DESIGNING CLUB MOJO FOR MUSEUM PRINSENHOF DELFT

LANA LETANCHE

DESIGNING CLUB MOJO FOR MUSEUM PRINSENHOF DELFT

Incorporating the developed Aesthetic Chills Model as a framework for designing a climax experience.

L.V. Letanche Chair: Dr. S.C. Pont 2018, November 29th Department Industrial Design Human Information Communication Design Master Design for Interaction Graduation thesis Mentor: Prof. C. van Middelkoop Delft University of Technology Department Industrial Design Faculty of Industrial Design Engineering Human Information Communication Design

Museum Prinsenhof Delft M. Schoemaker E. Borger Thanks, to everyone who enriched my project with their expertise, time, critical-eye and listening ear. You’ve provided help in a practical and intellectual way, and everything in between. This project took me to felds I've never been, literal and fgural speaking. You've helped me to use these new insights into a project that me proud.

As clumsy as I am, I will miss-out on thanking each of you. Therefore, if you recognize yourself in the description above; Thank you so much! If not, think again and re-read the previous sentence. Welcome.

This report presents the development of the graduation project called ‘Designing Club Mojo for Museum Prinsenhof Delft’. The assignment is stated by Museum Prinsenhof Delft for their semi-annual exhibition Masters of Innovation. The 2019 exhibition is called ‘Mojo Backstage’, celebrating the 50th anniversary of music promoter Mojo Concerts. The Museum assigned six Industrial Design graduates to contribute to the exhibition, and this is one of them.

This report presents two outcomes: • The Aesthetic Chills Model • The design of Club Mojo

The Aesthetic Chills Model is an extra result of the scientifc informed design process of Club Mojo. This model is used to design a climax experience. The report presents the two products in six PARTS including the boundaries of the project, research, ideation, and validation. The report concludes in a design worthy of being placed at the exhibition ‘Mojo Backstage’.

Enjoy! CONTENT

ONE TWO THREE PROJECT OUTLINE RESEARCH AESTHETIC CHILLS MODEL

Project summary 8 2. Exhibition motive 12 5. Chills 24 8. Creation of model 34

1. Assignment introduction 9 3. The exhibition 16 6. Festival experience 28 9. Aesthetic Chills Model 42

4. Club Mojo 20 7. Dancefoor experience 30 10. Design brief 44

6 FOUR FIVE SIX APPENDIX IDEATION FINAL CONCEPT REFLECITON

11. Inspiration 48 14. Storyboard 82 18. Recommendations 98 Appendix A: Biology of chills 12. Research through 51 15. Concept details 86 19. Main conclusion 100 design Appendix B: 16. Realisation 89 20. Self-refection 101 Examples of inspiration 13. Qualitative test 62 17. Added value 94 Appendix C: Chronological development mirror

Appendix D Qualitative test

7 PROJECT SUMMARY

The aim of the project is to develop an installation, To make it possible to design for aesthetic chills, a A concept for Club Mojo is tested with a qualitative called Club Mojo, for the Mojo Backstage exhibition model is developed by the graduate student. This test. This test has a main focus on testing the of Museum Prinsenhof Delft that would let visitors model is based on the reasoning of proven studies in experience of Club Mojo, including a sub-focus on experience chills similar to one at a festival or concert. diferent felds of knowledge. Additional, interviews validation of the Aesthetic Chills Model. and festival-context related literature are used to This aim is chosen to match the festival experience complete the model with realistic situations. The The qualitative test showed the potential of the that is set with the exhibition, celebrating the 50th model is called the Aesthetic Chills Model and shows concept and the model, whereafter the fnal design birthday of music promoter and festival produces the relation between context and the intensity of the of Club Mojo is presented. Based on the most recent Mojo Concert. A realistic and impressive design that experience. The course of the model works towards a changes in the exhibition the realization of the concept matches the exhibition plan has the possibility to be peak moment. is presented. included in the exhibition. The model is used to analyze inspiration and The fnal concept for Club Mojo showed to be a The development of the installation Club Mojo is done developing ideas for Club Mojo. The model focusses realistic, impressive and overwhelming design that based on knowledge gained on the subject of ‘the in this part of the process of creating a holistic design raised the interest of both Museum Prinsenhof and experience of chills’. Researching the phenomena for an experience of a few minutes. Design challenges Mojo Concerts. called aesthetic chills, which is the core aim of this are included for the ideation to create a concept the project, showed the lack of a suitable tool for the matches the course of the experience intensity of the graduate student to be able to design for chills. Aesthetic Chills Model.

8 1. ASSIGNMENT INTRODUCTION Exhibition Assignment Deliverable ‘Mojo Backstage’ Museum Prinsenhof Delft dedicates its half-yearly This project will result in a detailed plan that Museum Different exhibition ‘Masters of Innovation’ to Mojo Concerts in Prinsenhof can execute in four months. This plan includes exhibition rooms celebration of their 50th anniversary. Mojo Concerts the following elements: promotes concerts and hosts large festivals in the Netherlands. The exhibition will be called ‘Mojo • The design of Club Mojo Backstage - Delftse Meesters in de muziekindustrie’ • Material specifcations Installation: (Delft based Masters of the music industry) and will show • Light and sound specifcations Club Mojo the history and innovations of the company through experiences. . The assignment Museum Prinsenhof asked, Location Relation of Club Mojo in the whole exhibition. is to create an experience-centered design, naming it The original location of Club Mojo was the Club Mojo. To give a direction for the content and Museumkelder, a large basement of the museum. The transformed into a case study for Club Mojo. Therefore, experience of Club Mojo, the following assignment is basement was canceled as a location by Museum impression and ideas of this location are found in this formulated by Museum Prinsenhof: Prinsenhof during the course of the project. The report. basement was used for the majority of ideation and Eventually, Club Mojo is designed as an autonomous Design a goosebump experience installation that is fexible to be placed in any room of the exhibition. in Club Mojo for the visitors of the exhibition Mojo Backstage.

9 PART ONE PROJECT OUTLINE

10 10 INTRODUCTION

PART ONE presents the boundaries of the installation The exhibition is designed by Peter te Bos, a graphic is set with the exhibition. It narrows the focus of Club Mojo. These boundaries set the experience of designer that designed the visual style of Lowlands the project down by showing what experiences are the entire exhibition, and therefore infuence the (a Mojo Concerts festival) for 25 years. His expertise already included in the exhibition. experience of Club Mojo. of the festival context is used to create realize the exhibition vision: “Led by the innovations of To narrow the focus, chapter 4 presents Te Bos’ The boundaries are created by the two key- Mojo Concerts, visitors of the exhibition can take a vision on specifcally Club Mojo. His vision provides a parties; Museum Prinsenhof with their venue and view behind the scenes of the music promotor and direction to the project: develop an installation that Mojo Concerts with their history. Both of them are experience the sensation of a large-scale music evokes chills. presented in chapter 2 to introduce and highlight their event.” motives to develop the exhibition. Namely, that the These boundaries create the context that infuences changes Mojo Concerts made in the past 50 years Chapter 3 presents the interpretation of Te Bos and Club Mojo, but in order to deliver a realistic design in the international music industry, is an interesting therefore an image of the festival experience that Club Mojo should ft within these boundaries as well. subject for the semi-annual exhibition ‘Masters of Innovation’ of Museum Prinsenhof.

