harry Beck’s Tube map

17
Forrest, Jason. “W. E. B. Du Bois’ Staggering Data Visualizations Are as Powerful Today as
They Were in 1900 (Part 1).” Medium, Nightingale. July 19, 2018.
https://medium.com/nightingale/w-e-b-du-bois-staggering-data-visualizations-are-as-
powerful-today-as-they-were-in-1900-64752c472ae4.
18
Glancey, Jonathan. “The London Underground Map: The Design That Shaped a City.”
Bbc.com. July 2015. https://www.bbc.com/culture/article/20150720-the-london-
underground-map-the-design-that-shaped-a-city.
11

Additionally, as for 3D information visualization, over a century ago, scientists and
artists attempted to represent abstract elements using three-dimensional models. For instance,
Pearson and Lee’s Height Correlation Chart (1900). Dorothy Mary Hodgkin, a chemist, created
two models in 1945: The Electron Density Map and the Molecular Model of Penicillin. Between
1957 and 1958, John Kendrew created the myoglobin model, “Sausage model,” and “forest of
rods.” Additionally, Fritz Winckel’s 3D Spectrogram (1960).
Figure 6: The Electron Density Map and The Molecular Model of Penicillin
End of 20th century – 21st century
The evolution of form is inextricably linked to the advancement of key technologies.
With the development of science and technology, the emergence of new technologies and new
media makes the expression of information visualization diverse. The combination of interactive
technology and information visualization has altered how information is expressed and how
people receive it.
For example, Metropolitain.io is an interactive website which provides real-time
information based on the Paris metro system, including commute times and flow rate of
12

passengers. When a person clicks on any station, the site draws a time radar map centered on that
station, showing the commute time from the station to other stations. In addition, the site reflects
the passenger flow at each site by displaying a heat map.
Figure 7: Metropolitain.io
http://metropolitain.io/
As we can see, the vast amount of information contained in this website and the
interactive design rely on the continuous development of information technology. Data
visualization facilitates users to understand the relationships between data. At the same time, the
integration of interactive technology allows users to interact with the data, gradually shifting the
reception of information from passive to active. In general, the combination of “interactive
technology” and “information visualization” makes the information in the system richer and
more hierarchical and further realizes the effective delivery of data.
13

The Design Projects
Presented here are three design projects on information visualization. To begin, I used the
principles of information design that I had learned as a theoretical foundation for my data
visualization design based on daily data. Each of the three design projects had a distinct design
purpose. Data representation and taxonomy were the first things I looked into. Then, to further
enhance information transmission and reception, I incorporate the multi-sensory experience into
information design, which will help people better understand and remember what they’re
reading.
Project 1: Data visualization of abstract emotions - “Tree Journal”
Introduction
Due to COVID-19, I converted my room into an island, with the screen and window
serving as my sole source of information. I gradually realized that the trivialities of daily life
could not support the recording of a few words, so I began painting the tree in front of the
window.
The process of recording the tree was a long and deep dialogue with myself. Painting is
sensual, and it abstractly and spontaneously depicts my inner world. Looking back at those
words and paintings, I remember exactly what happened that day: Are you curious about which
season the tree prefers? Summer is already excluded because the cicadas are extremely noisy!
Therefore, I realized that each tree I painted contains a wealth of information, such as weather,
temperature, my thoughts, and so on. As American conceptual artist Mark Dion put it, an object
14

can carry an infinite amount of data across space and time.
19
I’ve come to believe it is also true
for trees.
Color can assist in classifying information and expressing emotions, thereby enabling
color to serve as a means of conveying information. Simultaneously, my feelings where reflected
directly in the colors. For instance, red symbolizes passion, blue represents serenity, black
symbolizes mystery, etc. As a result, I chose to present the story concealed behind these trees
through the colors and color ratios contained in each tree as raw data. In general, for this design
project, I attempt to present the color data in a variety of taxonomies to investigate the
information visualization of abstract emotional data as well as the effect of taxonomy on data
visualization.
Figure 8: Daily painting “Tree journal”

19
Tate, “Art Now: Mark Dion: Tate Thames Dig – Exhibition at Tate Britain | Tate,” Tate.
2022. https://www.tate.org.uk/whats-on/tate-britain/exhibition/art-now-mark-dion.
15

Process
I imported each tree into a color analysis system to convert the colors to data for the raw
data collection. This system analyzes the color values and the percentages of colors in each
painting automatically, then we can obtain precise and scientific color data.
As a taxonomy for data presentation, I use two modes of thinking as a taxonomy:
personal thinking and scientific thinking. This is because I’m curious how the final design result
will differ when I switch identities and view the same data through different thinking patterns
and perspectives.
The first taxonomy starts with my model of thinking. To be specific, painting trees is a
way for me to keep track of my own continuity. I discovered that my daily mood, weather, and
other data do not exist in isolation; they are interconnected and influence each other, much like a
web connecting daily trivialities. As a result, I arranged the color data and words in the form of
rings, as shown in the image; the interweaving and overlapping of the circles represent the
relationship between the information; they are both independent and interdependent. In this way,
I hope to spread awareness about the causal and correlational relationships between data. In other
words, we live in a unified universe in which all things and factors are connected to a specific
outcome that may be pre-existing or potential.
20

