Grace-In-A-Brace/Jack-In-A-Nap replicates feelings such as fear, hopelessness, and anxiety experienced by those who go through sleep paralysis. To cause those same feelings, Grace-In-A-Brace/Jack-In-A-Nap uses a main body, shaped like an ellipse that is attached with sleeves. The main body controls three outer connected flexible ellipses that close in on you when three strings are pulled on. (GK) This project educates people on the topic of sleep paralysis. Commonly sleep paralysis is very scary and traumatizing. If people are educated on the topic it will be way less traumatizing. (JC) This project is directed towards people who have never experienced sleep paralysis. If people know what is going on it makes the experience less traumatizing and scary. (JC) A lot of the project is laser-cut cardboard; there is a main ellipse body, three outer ellipses designed with “Kerf Pattern #1” to give the cardboard flexibility, a choker, and spikes. The wearer puts on the project like a backpack then pulls on three separate strings that make the three outer ellipses close in on the wearer. The wearer feels mentally unstable experience feelings such as fear, hopelessness, and anxiety. (GK)

The Music Box is a project worked on in collaboration with the Karam school, located in Reyhanli, Turkey. The school has a large population of Syrian refugees, who are creating a  playground to install for community use and engagement. The Music Box is an installation piece meant for the playground which allows children to play and explore the creation of music. It has been shown that both play and music accelerate brain development in the language and sound processing centers of the brain, especially for developing children. The music box is made up of two cylinders. The inner cylinder holds the comb, which is a series of flat steel pieces that get plucked by the pegs positioned in the outer cylinder when the kids spin it. The kids can ride on the pegs as it spins around. The pegs also are interchangeable so the user can create their own series of tones by the positioning of the peg. The design takes into account that there will be many different users with a range of ages, by including components that are fun and engaging for everyone, Such as the spinning aspect for the kids and the platform to sit for parents.

THE PRESENTATION POST

This post's privacy is set to Everyone. This post showcases your final design by telling the comprehensive story of how your idea was born, developed, and manifested. The arc of the story should encompass the, How of your project in a compelling narrative. It showcases your design process including your brainstorming, each of your iterations, and your final prototype. It allows the viewer to delve deeply into your process.

• Every Slide should have a Title and Caption.
  The body of this post is The Brief. You should include a version of the Brief for each collaborator in the project.
• This post will be used in your review presentation at the end of the session.

You are encouraged to make your narrative as compelling as possible. All of the content below should be included, but if you would like to rearrange the material in order to tell your story differently, work with your coach.

INTRODUCTION PORTION

Your presentation is a narrative, and the introduction sets up the scene for that story. Here you introduce the project, say why it is important, and summarize what you did.

TITLE WITH TAGLINE: This slides shows a crisp, clear final image and the title of your project. with a pithy blurb describing the project. The image, name, and tagline should draw a viewer in. 

Examples:

• The Fruit - A line following, light tracking robot
• Segmented Vehicle - A vehicle that conforms to the landscape
• Cacoon - Wearable sculpture exploring the concept of transformation and death

EVOCATIVE  IMAGE: This is a single image that shows a clear image that evokes the soul of your project. This image helps set up the why in a compelling way, sets the stage for your narrative, and will help frame the entire presentation. The caption of this slide (set with the Edit Captions button when editing your post) should discuss the context of your project. No Text on the slide.

THESIS STATEMENT: This is a TEXT ONLY slide for which briefly describes the Soul and Body of your project. You can use the project description from your Brief or write something new. This statement ties together your narrative.

Examples:

• The Cocoon:  A wearable sculpture that explores the concept of transformations and death. The Cocoon explores the spiritual journey beyond the human experience; what it means to be human, how wonder effects us, and the concept of what happens after death.
• Body Accordion: A musical prosthetic that translates the wearer’s body movements into a dynamic multimedia performance. The Body Accordion converts flex sensor input to sound through Arduino, MaxMSP, and Ableton Live. 
• Seed to Soup Animation: A whimsical animation about the slow food movement. Seed to Soup showcases a holistic method of cooking. From garden, to kitchen, to dinner table.
• Antlers: A wearable sculpture inspired by antlers found in the deer and antelope family. "Antlers" explores the comparison between armor and attraction. 