10 11 2. EXHIBITION MOTIVE

2.1 MUSEUM PRINSENHOF DELFT Museum Prinsenhof Delft hosts the exhibition and is, therefore, one of the key players. They exhibit national history in an international context. Their identity, the stories they exhibit and the iconic location characterize the exhibition.

Museum Prinsenhof opened in 1951 in its historic venue in the city center of Delft. This location, built in 1403, has Right: a rich national history. It started as the Saint Agatha Part of the Museum Prinsenhof. Monastery whereafter the new inhabitant, Willem van Down: Oranje, lived here during the War of Independence. This Logo of Museum Prinsenhof. housing has led to the popular name Prinsenhof. The building gained more value after the assassination of Willem in the building in 1584, with evidence still visible these days as bullet holes in the wall. Hereafter, the building housed a cloth hall (1675-1755) and the Latin School (1755-1807). Between 1930-1951, the building got renovated for the purpose of Museum Prinsenhof Delft. In 1967, the building was assigned as a national monument (#12029).

12 PART ONE: PROJECT OUTLINE Portrait of Willem van Oranje by Adriaene Thomasz Key (1579)

Logo Mojo Concerts

2.2 MOJO CONCERTS Museum Prinsenhof Delft hosts exhibitions to show the Mojo Concerts B.V. promotes concerts, festivals, and rich history of Delft in national and international context. events mainly in the Netherlands. Besides the two permanent exhibitions, ‘Willem van Oranje’ and ‘Delftware’, it curates a temporary half- 50 years of Mojo yearly program about ‘Masters of Innovation’. In ‘Masters Mojo, originally called, is founded in 1968 Delft by Berry of Innovation’ people who played a leading role in (inter) Visser, whereupon a year later Leon Ramakers joined national history are presented. Examples of previous him. From this moment on, they started to innovate exhibitions are ‘Kijk, Jan Schoonhoven’ (2016), ‘Universum concerts based on practical issues. They searched Theo Janssen’ (2017) and ‘Art Nouveau, Nieuwe for venues big enough to host great artists. If the old Zakelijkheid’ (2018). And upcoming; Mojo Backstage venues weren’t big enough, they would create a new (2019) with their leading role in the music industry.. one or think outside the box with current venues. Such

PART ONE: PROJECT OUTLINE 13 as the frst concert held at stadium De Kuip with Bob During the course of 50 years, Mojo Concerts always But every corner is put into a scene so the visitors can Dylan and Eric Clapton. Mojo Concerts also innovated acted from the thought; ‘It can always be more fun and interact in a way that matches the atmosphere of the in the infrastructure of concerts and festivals. The Mojo it can always be made better.’ Art disciplines intuitively festival. Barriers were developed to protect a concert crowd were intertwined in festivals such as Lowlands. Therefore, from itself. Besides promoting (inter)national artists this festival went beyond the thought of just listening to At the end of the day, Mojo Concerts is still a promoter in the Nederlands, they are also known for organizing music and became a whole new event. Mojo’s prior goal and will think with a practical mind: ‘Will this adjustment festivals. They do the full organization of a few festivals is to bring the artists together with their audience. During sell more tickets?’. This thought shows that it combines (e.g.; Lowlands, Down the rabbit hole, We are Electric) their events, Mojo Concerts aims to evoke an optimum its own vision and creativity with a changing proft-music and collaborate in some others (e.g.; Pinkpop, North experience with their visitors. For example, at a festival business. sea jazz festival, e.a.). Nowadays, Mojo Concerts is still people let their guards down and therefore enjoy the located in Delft with about 100 employees. The timeline surprise of unplanned events more than in their daily The changes Mojo Concerts made in the international on the bottom page gives a complete overview of the lives. Such as a dancing area hidden between the toilets music industry, such as venues and crowd innovations created by Mojo. or visitors initiate more social interaction between each infrastructures, while maintaining their market-leading other. role makes this Delft based company an interesting Vision of Mojo Concerts subject for this exhibition. ‘Masters of Innovation’ is a The vision of Mojo Concerts, as elaborated by Ide Mojo sets the scene beyond the stage and develops a suitable exhibition for the rich history of Mojo Concerts. Kofeman (director of Down the Rabbit Hole) is as whole festival terrain with a certain thought. Of course, it follows: tries to impress the audience with a well-designed stage.

14 PART ONE: PROJECT OUTLINE ‘83-’85 Pandora’s Music Box in De Doelen ‘13 First edition ‘86 WE ARE ELECTRIC Start collaboration with Pinkpop ‘68 ‘93 Launch Mojo by ‘78 First edition Lowlands Berry Visser First stadion concert in De Kuip North Sea Jazz part by Mojo: Bob Dylan of Mojo Concerts ‘69 and Eric Clapton First large concert Berry leaves Mojo Concerts ‘14 of ‘Soft Machine’ in ‘88 First edition Concert Gebouw Down the Rabit Hole Development of the Mojo Barriers used ‘70 at De Kuip during a ‘99 First edition concert of Prince Holland Pop Festival Takeover by in Kralingse Bos Clear Channel

‘01 First edition ‘79 Opening venue WOO HAH! Lifestyle fair Heineken Music Hall Casa Nova in Ahoy (AFAS Live) ‘06 Mojo temporary ‘91 Takeover by bankrupt and start Ein Abend in Wien Live Nation Mojo Concerts

1965 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020

Timeline of the course of Mojo Concerts with company changes (yellow) and events (blue).

PART ONE: PROJECT OUTLINE 15 3. THE EXHIBITION

3.1 THE EXHIBITION VISION It is the frst time that content about the workfow of Mojo, their promotion material and iconic moments are collected in one exhibition. Examples like the workfow of booking an artist and organizing a popular festival are included in this content. It will be an exhibition that will Mojo Concerts for once on a stage. The way of presenting this content will be done based on a holistic experience, matching the experiences Mojo Concerts facilitates for their event visitors.

In order to match this holistic experience to the location characteristics the following Exhibition Vision is stated:

“Led by the innovations of Mojo Concerts, visitors of the exhibition can take a view behind the scenes of the music promotor and experience the sensation A crowd experiencing an of a large-scale music event. “ - Museum Prinsenhof euphoric moment during a (Exhibition plan) concert.