20
Wang, Tiansi 王天思. “Causality in Big Data and Its Philosophical Connotations” [大数据中
的因果关系及其哲学内涵] Social Science in China 中国社会科学 no.5 (May, 2016):
33-37.
16

Figure 9: “Overlap” data chart
For the second taxonomy, I attempt to visualize data with a scientific and technical
mindset, i.e. every design element is supported by rigorous data. I kept track of my daily
movements for one month and created a framework for data visualization based on the location
relationships. I noticed that the locations, such as tourist attractions, restaurants, home, the USC
Roski Graduate Building, etc., I marked on paper resembled star maps. As a result, I converted
these locations into stars, combining the color data to create a unique and beautiful glow for each
star.

17

Figure 10: “Starry sky” data chart
Simultaneously, each star follows a distinct design logic. For example, the figure 10
shows the design rule of the home star. I began by dividing a circle into 35 equal segments, as I
painted 35 days in total. Then I retained a portion that I stayed at home and expanded the daily
color of the tree in the corresponding area. Along with the star’s design, I reflected the frequency
of my visits to each destination in the star’s size. For instance, because I spend the majority of
my days at home, this star is the largest of all the stars.
18

Conclusion
As a result of my design work previously described, I gained varying degrees of
knowledge and insight into data visualization and taxonomy. I began this project by painting
trees on a daily basis; the information and data contained within the trees remain unexplored and
fragmented. A massive amount of data will gradually emerge if I collect and analyze these
“trees” with a specific purpose and in an objective and rigorous manner. We live in a world
surrounded by data, and data allows us to perceive the connections between objects.
Second, when I represented the same color data using two different taxonomies, I
realized that the way of thinking and the purpose of the data representation directly affected how
the data was presented. For instance, in the “Overlap” data chart, I primarily use my own
thinking to represent the data; my thinking is typically emotional and abstract, and the resulting
work is conceptual. On the contrary, I am compelled to think scientifically for the “Starry sky”
data chart, and the data collection and analysis processes are rigorous. Compared to the former,
the data chart labeled “Starry sky” is more readable.

19

Project 2: Skeuomorph data representation - “Water Bottle”
Introduction
This project is also about the documentation of my daily life. In comparison to the “tree”
project, this time, I’m concentrating on data representation, i.e., combining data with the shape of
a specific object. This strategy is increasingly being used by designers who incorporate analytical
data with natural aesthetics in order to improve the reading experience while still effectively
communicating the message.
Poppy field is a classic example of melding data and plants. The designer, Valentina
D’Efilippo, employs poppies as a design element to vividly and plainly present World War I
data. The poppy was one of the first plants to grow after World War I.
21
Its vibrant red color
contrasts with the ruins left behind by the war, which can’t help but make people consider the
relationship between human beings and war, as well as the relationship between life and death.
The inclusion of poppies lends the work a sense of warmth and soul. It conveys more than data;
it serves as a tribute to those who perished in the war.
Figure 11: “Poppy field” data chart
http://www.poppyfield.org/

21
D’Efilippo, Valentina, and Pigelet, Nicolas. “Poppy Field.” 2014. http://www.poppyfield.org/
20

Poppy field not only achieves aesthetic and social value but also maintains a level of
clarity and readability in its data. Therefore, I aimed to represent my life data in the same way.
Water is a critical component of life, and drinking water is an action we must perform on a daily
basis. As a result, I chose the water bottle as the design subject for this project, and the data
collection includes the number of drinks, the number of daily tasks completed and my mood, etc.
In general, project 2 focuses on the expression of data. I look for the internal connections
between data and things from various perspectives and combine them in order to highlight the
data’s theme and storytelling.
Process
The design process is divided into data collection and object design. At the start of the
design, I attempted to collect as much data as possible in order to expand my ideas and
investigate potentially absurd design concepts, such as screen time for mac, daily tasks, the bottle
of water, and so on. By examining the daily data for this month, I discovered that each day’s
water bottle shape is unique. The variety of water bottles reflects the richness and uniqueness of
daily life. Therefore, using water bottles to transport data performance became logical.
For the visual representation of the water bottle, I observed that when the water bottle
was squeezed, numerous irregular folds appeared on the bottle. Based on this random structure
and shape, I abstracted the water bottle by combining geometric shapes to simulate the shape of
the water bottle after use. Additionally, in order to make the water bottle recognizable, I depicted
the bottle’s primary feature, the bottle top. This treatment preserves the water bottle’s
characteristics and unifies the visual system.
21