PROCESS PORTION

The Process Portion of your presentation tells the story of how you iteratively developed your project. Somewhere in that story you should include conceptual and technical precedents that guided you at each stage as well as brainstorming and process sketches and clear photo booth imagery for 3-4 stages of your process.

This portion is made up of three types of slides repeated 3-4 times. Each iteration in your process should include:

• PRECEDENTS:  Precedents are any projects that inspired you creatively or gave you technical guidance. These can include conceptual precedents and technical precedents. No Text.
• SKETCHES/SKETCH CONCEPT DIAGRAMS: These slides show your generative ideas in sketch form. These should clean, clear drawings. A sketch should show a clear idea. Do not simply scan a messy sketchbook page and expect that people will understand. If you do not have a clear concept or working sketches it is fine to make them after the fact. No Text.
• PROTOTYPE IMAGES:  These are actual images of the prototypes  you documented in your daily posts. These images illustrate your design decisions and how your project changed at each step. No Text.

FINAL PORTION

The Final stage of your presentation is the resolution of your narrative and shows your completed work. The use diagram shows how your project works and the construction diagram shows how it is assembled. Final photos show the project both in action and at rest. The imagery captures your final built design.

USE DIAGRAM: A diagram showing some aspect of the functionality. These can include:

• How one uses or interacts with the project
• The overall behavior of the project over time
• For a complex interactive project, this can be a clear diagram of the software behavior

MECHANICAL DIAGRAM:  A diagram offering insight on how the project is put together and functions technically.

• Ideally, this will be an exploded axonometric
• At minimum this can be a labeled disassembled photo  

ELECTRONICS or OTHER DIAGRAM: Additional diagrams showing some important aspect of your design. 

IMAGERY: The last slides should have an images of the final project. These images should be taken in the photo booth, cropped, and adjusted for contrast, brightness, etc. Images should include:

• An image of the project in use (taken in the booth or at large). This should include a human interacting with the project.
• Images of project alone. Include at least one overall image and one detail image.
• You can also use an image In-Use. 
• Consider using a GIF to show how the project works. 

Your portfolio tab is the part of your project viewable to the world. This is where you will present your work to your coaches and peers for your studio review presentation. This is also what family, friends, colleges, the media, and everyone outside of NuVu will see. It is the record of your work and must stand alone, telling a compelling story of your project.

Portfolio pages have 2-3 posts in this order:

1. The Presentation Post: This post's privacy is set to Everyone. This post showcases your final design by telling the comprehensive story of how your idea was born, developed, and manifested. The arc of the story should encompass the, How of your project in a compelling narrative. It showcases your design process including your brainstorming, each of your iterations, and your final prototype. It allows the viewer to delve deeply into your process.
   • Every Slide should have a Title and Caption.
     The body of this post is The Brief. You should include a version of the Brief for each collaborator in the project.
   • This post will be used in your review presentation at the end of the session.
2. Optional Video: This post's privacy is set to Everyone. A video showing the interactive functionality of your project. The title of this post will be Video.
3. Presentation Script: This post's privacy is set to School. Each group will post their script for there presentation. This post will be used to prepare for and practice your presentation. This post should be titled "Presentation Script" and should not be made public. Alternatively, 

After reading this post and completing your Portfolio Tab, you must make sure you have done the following:

• For all posts (except the Script) in the Portfolio tab you must change ownership and privacysettings (see post below.)
• Change the representative image and "show project on profile page" 
• Enter the one sentence description for the project. This will appear on your transcript.

The Brief Version 1

 
Where to post the brief: Post each draft of your brief into the writing folder in your project tab. Give each draft a title "brief v1", "brief v2", "final".

The brief is a strong narrative that ties together the Why, How and What and Who of your project through clear, cogent writing. It tells the story of how your idea was born, developed, and manifested.