16 PART ONE: PROJECT OUTLINE 3.2 VISITOR AIM 3.3 PRACTICALITIES Mojo Concerts Museum Prinsenhof The museum aims to attract 60.000 visitors to the Exhibition date: 12 april 2019 - 2 september 2019 exhibition. On average, the museum welcomes 70.000 Visiting hours: 11:00 - 17:00 visitors a year. With Mojo Backstage the regular visitors Visitor aim: 60.000 and habitants of Delft will see the museum from a Planned exhibition activities: diferent perspective than they are used to. Museum • Pubquiz Prinsenhof will reach out to new groups; festival visitors, • TED talks and lectures Peter te Bos Industrial Design music enthusiasts, and deaf and hearing-impaired. • Speeddating in a camping tent Parties involved in the development of the exhibition. • Symposium festival art The main aim is designing for people who enjoy pop • Movies about music and artists • Six Industrial Design Engineering Graduates from the and jazz music and go to festivals and concerts. • Collaboration Delft Chamber Music Festival TU Delft will contribute with an innovative piece or installation to the exhibition to enhance the focus on Regular 3.4 DEVELOPMENT PARTIES visitor experience. Festival visitors visitors External parties are included in the development of the and music exhibtion. Graduation projects enthusiasts • Food Experience by Mees Daalder • Peter te Bos, A graphic designer of design studio Twizter • Including the hearing impaired by Carlijn Cuijpers Students and (and lead singer of Claw Boys Claw. Peter is in charge • Designing liminal spaces by Jord de Kat Angelino youngsters of the overall design of the exhibition. Peter is assigned • A festival entrance by Maaike Min for this job since he is experienced with designing the • Improving the end-of-festival experience by Thijs Habitants of Delft graphics of the festival Lowlands from 1994 - 2016. Kurpershoek Aim of visitors for the exhibition. PART ONE: PROJECT OUTLINE 17 3.5 EXHIBITION CONCEPT Peter te Bos is the lead designer of Mojo Backstage. Festival area Festival experiences He is in charge of creating a concept that realizes the A festival atmosphere ofers an area where one can In order to create a holistic experience matching the Exhibition Vision. The main focus of this realization is discover, wander around and encounter unexpected Exhibition Vision, the following experiences are added to to design the exhibition so it would evoke a festival elements. Every time a visitor enters a new room one the exhibition: experience with the visitors. should be amazed. The venue ofers a lot of diferent rooms that will trigger the wandering of visitors. To • No route: Festivals ofer a lot of activities at the same emphasize this efect, extra locations are added, such time in diferent locations. Each visitor can create their as The St. Agathaplein, Museumkwartier and the walking own preferred day. By not providing a route through the route from the station to the museum. The most primary exhibition this efect is included in the exhibition. way of evoking this festival experience is by arranging the exhibition like a festival. • Wristband; The majority of festivals work with a wristband to enter the festival terrain. This will be the ticket for the exhibition.

• Back stage: Probs, videos and stages let the visitor experience the artist life.

Exhibition logo designed by Peter te Bos

18 PART ONE: PROJECT OUTLINE Visual style In the beginning, Mojo promoted its events with minimal The minimal black-and-white style is combined with black-and-white posters and fyers. Currently, Mojo typical event materials. LED lights have a prominent role Concerts ofers a wide variety in events that attract in stage and scene-design of festivals. They are used specifc crowds, resulting in a variety in specifc visual for the exhibition as white LED-bars that visitors guide identities. through the exhibition, for the minimal guidance that is needed. Upon entering a new room, the visitor sees a For designing the style of the exhibition Te Bos an triangular pillar presenting the specifc information for extensive exhibition style did not do any justice to that room. Black scafolding elements complete the look each of these styles. Therefore he reached back to the and are used to adjust the venue. early visual style and developed this in the style for the exhibition. The visual style of the exhibition is rough black material combined with bright white lights. This style connects all the diferent rooms and corners to transform Museum Prinsenhof into a festival terrain.

Pictures of the plan designed by Te Bos. Top: Used poster by Mojo. including the black-white inspiration. Bottom; Exhibition main entrance. 4. CLUB MOJO

‘‘No other acitivity evokes such an euphoric feeling like a musicevent’’ - Museum Prinsenhof (Exhibition plan)

The exhibition proposal of Te Bos already devoted a concept of what Club Mojo could be. The concept is freely interpretable in means and development, as long as the design evokes the desired experience. The following concept was created by Te Bos. Picture of an early draft of Club Mojo in the Club Mojo experience beginning of this graduation project, Club Mojo was Museumkelder designed by Te Bos. Club Mojo is assigned to facilitate the experience of assigned to the Museumkelder. The basement enhanced a music moment, inspired by a music event. This club the underground feeling that is often associated with focusses on experience rather than education. experiencing music. This edgy underground feeling is still part of the concept regardless of the surface reduction. In Club Mojo one should When one leaves Club Mojo, one should be amazed by The surface is reduced from the 165m² of the the experience one just had. An experience with exciting Museumkelder to 1,5m² in a shared area. have experienced chills and overwhelming lights guided by energetic music that The Museumkelder was assigned solely to Club Mojo, gets any visitor dancing. the shared room includes other installations as well. similar to a concert or The specifc experience plan of the new exhibition room, Club Mojo location where Club Mojo will be a part of, has not yet been a festival. As mentioned in the assignment in chapter 1; at the defned.

20 PART ONE: PROJECT OUTLINE CONCLUSION PART ONE

PART ONE presented an overview of the boundaries The boundaries as presented: wherein Club Mojo should ft in. Boundaries created • The experience should match the Exhibition Vision: • Club Mojo focusses on experience rather than education. by the two key parties, Mojo Concerts and Museum “Led by the innovations of Mojo Concerts, visitors of Prinsenhof, but as well the translating concept of Te the exhibition can take a view behind the scenes of the • The experience will last between 5 to 10 minutes. Bos. music promotor and experience the sensation of large- scale music event. “ • When one leaves Club Mojo, one should be amazed by the experience one just had. • People who enjoy pop and jazz music and go to festivals and concerts, are the target group of the design.

• Club Mojo matches the setting of a festival arrangement.

• The visual style of the exhibition is rough black material combined with bright white lights.

21 PART TWO RESEARCH

22 22 INTRODUCTION

The aim of the project is to create a design that Chapter fve starts by introducing two other A study to the situation in its literal form is done to facilitates a chill evoking the experience. To experiences that are closely related to aesthetic enrich the literature study. Therefore, the festival understand this experience and how it is evoked, chills. These two topics, aesthetic experience and experience, that is provided at the exhibition, is studies are collected. PART TWO presents knowledge the sublime, need to be understood before one can included to include insights into the behavior. How and defnitions that creates an understanding of the understand aesthetic chills. Combining aesthetic people interact with each other, but also with the chill experience. This knowledge benefts the design experience and the sublime with aesthethic chills installations infuences the experience. of Club Mojo in succeeding the facilitation of such an provides an understanding of the broader experience experience. that has the possibility to evoke chills. Another literal situation that is included is the experience of chills at the dancefoor. In order to The focus of this study is on the experience of Studies about chills-eliciting songs and movies are understand this situation and fnd practicalities that aesthetic chills, how science defnes these emotional included afterward. Adding these elements that prove can be used in the design, a DJ is interviewed. chills. The biology is left out of this report since the to evoke chills in objective ways provides usable PART TWO is summarised in a glossary with terms and understanding of bodily reactions does not directly elements that can be used in de design of Club Mojo. defnitions that are used throughout the report. beneft the design. The basics of biology are included in Appendix A if one feels curious.

