The master thesis was written in cooperation with a fitness start-up in Graz and aims to show how several problems can be solved in and after orthopaedic rehabilitation with the help of a fitness and health app (Kendlbacher 2019, 8).
Title Mobile Applikationen in der orthopädischen Rehabilitation
University and year of publication Karl Franzens University Graz, 2019
Level of Design The design of the work itself is structured but no importance was given to making it look appealing – whether colours, additional illustrations, etc. The design of the app (the outcome) is not up to date and is confusing.
Degree of innovation The idea behind a fitness app is nothing new, but the requirements within the app are different, which can increase the degree of innovation. To what extent, I cannot judge.
Independence She wrote her thesis with the support of a start-up in Graz.
Outline and structure She has worked hard on the topic, which is clearly noticeable. She has structured and organised her work into several sections. The work is clearly structured and the division is logical.
Degree of communication It is clearly and simply structured. The author makes it clear what the thesis is about.
Scope of the work The thesis has 76 pages. The scope of the work is large in terms of research, but the design of the app (the final product) is clearly lacking. Unfortunately, the app was not realised but a low fidelity prototype was created and the section describing the app is very small and briefly formulated.
Orthography and accuracy The work is error-free in spelling and comma placement. The language is good. All sources have always been cited. Abbreviations have been marked with a number and described in more detail at the bottom of the page.
Literature The literature varies greatly between years of publication. The paper was published in 2019, there are two sources published in the same year (6 pages of bibliography).
Kendlbacher, Julia. 2019. Mobile Applikationen in der orthopädischen Rehabilitation. Graz: Karl-Franzens-Universität Graz, 2019
The following thesis actually comes from one of the universities that I was considering when I was looking for a Master’s programme. I thought it would be interesting to take a dive into what their students did and kind of compare with FH Joanneum.
Author: Olli Ketonen
University: Alto University, School of Arts, Design and Architecture
Country and date: Finland, 2021
I chose this topic because my interest was piqued after realising this thesis offers a more artistic/creative approach to data sonification than I have seen before. The degree seems to be similar to that of FH Joanneum.
Level of design
The final product seems to match the initial expectations of the thesis. The author provided good detail regarding the building process itself.
Degree of innovation
Sonification has been done a lot before, and I believe there was already sonified air quality data before this thesis, however the author decided to expand on an existing subject and add to it in a creative way. He mentioned how unexplored the aesthetic aspects of sonification are. The final product is very unique (data sculpture).
Independence
Based only on the thesis text, I would say the author worked mostly independently. I did not see him mention that he asked someone for help in the research. He did, however have a 3D modeller design the sonic sculpture, but according to the Author’s own specifications backed up by research in the thesis.
Outline and structure
Based on Aalto’s own formatting guidelines, this thesis seems to be properly structured. There is tons of graphs that make it easier to read, however I would love it if there were more illustrations that depict the author’s journalling process and the ideas in his head.
Degree of communication
To me personally it was clear, but I am afraid that someone who has no previous experience with air sonification doesn’t know the different abbreviations in the air quality data table. There were some other abbreviations here and there that might be unknown to non-sound designers.
Other than that, the work was explained in great details, with pictures showing what the author meant. He made sure to make the sketches as simple as possible, including only the essential information. he explained all the basics of sonification, so no previous knowledge is necessary to understand the thesis.
Scope of the work The work was 60 pages long + 3 pages of an interview transcript. I thought that was a really nice touch and the amount of information/graphics was just right for a master thesis.
Orthography and accuracy
I did not spot any grammar or syntax errors. Data also seemed to be well backed up and the air quality tracking information was obviously archived meticulously.
Literature
There was a very big amount of literature at the end, 85% being specialised books and articles. Only a few sources were online posts or unspecialised articles.
Title: Digital Simulation and Recreation of a Vacuum Tube Guitar Amp
Author: John Ragland
Academic degree: Degree of Master of Science
Place & date: Auburn, Alabama, May 2, 2020
I chose this work, because it could be a relevant thesis to the topic I might want to address in my Master thesis.