Create 1 post titled “The Brief” in the Writing tab with text that includes the following 2 items, numbered:

• A 1-2 sentence project description that describes your project in just two sentences to someone who knows nothing about it. This communicates the fundamental information of your project and  will serve as the basis of the Project Description that appears in your transcript. This description should not include the name of the project and should be written in the third person. The description should address the following questions:
  1. What is the "soul" of your project? Describe the idea of the project in conceptual terms. This should paint a conceptual picture in the readers mind. (1 sentences)
  2. What is the "body" of your project? Describe the basic technical or physical construction of the project. This should NOT go into excessive detail, just provide an overview. Describe the project to someone with no technical knowledge in as few words as possible. The reader should be able to envision what the project looks like.
     
     examples:
     Night Light Blankie: A child's sensory blanket that provides comfort and privacy in the high stress environment of the hospital using weight, textures, and light. The blanket transforms into a mini light up fort over a child’s head.
     Cocoon: a shroud that explores human spirituality and the concept of life after death through the use of repetitive religious iconography. Composed of over 300 pieces of laser cut balsa wood lined with space tape, the icons are arranged using a mathematical strange attractor.    
• A 1-2 paragraph brief for your project based on the description below. This writing should focus on style. The NuVu writing coach will give you feedback and you will have the opportunity to revise this text before the final presentation. The primary purpose of The Brief is to explain, entice, and convince the reader that your project is amazing and important. Imagine your project on display in the Museum of Modern Art. The Brief is hanging on the wall next to your work. In 1-2 paragraphs, a viewer should understand what your project is, why it exists, and how you made it, and who it is for. More importantly, the viewer should be interested and care. You will draw them into your project through a compelling narrative.
  
  Things to think about:
  • Use the information in your Outline if you used this. Then you must weave it together into a clear story.
  • The what is a clear statement of the thesis or problem+solution. Your project description for your transcript (#1 above) can be adapted for this purpose.
  • The why explains how your project changes the world. It is the reason your project exists – what social issue is it engaging, who is your project helping, how does the project change the world, and what important social, intellectual, or technical questions does it raise? The scope of the why can vary widely.
  • The how briefly explains what technical prowess, innovative methods, or cool materials you used in your solution.
  • The who explains who will use your design, why they will use it, and in what context.
  • Think of the reader - it is good to imagine that a college admissions officer AND a potential employer in the field of your design should both be able to understand and be excited by the project based on your writing.

Write in the Third person in an explanatory fashion. Resist using I, WE, OUR, or YOU and focus on describing the work.

For some students, creating an Outline first can prove a helpful step prior to creating the written brief. The following questions can be considered prior to drafting your Brief:

1. How would you describe your project in just two sentences to someone who knows nothing about it?
   1. What is the "soul" of your project? Describe the idea of the project in conceptual terms. This should paint a conceptual picture in the readers mind. (1 sentences)
   2. What is the "body" of your project? Describe the basic technical or physical construction of the project. This should NOT go into excessive detail, just provide an overview. Describe the project to someone with no technical knowledge in as few words as possible. The reader should be able to envision what the project looks like.
      
      
2. Why does your project exist? The why explains how your project changes the world. It is the reason your project exists – 
   1. What social issue does your project engage, if applicable? (1 sentence)
   2. Who is your project helping, if applicable?  (1 sentence)
   3. What important social, intellectual, or technical questions does it raise? (1 sentence)
      
      
3. Who is the project for? Who will use it and in what context, if applicable (1 sentence) If you are designing for a specific person, answer the following:
   1. What is the client's name and what is their medical condition, if any? (1 sentence)
   2. How does their condition relate to your project? Include concise and compelling information about the client you are working with, their condition, and how that relates to your project design. (1 sentence)
      
      
4. How does your project work? (In non-jargonistic language)
   1. What is the basic technology behind your project? (1 sentence)
   2. What is technically innovative about your project? How does it differ from existing technology? (1 sentence)
   3. How does a user physically and mentally interact with the project? (1-2 sentences)

Here is an example from Penelope the Pain-O-Monster:

Pediatricians and other doctors find it challenging to collect accurate self reported information from children about their level of pain due to lack of communication skills, fear, anxiety, and discomfort. Traditional 1-10 pain scales do not fully address these issues, often leading to uncomfortable children and inaccurate symptom information. Penelope the Pain-O-Monster is a cute plush toy that uses integrated pressure sensors to allow children to express their source and level of pain through play.