22 23 5. CHILLS

When aiming for a chill evoking experience, knowlegde 5.1 AESTHETIC EXPERIENCE is needed about what the experience actually is. The The phenomenon that is aimed for in Club Mojo comes elements that all can be found in an ordinary experience, core of this project is to aim for aesthetic chills. In close to the description of an aesthetic experience. but are combined into an absorbing whole that provides order to understand this phenomena, the aesthetic McCarthy and Wright (2014) defne the aesthetic ‘a satisfyingly emotional quality’. The experience of unity, experience and the sublime need to be understood. experience in the feld of human-computer interaction afect and value is ‘directly fulflling rather than deferred as follows: “In aesthetic experience, the lively integration for some other time or end’. (Morley, 2010) Diferent felds of knowlegde devoted research of means and ends, meaning and movement, involving to these three topics. Fields such as philosophy, all our sensory and intellectual faculties is emotionally 5.2 THE SUBLIME psychology, biology, user experience design and satisfying and fulflling. Each act relates meaningfully to Closely related to the aesthetic experience is the concept physiology. These studies looked into objective causes the total action and is felt by the experiencer to have a of ‘the sublime’, a term often related to art-pieces or but as well at the subjective experience of chills. The unity or a wholeness that is fulflling [p. 58]”. McCarthy a religious view on nature. The origin of the term can insights are explained in three topics. and Wright state that aesthetic chills is a fulflling be found by Longinus who was the frst to describe experience involving both the emotional and cognitive ‘the sublime’, in a translated work in the 17th century. The terms and defnition are discussed how they will side, that can be evoked by a multi-sensory design. He talks about the sublime in the art of rhetorics, and be used throughout this graduation study and report. how a grand thought or inspiring emotion presented Dewey, philosopher and psychologist, states that an by an orator can be felt by the audience. It creates a aesthetic experience stands out as a distinctly memorable, transcendental experience that exceeds everyday life. rewarding whole. It makes one feel ‘most alive’ and ‘fulflled The interaction between the orator and the audience by the active, satisfying engagement of all our human is the key element in creating the sublime. Otherwise, it faculties (sensual, emotive and cognitive)’. An aesthetic would be just a speech. experience is characterized by the rich integration of

24 PART TWO: RESEARCH The concept of the sublime started to become signifcant for aesthetic experiences that emphasizes pleasure, A study of Colver & El-Alayli (2016) shows that when in the 18th century after being related to the arts, by movement, and unity. This is facilitated in popular culture one is more cognitive invested in a piece of music the philosopher E. Burke. He used the sublime in order to by, music, festivals, movie theaters, etc. (Frith, 1998) degree of causing aesthetic chills is higher. Examples describe the aspects of the combination of nature and of cognitive investment are anticipation or immersion. religion to evoke awe and wonder. Burke notes perverse 5.3 AESTHETIC CHILLS One can anticipate by making mental predictions about pleasant experiences that evoke thrills and shudders, Psychology refers to chills caused by music to aesthetic how the music is going to unfold. Musical imagery, such caused by a mix of fear and delight. chills. The physiological efect of these pleasurable as daydreaming, is a form of immersion. In line with this chills or tingle originate ‘in the area of the upper spine cognitive investment, Schoeller (2015) shows a positive According to philosopher Kant, the sublime is one’s and back of the neck... spreading... in a radiating or correlation between chills and curiosity. subjective conception and not a quality of nature. He sweeping pattern, upward over the scalp... outward argued that the sublime was essentially about a negative over the shoulders and arms, down the spine... [which] Thereby, Schoeller (2015) developed a theory about experience of limits. It was a way of talking about what may be accompanied by “goosebumps” on the arms’ social resonance causing chills. “[Chills] are often happens when we are faced with something we do not (Goldstein (1980) pp. 126–127). Other studies have shown reported in reaction to crowds (e.g., as in a public have the capacity to understand or control something that these physiological efects last for about 10 seconds, concert, movie theater, etc.), events where a group excessive. (Morley, 2010) on average, and usually come in what are described focuses on the same situation and shares a similar as waves of pleasure (Panksepp, 1995; see also Blood reaction (e.g., anger in a public manifestation, sadness The sublime ofers an idea of what can be understood & Zatorre, 2001). According to Grew et. al. (2009) “chills at a funeral, etc.). In short, when our mental models and as a goosebump experience. On the other hand, it can be interpreted as an individual marker of emotional that of our fellowmen resonate (i.e., instances where is nowadays a somewhat bombastic and outdated climax in subjective feeling as well as physiological our cognitive categories no longer appear to us as concept since religion and aesthetics in art became less arousal”. idiosyncratic).” important. Nevertheless, people still have a strong desire

PART TWO: RESEARCH 25 5.4 INSIGHTS The three previous topics brought insights from diferent felds to understand and defne the complexity of the experience Club Mojo should evoke. Aesthetic chills show to be a combination of emotions and cognition, body and mind, and social and individual. The following insights will form the starting point for further research and design.

Assignment. Club Mojo evokes chills similar to a concert Interaction is key. In order to reach this overwhelming or festival. These chills are known as aesthetic chills. efect, the presence and interaction of the visitor is the fnal ingredient to complete the wow-efect. Aesthetic chills. These are chills following a peak in an aesthetic experience, which is an instant, holistic, Cognitive investment. The experience needs to facilitate multi-sensory experience that is both cognitive and elements to invite and lure the visitor into interactions. emotionally satisfying and fulflling. These elements trigger the cognition of the visitor by anticipation, immersion, and curiosity. The wow-efect. In order for one to reach this peak, one experiences an overwhelming efect that exceeds Social resonance. The experience ofers a social setting everyday life. where focus and reaction can be shared, similar to a concert or festival.

26 PART TWO: RESEARCH 5.5 PRACTICAL Music elements Exrta studies are added to make the discussed terms • Crescendo. The gradual build-up of a tone, volume or “I acquired a strong taste of 5.4 less abstract. In order to make them tangible, tempo. studies related to chills evoked by audiovisual input • Violation of expectation. Harmonic, rhythmic, or for music, and I would time are discussed. This input is related to the input one melodic. experiences during a concert or festival. • Entry of a new element. Such as a new instrument, my walks so as to hear the choir or voice. Studies that involve chill evoking elements in music • Unexpected dynamics. Like unusual harmonies or anthem in King’s College and movies beneft in reaching the aimed goal of dissonant chords. this project. Elements that are proven to evoke chills, Chapel. This gave me intense provide a practical realization of ‘the wow-efect’ and Movie elements the ‘interactions’. Combined from diferent studies, the • Plot disclosure. The end of a story. pleasure, so that my backbone following elements showed to evoke aesthetic chills: • Dramatic situations for a character (Based on the 36 dramatic situations of Polti (1921): deliverance would sometimes shiver.” (e.g. sudden rescue), disaster (e.g. victorious enemy), adventures (e.g. hero and an opponent) and sacrifce Darwin (1887/1958, p. 61) (e.g. self-sacrifce).

Combined fndings from Meyer, 1956; Sloboda, 1991; Panksepp, 1995; Huron, 2006; Steinbeis et al., 2006; Schoeller, 2016.

PART TWO: RESEARCH 27 6. FESTIVAL EXPERIENCE

Club Mojo is hosted in a context inspired by festivals. 6.1 MUSIC FESTIVAL EXPERIENCE FACETS Resulting that visitors behave, act and anticipate in a First, these four facets as defned by Packer and 1. Separation from the everyday. An escapism of way guided by this context. This has infuence on the Ballantyne (2010) describe a music festival experience. everyday life. The work, norms, and values that way people interact with Club Mojo. These facets are likely to be found in the whole consume everyday life are left at the entrance of the exhibition. festival. Therefore a study has been done to what is defned as the festival experience, how people behave on 2. Music as a common ground. Every artist attracts a festivals and what can be seen as a successful diferent audience. This results in an audience that festival. shares the same interest in music. Seperatioin from the everyday 3. Social experience. At a festival, everyone is, often, their best self and more likely to make new friends.

Social Festival experience atmosphere 4. The festival atmosphere. A festival isn’t just about the stages. The whole temporary mini-city that is created, including all the services as food, supermarkets and sanitary, creates a typical atmosphere. Music

Secret stage entrance between dixies at Sziget 2017 Four music festival experience facets, lay-out adjusted.