Level of design
The design level of this work is quite good. The lists and the standardization of the structure make the work really easy to read and understand.
Degree of innovation
While it’s a pretty cool theme, it’s not that innovative. It is a field that has been studied before, and although the model he has chosen to recreate is quite interesting, it has already been done. However, the results are positive and important for this field.
Independence
It is not so easy to assess its independence. Since it is only practical / technical work and the author had to do everything himself (and of course with the help and suggestion of the tutors) I would say that he is quite independent.
Outline and structure
This work is well structured, everything is clear and it is easy to scroll through the pages. There is just a bit of confusion in the structure of the index, where sometimes the chapters are written not in the right chronological order, and this bothers me a little.
Degree of communication
It is really clear. The list of abbreviations at the beginning of the work makes everything immediately clear. Explaining all the terms in the beginning helps a lot to avoid wasting time looking for them somewhere in the text.
I think that even those who are not an expert could follow this work and understand it (even if not 100%, due to a technical / specific mathematical procedure). The support of images and diagrams helps a lot to visualize the whole process.
Scope of the work
The work is about 48 pages. I would consider it a bit too short for a master thesis. The process is really well explained, but perhaps some theoretical themes or previous work could have been described in more depth.
Orthography and accuracy
Except for some space or quotation mark errors, there are no grammatical errors. The sentence structure is also well done.
Literature
I would say there is a good amount of literature. Most of them are not online sources and all are specialist publications.
The doctor thesis has the layout of the philosophical work, academic framework and as an experimental practice. In the thesis author faces intellectual and technical challenges, as well as with theoretical framework. Design, in this case, is the combination of prosthetic device design and product design in general. Despite the fact that idea is crossing the borders of the design definition and incline more in technological aspects, it is still the art experiment. Maybe, even more it was before.
Degree of innovation
As I mentioned in previous paragraph, the borders of design erasing in this work. Author is experimenting with forms, techniques and ways to product. Everything is described in detailed and step-by-step way, plus comparing things between each other.
Independence
The work itself is the independent research, that is made on the base of other people work, opinion, educational level, comments and help. Author mentioned all the people and educational institutions, museums and groups, that inspired her during her life, work and this particular thesis. Since such work is quite extensive and necessarily requires help from the side.
Outline and structure
Structure is divided into nine main parts: pores of the synthesis of material form, where the material-based computation, form and structure are described; nature’s way from micro to macro organisms; the new materiality or the influence of form, how it changed and current problems; design computation; material-based design computation; natural artifice — natural design in new way with the reference to form again, but from the nature angle; natural fabrication; contributions.
All modules are supported with explanation, examples and authors own experiments.
Degree of communication
Communication is clear and easy structured. Modules are presented as modules with sub-modules, what makes orientation fast and whole topic understandable. Experimental designs employing suggested theoretical and technical frameworks, methods and techniques are presented, discussed and demonstrated.
Scope of the work
Huge. Research from different side, with all possible and impossible materials, graphs, digital models, that clearly demonstrates the work done. Design experiments shows the contribution and the potential future of a modern design structure and future research field.
Orthography and accuracy
I would say, that accuracy is on a high level. As I mentioned, the whole thesis is described in precise manner, so person, that is outside the topic, can understand.
Literature
Author is referring to 389 resources. Most of them are from the engineering, biology and architecture spheres. Neri is using the computation methods work, more philosophical works, as “Design and Elastic Mind” or “The Ideas of Biology”, surface structure and resources, combining both technology and biology.
Today I had a meeting with Gabriele Lechner from Werbelechner to get input for my planned master thesis.
After thinking more about how to approach the thesis I came up with the idea that I would rather focus on analog products, but still outlining digital tools and approaches, as nowadays analog products are often based on digital data. Therefore I explained the project as followed:
My work deals with analog media, conquering with digital media. For this my thesis gives an insight in media theory and history, dealing with the specific characteritics of both representation systems. Besides, analog and digital processes and methods, various media and formats will be described to give basic information on all analog and all digital but also hybrid forms of media and their design. For the practical part an analog product based on digital data based on analog ideas is planned.