A previous project, The EmoOwl, helped children with autism to express themselves by translating motion into color. Penelope the Pain-O-Monster grew out of the desire to expand children’s health menagerie with a different stuffed animal, one that makes the pain charts patients use to express their pain more interactive and easier for a child to use. Because research has shown that playing with stuffed animals can take children’s mind off pain, an additional “Fun” mode was added to distract from pain and anxiety. The handcrafted stuffed animal uses force sensors in different body parts that light up from blue to red depending on how hard they are pushed to show the child’s pain level. The hope is that, as one of many future healthcare friends, Penelope can help sick children feel safer while providing more useful information to care providers.

Composition Reminder Sheet

1. Write in third person: this means no “I/my,” “you/your,” or “we/us/our.” People will be referred to as people, human subjects, users, viewers.

Not: “I designed my project thinking about the way teens use social media.”
Instead: “This project is designed as a commentary on the way teens use social media.”

2. Avoid dangling modifiers: when you try to avoid first person, it is easy to end up with dangling modifiers. For more detail, follow this link: https://owl.english.purdue.edu/owl/resource/597/1/

Example: Walking home, the bag tore. (This implies that the bag walked home.)
Instead: Walking home, I noticed the bag had torn.
Or: While I was walking home, the bag tore.

Note that to avoid first person, this would need to be: On the way home, the bag tore.
Or: As it was carried home, the bag tore.

3. Organize paragraphs by moving from given information to new information. Give us a high level and a visual description of your project before telling us about a particular mechanism within it. See this page for an explanation: https://owl.english.purdue.edu/owl/resource/600/01/

4. Be clear in your logical connections: are two ideas related by addition (also, in addition), example (for example, for instance), cause (as a result, for that purpose), time (next, then), contrast (but, however), or comparison (likewise, similarly)? For more examples: https://owl.english.purdue.edu/owl/resource/683/05/

5. Watch for pronoun references: be sure when you use this, that, these, those, it, and they, the pronouns refer clearly back to something previously mentioned.

6. Proofread for spelling: if you see a wavy red line under a word, look it up to make sure you’ve spelled it correctly. Watch for capitalization and be aware of when to use apostrophes (https://owl.english.purdue.edu/owl/resource/621/1/).

7. Note when you use that vs. which: https://www.grammarly.com/blog/which-vs-that/

8. When you combine two sentences with only a comma, it’s called a comma splice. For tips on how to avoid, see: https://owl.english.purdue.edu/engagement/2/1/34/

9. Note on where vs. in which: In formal writing, if you aren’t referring to a location of any sort, use “in which.” Don’t write about: a situation where…, a theory where…, etc.

10. Use semi-colons before transitional phrases and a comma after, e.g.: ; however, http://www.grammar-monster.com/lessons/semicolons_before_transitional_phrases.htm

11. The proper term is based on, not “based off/off of”: http://data.grammarbook.com/blog/pronouns/based-off-is-off-base/

12. When you have a list of things, be sure to observe parallelism: https://www.grammarly.com/blog/parallelism/

13. Try to reduce your reliance on being verbs: https://www.stlcc.edu/Student_Resources/Academic_Resources/Writing_Resources/Grammar_Handouts/To-be-Verbs.pdf

14.  Use verbs instead of nouns where possible: “represents” instead of “gives a representation of”

15. When you form a compound adjective (“custom-designed”) you will need a hyphen between the two words. For an explanation and examples see: http://www.grammarbook.com/punctuation/hyphens.asp. For an exhaustive list of hyphenation rules, see: http://www.chicagomanualofstyle.org/16/images/ch07_tab01.pdf