28 PART TWO: RESEARCH 6.2 FESTIVAL BEHAVIOR 6.3 A SUCCESFUL FESTIVAL Orientating interviews about festival experiences resulted There are also aspects that a good festival would include in the following insights about festival insights. in their experience. Morgan (2008) had concluded the following: • Visitors mentioned that one leaves the festival with more friends than one came with. They are open to • Abundant choice. The freedom to choose between too • Local distinctiveness: The location and its allow new friendships. many options in a timetable. characteristics can give a distinctive appeal to the festival. • Being curious and explorartive. Searching every corner • Moments of amazement. When you discover of the festival area for new experiences. something new. • Holistic evaluation. People experience the festival as a whole, not as separate activities. • People talk sooner to each other to fnd out why you • Shared experiences. Mostly linked to share something wear a certain item or where you found all those with your friends. Pre and post places to come together • Creative communities. Facilitate a space where visitors glitters. are essential. can co-create.

• The fringe is at the heart. Moments of amazement and social interactions found at the boundaries of a performance or situation.

PART TWO: RESEARCH 29 7. DANCEFLOOR EXPERIENCE

The dance foor is the place to look for, in search 1. The tease of a practical example of directed aesthetic chills. DJ’s plan the songs they want to play ahead. They can Therefore, an interview with an experienced DJ, the choose to tease the audience with a line of a song (like director in this experience, should not be excluded a melody or an iconic sound) to get their attention. This from the research. The interview focusses on how a trick lets the audience start to anticipate what will follow, DJ manipulates and interact with its audience in order but not when it will happen. to reach climaxes. Wouter Marselje, one of the DJ duo of Tango Soundsystem, spins his Italo disco on vinyl. 2. Physical focus The following points were found that happen during a People start to notice the upcoming beat drop at musical climax; the beat drop. diferent moments, and they make themselves physically ready for it. They stop dancing or move slower. Their Tango Soundsystem, Marselje right. BEAT DROP focus shifts from a conversation to the music and they People experience goosebumps during a beat drop. are aware of what is about to happen. They save their When the bass frst fades away and then comes back energy for the climax. really loud. This beat drop can be at the moment when they expect it, or just slightly of to tease the audience. 3. Blow-of The DJ do need to be careful not to create an anti- To get as many people dancing, after the beat drop, climax, by dropping the beat at the wrong moment. The one can use accessible music. The audience wants following three points were found about the audience’s to blow of steam after the climax and release their reaction to the beat drop. energy. Therefore, this moment should be included in the timeline. Crowd dancing in a club to a beat-drop.

30 PART TWO: RESEARCH CONCLUSION PART TWO

PART TWO presented the results of the research done instant, holistic, multi-sensory experience that is both Two other subjects were presented to place the to understand the experience of aesthetic chills. It cognitive and emotionally satisfying and fulflling. insights of the aesthetic chills in the context of showed the complexity of the experience based on festivals and concerts. Showing how the behaviour of the perspective of diferent felds. A complexity in Besides understanding the complexity of the festival visitors is in line with the explorative mindset contradictions and extremes. Aesthetic chills is both experience of chills, objective scientifc research found that benefts the change of experiencing chills. As well a bodily and mental experience. It is triggered by practical elements that evoke the chills in songs and as including an interview with a DJ that dives deeper emotions and cognition. A phenomenon experienced movies. Therefor, the literature study succeeded in into one of the realized moments the assignment as an individual in a social setting. These are chills understanding the chills and providing practicalities talked about; the beat drop on the dancefoor. following a peak in an aesthetic experience, which is an for designing an installation that would evoke them.

31 PART THREE AESTHETIC CHILLS MODEL

32 32 INTRODUCTION

In order to use the insights of the research and the inspire to a design. Thereby, the insights showed that graph that shows the intensity of an experience in given boundaries for the design, a translation step the aim of experiencing chills in Club Mojo is a complex relation to a context. Club Mojo in the exhibition is is needed. With this translation, the insights of non- experience. Therefore, steps need to be taken to used as the context for this presentation. Chapter 9 design felds can be used in the design process. evolve the insights to make them practical so they presents the Aesthetic Model. Therefore, the aim of PART THREE is to create a ofer starting points for the ideation. starting point for the ideation. This is the frst step In order to use this model for developing Club Mojo, towards the design. To make it practical, an Aesthetic Chills Models a design brief is created to summarize the project based on reasoning of the results of PART TWO was outline and Aesthetic Chills Model in order to create The current state of the presented insights of PART developed by the graduate student. Chapter 8 shows three challenges as a starting point for the ideation. TWO does not create a cohesive framework that can how the presented knowledge is used to create a

32 33 8. CREATION OF MODEL

8.1 THE AESTHTETIC CHILL MODEL This model creates a framework, based on studies on aesthetic chills, that can be used by designers to design a chill-evoking experience. This chapter adds bits of insights to graph and therefore it transforms during the chapter. intensity intensity of experience First, the fundament of the graph is discussed; the axes. The Aesthetic Chill Model is visualized in a graph with two axes, plotting the intensity of the experience against the exhibition Club Mojo context. exhibition context Context Intensity of experience The axes that will ofer the starting point The x-axis sets the time through a location, defning it The y-axis is set by the perceived intensity as felt by for the Aesthetic Chills Model. as the context. First the visitors will walk through the the visitor, defning it as the intensity of experience. The exhibition, whereupon they enter Club Mojo, and re-enter intensity can be expressed with emotions, impressions the exhibition again. The x-axis is location-bound, instead and feelings. It is defned as intensity because of the of on time, to keep a wider frame for the ideation instead desirability of an emotional peak. Since this model of a focus on what should happen each second. focusses on postive emotions, there will be no negative The Aesthetic Chills Model shows the relation of the area in the model. The y-axis has a minimum and a intensity of the perceived experience of the visitor to maximum and every step in between can be picked. the time spent in a location.

34 PART THREE: AESTHETIC CHILLS MODEL s 8.2 THE ASSIGNMENT Looking back at the assignment, the following was ic chill stated: Design a goosebump experience in Club Mojo for t he the visitors of the exhibition Mojo Backstage. t es a

The euphoric experience should lift the intensity intensity intensity

temporary in the context of Club Mojo. After re-entering of experience the exhibion the intensity of the entire exhibition is higher than the starting point.

exhibition Club Mojo exhibition Research showed that the type of goosebumps one feels when experiencing something beautiful and euphoric, context like a sublime piece of art or standing at one’s favourite Showing: the desired experience is a concert, is labelled as aesthetic chills. peak of aesthetic chills.

Therefore it is stated that the intensity will be raised to a maximum in the context of Club Mojo, by evoking aesthetic chills as an experience in the visitor.

PART THREE: AESTHETIC CHILLS MODEL 35 aesthetic 8.3 AESTHETIC CHILLS chills Aesthetic chills are defned as chills following a peak in an aesthetic experience, which is an instant, holistic, multi-sensory experience that is both cognitive and emotionally satisfying and fulflling. aesthetic experience intensity intensity

This defnition provides two elements that can be seen in of experience the model. • The experience is instantly holistic and multi-sensory. • There is a peak, a climax, caused by satisfed and exhibition Club Mojo exhibition fulflled emotions and cognition. context Therefor the lines will be adjusted to the followinging: Showing how the aesthetic chills are a peak At the start of Club Mojo the experience will rise, moment in an aesthetic experience. facilitating the aesthetic experience. Keeping this intensity for a while results in a maximum peak causing aesthetic chills.