Gabriele Lechner mentioned that I should be more focused on the general method and a concrete practical piece for the thesis than on a wide range of content.
The conversation was very constructive, helping me to outline the structure for my thesis in a better way: the theoretical part can be followed by examples of use in film, sound, graphic design and photography. To get interesting content it would be good to find experts in the field and ask them for an interview. The results of the interviews will help to outline not only aesthetic and technical characteristics of d+a media, but also in means of range and scope, quality and aspects of perception. The practical workpiece could be the printed master thesis – the book can feature various papers and analog production methods to underline the theoretical findings.
I started my thesis research on the refugee’s problem and tried to go with designing an educational platform that can facilitate their educational challenges but when I went further with this idea I found it needs professional skills in psychology and educating, so I changed my way to work on the communicating problems so I did researches and also meet with refugees and a guy who was responsible for the young center which offered free programs and snacks to youngsters including refugees during the summer, I came to a conclusion of what I did till now so I found that there is a big gap between these two groups of people,
and what I want to do as an interaction designer is to bridge these gaps.
At this point, one of my colleagues and I decide to do the project together but with divided tasks, she will do the practical and technological part and I will do the theoretical part and do the researches, as the start point we did some brainstorming about what the gaps might be and did the short questionnaire, in this questionnaire, we categorized the gaps caused to cultural, lingual, … .
We will analyze the data in this step and I will plan to do some interviews with the refugees.
This article talks about some of the Sound Art projects/installations that serve as an essential guide to the art of sound design. The list contains diverse types of works featuring interesting perspective and a different approach to sound.
Luigi Russolo, Gran Concerto Futuristico (1917)
Luigi Russolo (1885 – 1947) the futurist artist with his assistant Piatti and the noise machine invented by him for futurist ‘symphonies’, one of which was performed at the London Coliseum in June 1914. (Photo by Hulton Archive/Getty Images)
Luigi Russolo is perhaps best known as a painter associated with the Futurist movement in Italy. However, he is also considered one of the earliest (maybe even first) experimental noise painters. Inspired by World War I factory equipment and guns, he invented and built an acoustic noise generator called Intonarumori (meaning “noise source” in Italian). In 1913 he published the Art of Noises, in which he argued that the evolution of urban industrial soundscapes required a new approach to music. For Russolo, melodic music limited the human potential for appreciating more complex sounds. In 1917 he attempted to correct this in his play Gran Concerto Futuristico, for which he put together a noise orchestra playing offending sounds (Music did not sound classical.) Despite the widespread criticism he faced in connection with this piece, he continued to perform well after World War I. Today, his manifesto is considered one of the most important texts in 20th-century music theory.
Marcel Duchamp, Erratum Musical (1913)
50 Years Ago Today, Marcel Duchamp and John Cage Played Chess. Photo: Shigeko Kubota, courtesy the John Cage Trust
Marcel Duchamp was fascinated by how he was able to visualise sound. He said: “You can’t hear the gossip.” Despite being untrained, he was composing music between 1912 and 1915. The end result was radically different from the off-the-shelf Dada model that made him famous. He developed one purely conceptual piece and two conceptual exercises to play, including the Erratum Musical, a randomly arranged sheet music composed for three voices. Duchamp created three sets of 25 cards. F (from F below middle C to F high) with 1 entry per card. Cards are shuffled in the hat and then drawn one at a time. Then I wrote a series of notes in the order in which I removed the cards from the hat. Performers can decide how they want to perform their piece. Duchamp did not give a score in this regard.
John Cage, 4’33” (1952)
John Cage performing his silent piece at the Maverick hall. Courtesy of Getty Images
For his masterpiece, Cage explored the potential of silence, revolutionising sound art and performance. He is best known for his composition of 4:33 seconds, a three-part composition of 4:33 seconds of silence. Inspired by a visit to the anechoic chamber at Harvard University, the work is not known to contain anything special. The performer is invited not to play the instrument or make any noise. However, no silence is truly silent, and the audience is keenly aware of the sounds of the environment during pauses. This koan-like paradox was based on what Cage heard in a Harvard auditorium. He discovered that he could hear his own heartbeat. He wrote of the experience, “I will hear it until I die.” “And they will continue after I die. You don’t have to be afraid of the future of music.”