For the data representation, each component of the water bottle is supported by data. As
illustrated in the figure, the number of threaded circles in the bottle’s mouth corresponds to the
amount of water I consume, the number of geometric shapes on the bottle body describes the
number of daily tasks I complete, and each geometric reflects task completion individually. In
addition, the degree of squeezing of the bottle reflects my emotion. The worse my feeling is, the
more severely the bottle is damaged. I also recorded the shape of the mouth of each bottle, which
gave life to each bottle. Finally, to adhere to the concept of daily data, I presented this month’s
data in the form of a calendar, as shown in the figure.
Conclusion
Including illustrations and images related to the topic in the visualization could enhance
the narrative power of diagrams, allowing the reader to grasp the stories and facts behind the
chart in a comprehensive manner.
In this design exercise, I tried to incorporate my everyday data with an object from my
life. The integration of the water bottle is not only an effective method of disseminating
information but also a way to immerse the reader in my daily life, allowing them to feel my
emotions, attitudes, and the inner expression of my design more directly: the ordinary life is the
most precious, and daily “repetition” is a new beginning.

22

Figure 12: “Water bottle” data chart
23

Project 3: The daily life of nervous boy “Y”
Introduction
The combination of information visualization and sensory design is the central objective
of the design thesis to expand the senses of people receiving information and increase the
effectiveness of data dissemination. Human perception of the world comes from our senses, i.e.,
eyes, ears, nose, tongue, and body. These senses make us see objects, hear sounds, smell, taste,
and feel the texture of things, and the above is information gathering. The brain then combines
and analyzes this data to understand the information received. Simultaneously, American
cognitive psychologist Donald Norman proposed that it is best to present information in a variety
of modes in order to minimize interference with the short-term memory system. As a result,
layering information can aid in information reception.
22

Therefore, I continue to use my personal life as the data source and integrate sensory
design into the information visualization design in order to explore another dimension of data
delivery. To heighten the sensory experience, I created the character “Y” based on myself as a
data carrier, bringing the information to life. The physical character “Y” can facilitate
information perception and cognition for the audience. The most intuitive example is that as my
weight goes up and down, the weight and volume of the character “Y” fluctuate as well. In
general, the shape of the “Y” changes depending on the data at each stage. The addition of the

22
Lindsay, Peter H., and Norman, Donald A. Human Information Processing: An Introduction
to Psychology. London: Harcourt Brace Jovanovich, 1977.
24

physical character “Y” breaks the mainstream media of information dissemination, the digital
screen.
Process
Marshall McLuhan refers to the concept of “the medium is the message” in
Understanding Media: The Extensions of Man, which means that it is the medium that truly
changes people’s behavior and their ability to perceive information.
23
From this perspective, I
attempt to incorporate the “Y,” a physical entity, into traditional communication media
(newspaper, radio, computer, etc.) in order to enhance the ability to disseminate information and
the capacity of individuals to receive it.
“Y” is a character based on my own. He is an unremarkable individual with average-
looks and average size. His only distinguishing feature is that he unconsciously places his hand
on his stomach when he is nervous, which is the primary feature that distinguishes “Y” from
other dolls. The physical characteristics of “Y” are influenced by daily data. For example, the
weight and size of the character “Y” correlate with my eating habits and exercise frequency; a
larger weight and size of the character “Y” indicates that I consumed more calories and exercised
less for a specific time period. Simultaneously, the dark circles under “Y’s” eyes reflect my sleep
quality and amount of screen time. In addition, the material and color of the “Y” reflect my
mood and state indirectly, as with the “Tree” project. Along with character design, I gathered

23
McLuhan, Marshall. Understanding Media: The Extensions of Man. The MIT Press, 1994.
25

objects and sounds from my life, such as receipts, photos, and letters, to create an immersive
experience.
As mentioned previously, humans perceive the world through their senses. I attempt to
separate and reorganize the information received by various senses so that their presentation is
not constrained by a single dimension. The disorganized and illogical state of the data is reflected
in the variety of objects through which people can gradually conceptualize the daily life of “Y.”
This multi-sensory experience makes people aware of the diversity of ways to receive
information, and the visualization of information is not limited to data presentation.
Figure 13: Concept sketch
26