36 PART THREE: AESTHETIC CHILLS MODEL climax i

t aesthetic chills 8.4 THE CLIMAX interaction The climax, the fnal step in evoking aesthetic chills, is nvestmen i created with a wow-efect. This efect is a multi-sensory ve ve i t experience that exceeds every day life. i ogn c As can be seen in the graph, there are two steps in order aesthetic experience intensity intensity

to reach the climax. First the aesthetic experience needs of experience to be set and within this experience the aesthetic chills can be reached.

exhibition Club Mojo exhibition • The aesthetic experience is created by an installation that triggers the visitor to get cognitively invested. It context triggers one’s anticipation and curiosity, and gets one Showing how cognitive investment can lead immersed. A puzzling focus. towards an aesthetic experience, and how interaction of the visitor can lead towards the • In order to reach the chills from this state, the visitor peak experience. oneself is the fnal ingredient of the experience, meaning that one’s presence and interaction with the installation sets towards the climax.

PART THREE: AESTHETIC CHILLS MODEL 37 story

endd

aesthetic 8.5 PRACTICAL ELEMENTS begin chills As mentioned in the research, practical elements are found to realize the experience to a climax. The following elements were mentioned:

• Disclosure of the plot aesthetic experience intensity intensity

• Crescendo of experience • Violation of expectation • Entry of a new element • Unexpected dynamics exhibition Club Mojo exhibition • Dramatic situations context Disclosure of a plot The experience, and story it will tell, The plot is the story of a book, flm, play, etc. begins at the start and will have an end (Cambridge). The disclosure of it creates a clear end when one leaves the club. of this story. This element stands parallel with the puzzling efect and the understanding of the situation, as earlier presented. Therefore, just like a storyline, the experience should have a beginning and an end.

38 PART THREE: AESTHETIC CHILLS MODEL aesthetic chills Crescendo Crescendo is defned as a gradual increase in loudness, or the moment when a noise or piece of music is at its loudest (Cambridge). Using this element in the graph, results in a gradual increase towards the peak moment, instead of a sudden change. aesthetic experience intensity intensity of experience Violation of expectation This element stands parallel to the second statement of Schoeller and therefore is a practical manner to exhibition Club Mojo exhibition incorporate this element in the model. By violating one’s expectation one needs to change one’s anticipation. context By repeating this several times, one enters a state of Showing a gradual increase towards mind where one can expect anything. The violation the peak of the intensity. of expectation is used during the crescendo of the experience.

Extra elements The remaining elements (Entry of a new element, violation of expectation. These elements can be used unexpected dynamics and dramatic situations) can be as a wildcard by the designer in order to reach the full used as wildcard during the crescendo along with the potential of the design.

PART THREE: AESTHETIC CHILLS MODEL 39 aesthethic chills

pre-climax 8.6 DANCEFLOOR EXPERIENCE Research to a practical example of a climax moment; blow-off the dancefoor. Interviewing one of the DJ’s of Tango Soundsystem, gave practical insights of someone who directs these moments live for a crowd. The interview showed three practicalities that are typical for a climax aesthetic experience intensity intensity

moment at the dancefoor, better known as the beat- of experience e s

drop. a e t

exhibition Club Mojo exhibition

context The interview data of a DJ added to the model. Teasing Physical focus at pre-climax Blow-of Showing what you will get, even though one doesn’t Right before the climax people notice that the beat will When the beat dropped, people need to release that know it yet. Therefore, the tease can be included drop. They stand still and stop talking. Using it in the saved energy. So in the model, the pressure that has somewhere in the exhibition, far before visitors will model as a pre-climax moment where visitors can been build up by the increasing intensity needs a think about Club Mojo. reserve their energy for the climax to increase the space to be released. contrast. This will create a contrast between the pre- climax and the climax.

40 PART THREE: AESTHETIC CHILLS MODEL aesthethicaesth chillshill

8.7 SOCIAL Lastly, the social context of the model is taken into account. As mentioned, the festival experience is a social event as shown as one of the four facests of music festival experience (Packer and Ballantyne, 2010). This is in line with the social resonance that is to be found to aesthetic experiencee cause aesthetic chills. intensity of experience

These two fndings shows that a social experience is essential in this model. Therefore, the model should lead exhibition Club Mojo towards a design that in some form, can be shared in a exhibition social setting. The social context needed context for the experience.

PART THREE: AESTHETIC CHILLS MODEL 41 9. AESTHETIC CHILLS MODEL

Based on the research of chills, the following model is created as a design tool for a positive social chill experience. The previous steps are concluded in this model. It is divided into seven steps. Dividing it creates focus point to the designer that cannot be forgotten. The steps are:

1. Teasing 3. Increase 5. Climax Based on the teasing of a song on the dancefoor. A Using practical elements to gradually increase the The overwhelming moment that blows one away in an tease gives the visitor already something without one intensity of the experience, proven by songs and emotional peak. Thereby, the disclosure of the plot the knowing when to expect it. movies. Elements that increase are crescendo, violation experience has been working to. of expectation, entry of a new element, unexpected 2. Start dynamics and dramatic situations. 6. Blow-of Start evoking cognitive investment, such as anticipation, Just like one needs to release the energy after a beat immersion and curiosity, as stated by Colver & El-Alayli. 4. Pre-climax drop on the dancefoor, one also needs a space in this Creates a contrast with the climax that will follow, where experience to blow of some steam. one can save their energy that can explode at the climax. Based on the reaction of the audience on a dancefoor 7. Exit right before the climax. The visitor will re-enter the exhibition.

42 PART THREE: AESTHETIC CHILLS MODEL intensity intensity of experience of 6. blow-off 7. climax 1. teasing 2. start 3. increase 4. pre-climax 5. climax

exhibition Club Mojo exhibition

The Aethetic Chills Model. context

PART THREE: AESTHETIC CHILLS MODEL 43 10. DESIGN BRIEF

The design brief combines all the previous presented insights, assignment, context and results of research in a one page summary. This document is also used as bridge towards the design phase of the project.

10.1 CONTEXT 10,2 CLUB MOJO 10.5 CHALLENGES Club Mojo will be part of the Mojo Backstage exhibition Club Mojo focuses on experience rather than education. In order to design within the given outline of the project at Museum Prinsenhof Delft, a classic and national The experience should evoke chills, similar to a concert and use the insights of the research, the following museum exhibiting national history in an international or festival. When one leaves Club Mojo, one should be challenges are stated for the design phase. context. amazed with the experience they just had. Main challenge The exhibtion vision is “Led by the innovations of Mojo 10.3 TARGET GROUP Design Club Mojo Concerts, visitors of the exhibition can take a view behind People who enjoy pop and jazz music and go to festivals the scenes of the music promotor and experience the and concerts Sub-challenges sensation of large-scale music event. “ 1. Design the climax 10.4 AESTHETIC CHILLS MODEL 2. Design elements that trigger cognitive investment The arrangement and design of the entire exhibition will The model is created as a tool to design an experience 3. Make the design ft the exhibition evoke a festival experience with the visitor. that will include all steps needed for an aesthetic experience. The tool can serve for inspiration, a check- list and help to validate the design.