Bill Fontana, Distant Trains (1984)
Fontana prepairing and installing his public piece
By the 1960s and early 1970s, advances in digital media increased the opportunities of visible artists and composers running on the intersection of sound and sculpture. Bill Fontana become a pioneer in growing sculpted sound maps for city environments. At the “Remote Trains” exhibition in Berlin for a month in 1984, a loudspeaker become buried withinside the web website online of the previous Anhalter Bahnhof Station, one in every of Europe’s busiest teach stations earlier than World War II. It become destroyed with the aid of using bombing at some stage in the conflict and become formally decommissioned in 1952. A stay microphone become housed withinside the Köln Hauptbahnhof, which recreates the phantom sound surroundings with the aid of using transmitting acoustics in actual time from the noisy station to the deserted Anhalter Bahnhof.
Max Neuhaus,Times Square (1977–92)
Neuhaus’ work constantly playing from a Manhattan subway steam hatch
Max Neuhaus’s most famous work is a pulsating drone that fires 24 hours a day, 7 days a week from a subway steam hatch at the northern tip of Manhattan’s triangular pedestrian island. (Thanks to the MTA and the Dia Art Foundation, this work is permanent near Times Square.) Inside it, the pitch and pitch change as passers-by move around the block. “A rich harmonic sound texture reminiscent of a large bell after a bell is ringing is impossible in this context,” Neuhaus said. “For those who discover and embrace the impossibility of sound, the island becomes another place that includes its surroundings but is separate.”
Carsten Nicolai,Reflektor Distortion(2016)
Excerpt from Nikolai’s visible sound installation. Photo courtesy of Zhi Art Muesum
Berlin and Chemnitz artist Karsten Nikolai has been working since the 1980s at the intersection of sound media, science and the visual arts. Nikolai, co-founder of the influential “sound not sound” electronic music label RasterNoton, has exhibited sound and video installations twice: at Documenta X in Kassel, Germany and at the Venice Biennale, Italy. Much of his work is aimed at creating sound and light phenomena perceived by the human eye and ear. In 2016 he presented the Reflektor Distortion at Galerie Eigen + Art Berlin, where a rotating water bass strikes through a speaker at a low audible frequency. The ripples in the water reflected the frequency of the waves, making the sound visible only for a short period of time.
Jem Finer, Longplayer (1999)
First live performance on the Longplayer at the Trinity Buoy Wharf, where it is stationed. 2009
On December 31, 1999, the British musician and artist Jem Finer began playing a piece of ambient music that will finish in the year 3000. Provided humanity endures another 1,000 years, Longplayer will be the most epic piece of music ever performed, outstripping John Cage’s 639-year-long organ concert currently taking place in a church in Halberstadt, Germany. Longplayer is housed in a lighthouse in London and processed by a computer algorithm that mechanically extends the sound of a single instrument consisting of 234 Tibetan singing bowls. The sound is without repetition or break. “The intention [of Longplayer] is that its droning and parping will, like this year’s eclipse, make the hearers ponder the passing of time in a way that makes you feel both mortal and insignificant,” wrote the Evening Standard on the night of its commencement in 1999.
Christian Marclay, Recycled Records(1980–86)
Marclay created new pieces by combining parts of different vinyl records. Photo courtesy of Paula Cooper Gallery, New York
For nearly 40 years, Swiss-American sound artist and experimental DJ Christian Marclay has manipulated sound into physical form through photography, sculpture, installation, and performance. The artist is credited with pioneering an experimental form of turntablism, in which sound is altered through multiple turntables. Inspired by the noise experiments of composer John Cage and early hip-hop DJs, Marclay began incorporating prerecorded dissonant sounds produced by vinyl records in motion into his turntable performances. In the seminal series “Recycled Records,” the artists sliced apart vinyl records and reassembled the pieces to create new arrangements.