Figure 14: Character design concept
Conclusion
While working on this project, I often focused on the character design more than the
accurate presentation of the data. Therefore, I always need to review what I have done and plan
what I need to present at the end, which is a kind of entanglement between sensibility and
rationality. As a designer, regardless of the industry in which I work, I am responsible for
pursuing beauty while maintaining a rational mind to recognize and create social value. This
selection, which combines information visualization and multi-sensory design, not only
investigates ways to communicate information more efficiently but also assists me in
establishing the design thinking that designers should possess.
When reviewing past design projects, it is clear that most of them are focused on
developing and applying new interactive technologies, with scant regard for the audience’s
perceptual experience. Design project three has achieved a degree of comprehensive
enhancement of information transmission and reception by mobilizing three dimensions of
27

sensory experience, visual, touch and hearing. To begin, the character “Y” serves as a medium,
allowing viewers to enter the daily life of the nervous boy “Y” effortlessly through the doll,
which is highly beneficial for increasing viewers’ emotional arousal and engagement. Second, I
attempt to overcome the limitations of visualization by integrating multi-sensory design and
information visualization to create more multidimensional design expressions and diverse design
concepts. Multi-sensory design, in general, enriches the medium through which people perceive
information, bringing the audience closer to the objects. Consequently, the gap and difference
between objective information and human perception are reduced to some extent.
28

Final Thoughts
With the advancement of the concept of “information design” and the expansion of the
scope of “visual communication design,” information visualization has gradually made its way
into the field of design. Visual language and design media can help readers understand,
appreciate, and comprehend the author’s deeper message and meaning. W.E.B. Du Bois, for
example, frequently uses the contrast between colors and graphics to amplify the impact of
charts and promote understanding of the historical issues underlying the charts about African
Americans. Therefore, exceptional design works are not satisfied with the beauty of their visual
appearance but rather with the expression and effective communication of their inner meaning.
Another critical topic is taxonomy; I realized that if I collect enough data and broaden my
thinking, I could break through the conventional classification rules and carry out more novel
classifications.
The associated terms for information visualization are “intention,” “rationality,” and so
on. Oppositely, I present my meaningless, uninteresting, and illogical daily life as data, which
appears to be an absurd and contradictory subject. Therefore, I hope to reconcile two
diametrically opposed modes of expression, rational data and emotional language, in order to
convey my thoughts and attempts at data visualization. In this way, we do not need to investigate
the true meaning of the data; rather, we focus on the relationship between data and ourselves and
the big picture thinking provided by big data. The connection between the data enables us to
infer the big data trend from small, focused data. Similarly, from massive amounts of data, we
29

can deduce trends about specific things. Big data helps us to cultivate a philosophical mindset: to
separate the particularity from the universality of things and control the partial within the whole.
The preceding describes my understanding of information visualization after completing
three information visualization design projects. My understanding of information visualization
has evolved, from essential visual representation and taxonomy to the philosophical relationship
between data, and finally to the exploration of how to use multiple senses to enhance
communication in information visualization, which is an evolving and progressive process. Apart
from that, the design thinking associated with information visualization applies to other design
fields, such as poster design, user interface design, and book design. Overall, information
visualization is highly sought after in society as a design type with rich visual expression and
information transfer function.

30

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Abstract (if available)

Abstract The advent of the information society along with the development of application technology at the end of the 20th century resulted in a massive amount of information “bombarding” our lives in different ways. People found themselves with little time to consider the accuracy and completeness of the information they received. As a designer, I must consider how to assist audiences in acquiring knowledge efficiently, accurately, and clearly. Data visualization is a technique for optimizing complex data through visual language to help people understand the data. According to Nathan Shedroff, a pioneer in experience design, and Japanese graphic designer Kenya Hara’s sensory design theory, incorporating five senses design with information design could further increase the efficiency of information delivery and reception by enhancing the perceptual experience for information.
I have researched the historical development of information design and multi-sensory design, and then I reflected the theoretical knowledge and insights gained on design exercises. One practice embodied the visual representation of abstract emotions in data. The second design exercise experimented with data representation; adding graphics not only created a reading atmosphere but also communicated inner emotions, attitudes, and stories. These two experiences support my final design project. For project three, I explored another dimension of data delivery by incorporating sensory design into information visualization design. Overall, I attempt to combine the sensory design in information design with theoretical knowledge, highlighting an intriguing area for further investigation.

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Asset Metadata

Creator Yang, Yilun (author)

Core Title The daily life of nervous boy "Y": information visualization with multi-sensory design

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2022-05

Publication Date 04/19/2022

Defense Date 04/18/2022

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag big data era,Design,information visualization,multi-sensory design,OAI-PMH Harvest

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Wojciak, Ewa (committee chair), Ellenburg, Jason Fowler (committee member), O’Connell, Brian (committee member)

Creator Email yilun@usc.edu,yilunyang19@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC111014558

Unique identifier UC111014558

Document Type Thesis

Format application/pdf (imt)

Rights Yang, Yilun

Type texts

Source 20220419-usctheses-batch-929 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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Repository Name University of Southern California Digital Library

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