44 PART THREE: AESTHETIC CHILLS MODEL CONCLUSION PART THREE

The aim of PART THREE was to provide a starting Creating this model ofers a tool for the designer to Design challenges point for the ideation phase based on the knowledge design for the complex experience. 1. Design the climax of chills. The previous chapters showed how the 2. Design elements that trigger cognitive investment Aesthetic Chill Model is developed as a result of the Combining the model with the boundaries of the 3. Make the design ft the exhibition study of aesthetic chills. The model showed the course project outline created in the following three of an experience over a longer period, increasing from challenges that are used as a starting point of the the moment and starts and working towards a peak ideation of Club Mojo. moment. This experience lifts the entire intensity of the exhibition.

45 PART FOUR IDEATION

46 46 INTRODUCTION

The aim of PART FOUR is to answer the design three challenges. The Research Through Design (RTD) A concept that fts the project outline and the design challenges, as stated in the design brief (chapter 10), approach is used so knowledge about the Aesthetic challenges are tested with a qualitative test. Using with a concept that proofs to evoke chills. Chills Model is gained while designing Club Mojo. The a qualitative test ofers rich data on the experience advantage of using this approach in this project is of the participants. This rich data benefts the In order to do so, frstly inspiration of existing that the tool that is used to validate the design is development of the design. installations from diferent felds are presented. These developed by the graduate student itself. Therefore, inspiration sources are analyzed with the Aesthetic it has not been proven to work in this framework. A PART FOUR is summarized by answering the three Chills Model. This inspires the fnal design of Club Mojo Research Through Design approach ofers a critical design challenges with solutions for the design of Club and thereby shows how the Aesthetic Chills Model can note to the knowledge that is gained by the designs. Mojo. These answers are proven by the qualitative be interpreted with designs. This creates a critical view test. Points of improvement and attention are when the model is used in the qualitative test (chapter The highlight of this ideation is presented according to included in this summary too. 13). the three design challenges. The frst challenge to be discussed is the design of the climax. This is presented In order to test a concept, a concept needs to be frst so it is known to what moment the cognitive created. A thorough ideation was done including investment and integration with the exhibition should multiple media to discover the possibilities of the work too.

46 47 11. INSPRIRATION

There are six sources of inspiration that showed, partly, similarities with the Aesthetic Chills Model. TeamLab, Yashurio Chida, Studio Olafur Eliasson, Restaurant Alinea, a club in Berlin; Tresor and lastly the Heineken Unexpected Bars. They will be briefy

presented in this chapter, but see Appendix B for intensity of experience g larger pictures and details. x n i ma it i cl ex . increase . blow-off 4. pre-climax 1. teas 3. 5. 6. b The frst three examples are installations that make one 2 2. start 7. be immersed in the artwork. These works fll or create exhibition Club Mojo exhibition rooms and tend to be/are site-specifc installations. Hereafter, Restaurant Alinea is shown based on how context one makes a holistic experience of dining. Closing is a The blue areas show the practical example of an efect created by a club and a focus points in the build up example that can be found on festivals. of the timeline.

All of these examples evoke interactions that ft the vision of Club Mojo to be amazed, experience music and trigger cognitive invesment. Each example shows a practical way of adjusting the intensity of the experience.

48 PART FOUR: IDEATION TeamLab - Peace can be realized even without order Yashurio Chida - Brocken 6a Studio Olafur Eliasson - Map for unthought thoughts

An infnity room with dancing and music making A perforated, square, container experienced from the A semi-circular room with a mirror, lightsource and holograms. inside. shadow framework.

This project is inspiring by the example of an This simple technique lets people play with beams of The artworks of Studio Olafur Eliasson show how interactive installation that can be fully controlled. light. Therefore, this inspiration is suitable from the people can be amazed and overwhelmed by a room Therefore, it shows an example that can be used over increase untill the blow-of. with a single source that evokes interaction. Looking the entire course of the experience. at the movements the source evokes at the visitors, such as playing with one’s own shadow, fts the timeline from the climax to the end.

PART FOUR: IDEATION 49 And for ever-ever-how-long you’re there, you really don’t know what’s gonna happen.

Restaurant Alinea - Michellin start in Chigaco Tresor - Hallway in danceclub in Berlin Unexpected bars - Festival seaon 2018 Fragment Chef’s Table - Netfix.com A long, dark and industrial hallway that shows a sharp An unexpected bar visitor looking to the stage, that is on The fragment shows a part of an interview of a food and edgy light show during club-nights (see Appendix C). top of this bar at Lowlands. The visitor entered the bar critic that is telling what kind of mindblowing experience by fnding a key. he had at Alinea. The interior of Alinea matches their This is a proper existing anticipation example in a club food by surprising the visitor constantly. context. The limited space of a hallway that prepares The interaction that the Unexpected Bars creates suits the anticipation of the visitor before entering the the course of the experience of Club Mojo. The tease is The restaurant inspires to look at the entrance of Club dancefoor, suits Club Mojo from the entrance to the enormous once one knows about this place, but does Mojo and how anticipiation can be build up during the climax. not know how to get in or where to fnd it. experience. It shows how people start to anticipate from the frst moment they get acquainted with the experience.

50 PART FOUR: IDEATION 12. RESEARCH THROUGH DESIGN

By working with the approach Research Through Design (RTD), knowledge about the model and the aimed goal is gained as well as the direction for the concept. RTD is a concept that describes a research approach where the design process in itself becomes a way to acquire new knowledge. Iterative sessions, containing small tests with other students and using the insights in the next design step, at diferent stages of the design provided knowledge for the design.

The approach contained the following three research Each question is elaborated and answered in this questions: chapter. Highlights of the ideation, that show 1. What is the climax? fragments of the fnal design, are presented by 2. How to trigger cognitive investment? statements, ideas, tests, and designs. 3. How should the installation be integrated into the exhibition?

PART FOUR: IDEATION 51 12.1 CLIMAX Filter patterns Starting with the most intense moment Placing colored flters in a of the experience; what is the climax? pattern to create a whole The ideation looks into interactions and new efect with white ligt. efects that create a pleasant intense moment.

The climax should be an immersive moment that is overstimulating at multiple senses. Combining music, lights, and interior into an overwhelming Immersive stage moment. This moment needs to be in This example is a literal try-out of resembling the chills balance to enlarge the efect, like a moment during a beat drop at a concert. In search of the resonance. The balance can be created interaction and efects, a video of a beat drop (audience with a rythm in color, lighting, interior, and perspective) with loud music creates the scene. Using room ambiance in order to grab the full the projector makes it possible to create a feeling focus of the visitor. of standing between the audience. The immersion is created with the mathcing colors you see on the screen The images on this page show ideas of as well as on your body in combination with the organic immersive moments. movement of the crowd to the music.

52 PART FOUR: IDEATION Light at the end of the tunnel Reducing visual sight by a darkness and Multiple layers of focus creating a focuspoint with a bright and The basement, with its open space and beautiful light source. columns, ofers multiple layers to project on. Projection on multiple layers creates a visual chaos since one is not able to focus on every layer at the same time.

This can be seen in this example. The light ball of the footages moves on the column, the chair, foor, stairs, and wall. A video or a photo of this efect creates an overview of all the elements, but when one stands Dazzling lights in between these elements one cannot Using the space a room has focus on the bigger picture. There is too to ofer to create a rhythm much depth for the eyes to adjust. and pattern with pulsating lights.

PART FOUR: IDEATION 53 Wow-efect This is the visual aspect of the wow-efect. Showing a perforated mirror with lights shining behind it, creating a puzzling and starry efect in the room and on everything standing in the room, including you. The panoramic picture shows a test in the Museumkelder(the location that has been cut of the location).