Susan Philipsz, Lowlands(2010)
Turner Prize.Artist Susan Philipsz inside her sound installation ‘Lowlands’, after being named as the winner of the Turner Prize 2010, at Tate Britain, in central London. Picture date: Monday December 6, 2010. See PA story ARTS Turner Philipsz. Photo credit: Dominic Lipinski (Press Association via AP Images)
The Scottish-born, Berlin-based artist Susan Philipsz uses site-specific sound installations to probe the link between sense and memory. “Sound is materially invisible but very visceral and emotive,” she once said. “It can define a space at the same time as it triggers a memory.” In 2010, she was awarded the Turner Prize for the sound installation Lowlands, the first work of its kind ever to earn an artist the famed award. In the winning iteration of the piece, Philipsz performed three variations of a Scottish lament about a drowned lover who returns to her lover’s dreams, beneath three bridges over the River Clyde during the Glasgow International Festival of Visual Art. The Turner judges also considered Long Gone, in which a recording of the artists singing the eponymous Syd Barrett song played at the entrance of the Museo de Arte Contemporánea de Vigo in Spain. Her win attracted criticisms from detractors who argued that she should be classified as a singer, not an artist. The judges, however, insisted otherwise.
Samson Young, For Whom the Bell Tolls: A Journey Into the Sonic History of Conflict (2015)
Young on his journey across 5 continents , recording historically significant bells
A traditionally trained composer, Hong-Kong based Young has been on the rise since he won the inaugural edition of Art Basel’s BMW Art Journey Award in 2015 for his project For Whom the Bell Tolls: A Journey Into the Sonic History of Conflict. Over two-months, he documented the chime of iconic bells across five continents. He then crafted responses which explored the bells’ status as musical instruments and political, social, and religious representations of their communities. In June 2016, he drew critical acclaim at Art Basel Unlimited for a similar exploration into the militarization of sound. Seated atop a booth-sized cube and dressed in police uniform, Young performed with a Long Range Acoustic Device, a sonic weapon used to disperse crowds at protests. A low level form of the weapon is also used to repel birds from private properties, which Young represented by recreating distressed bird calls.
Christine Sun Kim, Close Readings (2015)
Exceprt from the collection of captions Sun Kim collected from her deaf friends
Berlin-based artist Christine Sun Kim centers the systemic barriers attached to deafness. Kim was selected for the 2013 MoMA exhibition “Soundings,” the museum’s first major show dedicated to sound art. In 2019, a group of charcoal drawings by Kim were included in the Whitney Biennial. The work, along with the piece One Week of Lullabies for Roux (2018), became the first sound art installations acquired by the Smithsonian American Art Museum in 2020.
The master thesis has the layout of a standard thesis that is common in master theses with no art or design background. It follows a predefined layout from the University that doesn’t take into account individual layout design necessities due to the art/design focus of the degree program in which the thesis was written.
The complementary work piece, an animation film, on the other side has an appropriate level of design. However, the author does only include it at one point in the theoretical work.
Degree of innovation
The author analyzes existing works and therefore needs an analysis scheme. She took existing schemes and created an extended adaption to comply with the analysis’s needs.
Independence
The thesis was written as a solo work and the developed adaptation/extension of the analysis scheme was also done by herself.
Outline and structure
The structure of the master thesis is logical and the arrangement / order of chapters is comprehensible. The author starts with sketching the context of the theme, theoretical basics, the main topic in general, presentation of existing analysis schemes, her own adapted/extended scheme, the analysis and finally the conclusion.
Degree of communication
The author communicates clearly what the thesis is about. The language used is still comprehensible even though one might not be familiar with the topic. There are many passages within the thesis where she explains what certain things mean, but there is no general glossary which could also be helpful if one doesn’t read the entire thesis from start to finish.
Scope of the work
The main part of her theoretical master thesis is 58 pages, which is a common and average length for students who choose to have a practical master project as well.
Orthography and accuracy
As mentioned previously, the language used in the thesis is comprehensible and there are no noticeable spelling or grammar errors.
Literature
The author cited a total of 105 resources of which 31 were literature and 40 audio-visual media. The large amount of audio-visual media stems from her extensive analysis of animated films and other references to animated media throughout her thesis.