16. Note that “an” rather than “a” is almost always required before words that start with a vowel. For details on the rule see:  https://www.englishpage.com/articles/a-vs-an.htm

Theory

Our standpoint is that present reality is not inherently binding. In order to escape the monotony and dullness of everyday life or draw unprejudiced conclusions about society, one has to find a way to step outside reality. The feeling of reality is much like an equation, where certain conditions yield certain outcomes. As one experiences the world, they become acclimated to the results that they see every day. People come to expect certain things:

• Gravity causes things to fall down   
• Feet go on the ground  
• You see what is in front of you  
• When you move your head left you will see more of what is to your left  
• A sense of “thingness”  - the feeling of existence and control within a familiar reality

The Trippy Goggles change or wholly disrupt each of these. By seeing yourself on the ceiling or wall, you become a step outside of reality, as you contradict the rules that reality sets in place. This step outside a normalized feeling of connection between actions and results disrupts the normal experience of corporeal existence and leads to a number of interesting results.

Additionally, the goggles give the wearer a chance to take a step outside not only reality, but society. The experience of using the goggles is subjective, but it is not subject to the same terms as observation of a society from within. It is not subject to what the wearer would normally consider “normal.” This jump is necessary for an even-handed assessment of the merits of the society being observed.

While wearing the goggles, one must consciously process experiences and actions that would normally come instinctively. This can be as simple as walking up stairs, or it can be as complex as manipulating an object with your hands. This prevents anything from truly feeling “normal” or “everyday” and allows for a higher level of generalized thought while observing societal interactions.

This aspect of the goggles ties directly to psychogeographical theories about human movement. Instead of disrupting the normalized path of a human walking from point A to point B through the use of localized architectural or interaction-based interventions, the goggles use psychological and visual manipulation to change the experience of movement and existence.

The experience of viewing something through the goggles should be more captivating and thought-provoking than viewing the same area with the naked eye. It should be a profoundly introspective experience that simultaneously forces you to rethink the society surrounding you, even down to extremely simple interactions like walking past someone on the sidewalk.

By forcing the viewer to rethink their surroundings, the goggles enable them to observe present society not as a member, but as an outside, more objective observer. While the naked-eyed viewer may not give a second thought to someone avoiding eye contact or walking faster when they see someone else, the goggles force you to notice this and more. You need to notice all of it, because you’re forced to reprocess your surroundings.

Wearing the goggles also gives you a chance to escape the repetitiveness of everyday life, again allowing for a chance to rethink life as it is today. Some experiences with the goggles feel powerful or existential, while others are simply entertaining or amusing. These experiences also provide an opportunity for escape from daily routines and schedules. This allows the wearer to think about whether they truly want to be a part of these sort of organized, repetitive patterns of life.

As well as rigid patterns of time, the goggles make the wearer rethink rigid patterns of movement. As

Thoreau says:

“Roads are made for horses and men of business. I do not travel in them much comparatively, because I am not in a hurry to get to any tavern, or grocery, or livery stable, or depot to which they lead” (Thorough, Walking Part 1, ¶19)

Most people in modern-day capitalistic society have a place of residence and at least one place of work. They go from their place of residence to place of work without pausing to stop and take in the scenery, and with as little interaction with others as possible. They never have a chance to make an educated decision about whether society in its present form is correct for them - indeed, they never get a chance to truly observe society except as a member of it.

Aesthetic

The goggles should feel like they could lift you off the ground and into the sky. They should fade away while on your face and feel like they aren’t quite there (for a greater sense of immersion and reorientation instead of disorientation or confusion).

Related Works

• 
  The situationist Manifesto, available at http://library.nothingness.org/articles/SI/en/display/9
• 
  Thoreau's Walking, available in three parts at http://thoreau.eserver.org/walking1.html
• 
  Segment Disorientation by Sanjit Sethi, a video of which is available at http://sanjitsethi.com/portfolio/past/experimental-ambulation/segment-disorientation/
• 
  In absence of Zero, a project by Brad Pitts available at https://www.youtube.com/watch?v=Kl5HxZ0JHto