My research question at the beginning of the study was whether and how XR can be a help for people with prosopagnosia. Since then, my focus and also my topic for the master’s thesis has changed. The only thing that has stayed the same is that the new topic is also in healthcare. A super short explanation of what future blog posts will be about: For my Master’s thesis, an app is being developed with several people involved and in group work on the topic of preventing dementia. The research topics will revolve around the topics app and dementia.
This first blog entry will be about what aspects we need to consider when designing our app and what points are particularly important to us with regard to the topic dementia and the requirements we received from the project managers. Further blog posts will delve deeper into specific areas. This blog entry is intended as a first start.
User Experience
User experience describes all the impressions and aspects that the user experiences when interacting with a product, like a kind of cycle. The goal should be to make the product (in our case an app) a permanent part of the user’s life. To achieve this goal and start the cycle, the user must first learn about the product, so it means that the presentation of the product must be great. He must be able to immediately understand the benefits that using the app will bring him. The most important thing in the whole cycle is that the user is not frustrated or unnecessarily strained at any time. Otherwise, the product may not be used. (cf. Schilling, Apps machen, 37).
This infographic by Magnus Revang breaks down the user experience design process into several phases. It is intended to answer the question “what is user experience? (Revang, The User Experience Wheel). The model starts with the word ‘value’ in the middle and implies that for both the providers of the product and the customers, the product’s goal is to create added value and thus it can bring benefits to both groups. The six coloured words are defined terms that should be focused on most. The 30 words are factors that contribute to a positive user experience (cf. Revang, The User Experience Wheel).
The User Experience Wheel (Magnus Revang)
2. Three states of an Appscreen
When designing an app, three conditions must always be considered and observed (cf. Basecamp, Getting Real, 48):
What does the screen look like normally, when everything works and the action can be carried out
How the screen looks empty, without data
What does the screen look like when an error message appears
The blank screen at first use is especially important. If this screen is not adequately considered, it can lead to the app not being used or the user being frustrated because they do not know what task they have to complete. Examples of how to fill this page are instructions, help texts, example screens, FAQ, explanations of how the screen looks filled in and so on (cf. Basecamp, Getting Real, 49).
3. Important factors to consider
Efficiency when using the app
Efficiency when using the app
User satisfaction during use
What the app should do must be clearly defined
Navigation within the app must make sense
Errors should either be undetectable or undoable by the user
Short interactions and understandable and short language in order to avoid being a distraction
Consider Internet/GPS failures and show for example a solution
Respect different screen sizes
Few to no background processes to not drastically affect battery life
Offer data input on a voluntary basis or do not disturb the flow
(cf. Schilling, Apps machen, 45-47)
4. Structure and display information correctly
To ensure that the user is not overwhelmed by information or actions after opening the app, it is important to consider what and when something is displayed. For example, if the goal of the app is to create a new to-do point, this should be immediately executable after opening the app (cf. Schilling, Apps machen, 234). A guideline can be 3 to a maximum of 5 steps to be able to carry out an action. The fewer steps, the better. To take the example of the to-do app again, step one means opening the app, step two would be that the user sees what he wants to do. Step three is that the to-do is saved (cf. Schilling, Apps machen, 239). Another important point is how certain actions that the user can perform are labelled. To give a concrete case study, the magnifying glass as a sign for the search tool. The great advantage for designers is that the use of this symbol without text requires little space. Nevertheless, there are always problems that users have with this sign. Just the sign itself often makes it difficult to find the search function. People start looking in the upper right-hand corner for the search function. If they don’t find it there, they start searching the top of the page. So if the function is poorly labelled, it can quickly lead to frustration. It is also important to mention that using the icon without text adds interaction, as the user has to tap on it, wait for the input field to appear and only then start typing. The realisation is that many symbols still need some kind of label or short description (cf. The Magnifying-Glass Icon in Search Design: Pros and Cons). For another case study, the sidebar in apps. These digital drawers, which can usually be opened by a hamburger menu icon, often tend to be overloaded with rather pointless functions. Problems with this method are also reaching the icon, as it is usually in the upper right or left corner of the screen, there is an additional interaction and the user has to remember which functions are in the sidebar (cf. Li, Please, Don’t Replace the Bar with the Drawer).
5. Smartwatches
Smartwatches play an increasingly important role nowadays and are often an extension of apps. Since the interaction surface is much smaller, it is important to work with high contrast and to display information on a very light or dark background because it is harder to read if the screen size is so small. For Android watches in particular, information should be displayed in the middle, as there is not one watch shape but several. For buttons, the entire width of the interaction area should be used to make interaction easier. Since both Android and Apple have UI guidelines, these should be followed. Especially in terms of font sizes (cf. Schilling, Apps machen, 302).
6. App project phases
These project phases were defined by Karolina Schilling in her book ‘Apps machen’. They have been slightly modified by me to fit our Master’s topic. These project phases are meant to help me to design a good product:
Idea generation & research
Search & find problems
Competition
Solve problems better and create a USP
Target group and market test
Buyer Persona
MVP
Target group
Definition/Research for User Centered Design
Context Scenarios & User Stories
Research
User Personas
User Journeys
Rough conception
Scribbles
Functional requirements
Tap Streams
Concept check
Developer talk
Feature priotisation
Detailed design
Core benefit shibbling
Core benefits wireframes
Prototype core benefits with real visuals or templates
Scribble all other screens, create wireframes, elaborate
Define interactions & transitions and prototype relevant ones
Create and prototype animations
Determine screen transitions
User tests
Tests
User test
Make improvements
Create user interface and deliver graphics
Create and export graphics for the different platforms
Store graphics in a meaningful way
Create visuals for app stores
Design and test user touch points with the app (MVP feedback)
Revang, Magnus. „The User Experience Wheel“ Last modified April 17, 2007. https://userexperienceproject.blogspot.com/2007/04/user-experience-wheel.html
Basecamp. Getting Real, Chicago: Basecamp, (n.d.). Accessed November 09, 2021. https://basecamp.com/gettingreal/09.3-three-state-solution, Three State Solution, chap. 48.
Basecamp. Getting Real, Chicago: Basecamp, (n.d.). Accessed November 09, 2021. https://basecamp.com/gettingreal/09.4-the-blank-slate, The Blank State, chap. 49.
Nielsen Norman Group. „The Magnifying-Glass Icon in Search Design: Pros and Cons“ Last modified February 23, 2014. https://www.nngroup.com/articles/magnifying-glass-icon/
Li, Simon. “Please, Don’t Replace the Bar with the Drawer” Last modified March 31, 2019. http://www.simon-li.com/design-and-code/please-dont-replace-the-bar-with-the-drawer/.
Piezo microphones are also called contact microphones, this means that they are attached to a surface and can perceive audio vibrations through it. They are not sensitive to air vibrations, but only transduce the sound transmitted by the structure.
They have many applications, they are used to detecting drums hits, to trigger electronic samples or even underwater. For these applications they work fine.
They are often used to amplify acoustic musical instruments, and this is where the problems begin.
Contact microphones are not well-matched to typical audio inputs. They cannot drive a 50 kilohm input, which is the typical line input.
Most Piezos are tuned speaker elements used in reverse, the microphone is glued to a brass disc designed to resonate between 2-4kHz so that with a small power input you get a great audio output.
The problem is that they are often paired with a standard audio load, which normally loses low frequencies.
The Piezo sensor presents its signal through a series capacitance of approximately 15nF. When connected to a regular 50 kilohm line input, this forms a 200 Hz high pass filter, so here’s the main problem!
And, when connected to a consumer plug-in microphone input with an impedance of about 7 kilohms, the result is a 1kHz high-pass filter.
This should be inserted into a load that is higher than the impedance of the series capacitor at the lowest frequency of interest. If this is 20Hz, since the capacitor impedance is 1 / 2pifreq * C, then it should be above 530k.
This means that a high impedance input gets the blue line in the graph above.
Maybe you might think about EQing it later, but you will also start increasing the noise and hum at low frequencies.