The idea is developed into a perforated infnityroom where the puzzling efect is sharply refected by another mirror. This efect is created by pulsating lights behind the mirror that will shine lightbundles from diferent angles.

See the full chronological order of the development of this efect in Appendix C.

54 PART FOUR: IDEATION 55 12.2 COGNITIVE INVESTMENT The balance This part of the research looks into how This idea shows how rapid the installation can create cognitive changes can be switched investment by triggering immersion, through multiple media in curiosity and anticipation. The previous order to create the rapid chapter is focussed on how immersion changes in a audiovisual way. can be experienced. This part looks to what needs to be facilitated by the design along the entire course to reach this moment.

During the ideation phase, multiple ideas Rapid changes with lights, music, visual such as constant changing rooms and efects and blocking vision make visitors Reacting strings misleading the goal of Club Mojo came become immersed, curious and start Strings that would guide the up. The core of the idea soon became anticipating. Using a hallway with many way of the visitor towards that from the start of Club Mojo a lot of corners gives a physical location for all the center of the installation, changes should be made, rapidly. Rapid these elements to be incorporated. reacting to its touch and changes let the visitor constant anticipate activating other elements. diferently and makes them curious about The following examples are ideas how the following steps. this rapid change can be provided in a physical room.

56 PART FOUR: IDEATION The tension needs to start Hide in plain sight buidling up in the hallway. to By using a ceiling full of lights make sure that those muscles want to explode in moving! and speakers, the visitor will not know what would be turned on and how. A highly suprising and curious efect.

The rave party Drawings of an early concept that would lead people to think they would enter a rave party and change their anticipation around every corner.

PART FOUR: IDEATION 57 12.3 EXHIBITION INTEGRATION The festival experience of the exhibition makes people behave social, explorative Everything is the dancefoor and curious, and experience escapism. To The hallway is part of the match this behavior the following ideas dancefoor by crossing it are created for the installation and the in the middle. It can create experience interactions between visitors in the hallway and on the Explorative and curiosity is evoked by a dancefoor. journey to the core of Club Mojo, as well as the possibility to fgure out the light efect. Escapism because the visitors are closed of from the exhibition.

The social aspect is incorporated since create a more individual experience are all the areas can be visited by multiple excluded, such as headphones or a too people at the same time and provide tight area. Nevertheless, it is possible to interactions between the visitors. Such as enjoy this experience as an individual, the shadows people will create by walking but it reveals more when it is visited by past lamps that will be seen by the people multiple people. on the dancefoor. Elements that would

58 PART FOUR: IDEATION Dancing shadows Create unexpected social interaction between areas by casting shadows of one group to another. For example, the dancers to the people in the hallway.

One light source Using a single light source to create a organic and lively How can you make efect with the visitors. The shadows more interesting created shadows can be when you start to move? experienced by two ‘layers’ of visitors.

PART FOUR: IDEATION 59 social interaction layers

overstimulationmulat

rapid changes entering new world x intensity intensity f e ma of experience g i x n i t ma it i

12.4 CONCLUSION RTD ncreas i

cl blow-of . . star . teas 3 4. pre-cl 7. ex 2 5. 6. Using the Research Through Design approach 1

knowlegde and insights were gained about the design exhibition Club Mojo exhibition for Club Mojo. Three questions are answered to create a hollistic design that would evoke chills. The result is context Noted in the Aesthethic Chills Model as following: how the experience is created.

1. What is the climax? 3. How should the installation be integrated into the An overstimulating infnity room with dynamic brilliance exhibition? lighting guided by matching music. By matching the festival behavior of the visitors at the exhibition: social, explorative and curious and experience 2. How to trigger cognitive investment? escapism.. They will immediatly enter a new world and By providing rapid changes in a multi-sensory way, such social interaction layers are created by comminucating as lighting, visibility and music. thourgh separate areas.

60 PART FOUR: IDEATION entering a new world

mindset

These drawings show an impression of the solutions of the last page. Showing a long hallway that results in a dancefoor was possible in two earlier concepts, one of 165m2 and one of 9m2.

rapid changes overstimulation 13. QUALITATIVE TEST

A qualitative test is set up in order to test whether the concept for Club Mojo evokes chills. As a subgoal of this test, The Aesthetic Chill Model is also reviewed.

Research question:

• How do people experience Club Mojo? x intensity intensity e ff of experience g x n i t

Sub focus it ex . increas . clima . blow-o . star 4. pre-clima 3 1. teas 5 6 2 • Review on The Aesthetic Chill Model 7.

exhibition Club Mojo exhibition 13.1 TEST SET-UP The focus of this test lies on evaluating the experience. context Therefore, the method, prototype and walkthrough are directed in such a way to put an emphasis on an experience that is close to the designed one. The focus of the test of the The set-up of the experience will cover the concept of Aesthetic Chill Model. Club Mojo from the start to the end (step 2 - 6 of the Aesthetic chill model). This is done in order to include the main elements that are used to work towards the peak moment.

62 PART FOUR: IDEATION Method The method used to evaluate the experience is inspired The changes made to this model in order to ft this test Designed experience by de UX Curve method of S. Kujala et.al. 2011. “The UX are as followed: Curve method is useful for evaluating the quality of • Instead of a positive and negative experience on the long-term user experience as it provided rich qualitative y-axis, the axis is changed in the ‘intensity of experience’ data describing the quality of long-term user experience to match the Aesthetic Chill model. and identifying the major individual experiences that • This model is developed for a long-term user changed users’ attitude towards the product.” experience. This test focusses on a 5-minute experience.

This method lets the participant draw its positive The desirable outcome of the draws experiences, using and negative experiences on a timeline. Remarkable rapid changes to gradually increase the intensity. The

moments and changes in the experience are further climax has a larger contrast with its previous intensity. INTENSITY OF EXPERIENCE 360 end 360 explained by notes. start club mojo lights out curtain

CONTEXT walking

The intended UX Curve of the experience.

PART FOUR: IDEATION 63 Prototype The full experience is covered by two prototypes, a 360o A video does not ofer the walking abilities from a VR After removing the goggle the music of the video will panoramic video and a physical prototype. Decreasing simulated room. The video will ‘teleport’ the participant continue playing on the speakers. Before entering the the impressions at the switching moment is done by to diferent areas in the virtual hallway. By showing this infnity room, the participant needs to push a curtain placing panels in between the user and the interview video with a goggle, the participant is in control to look aside, testing the pre-climax. When entering the infnity room. The music played during the video is also used where they want to and is not forced to a specifc point, room, the pariticpant stands next to the speaker. The for the physicial prototype and will be played with a and the time span will be controlled by the researcher in blow-of is tested by leaving the participant alone inside qualitative speaker inside the physical prototype. By order to match the speed of going through the design. the physical prototype as long as they preferred. these implementations, the set-up would be a holistic Giving the participant this control benefts the interaction experienced as much as possible. by giving the participant an autonomy in their view. Test location The Multisense Lab at TU Delft is chosen as location for 1. 360o video 2. Physical prototype its ability to be dark, include the one-way mirror and The start and increase of the experience is tested by a The pre-climax, climax and blow-of are tested with a privacy. All these element let the participant focus on the 360o video. The video shows the rapid changes made by physical prototype. The efect created by the infnity test. lights and refective materials, guided by an adjusted mirror is one that needs to be experienced in real life song (Ardency - I saw the end). The song is adjusted since a simulation won’t do justice to the real efect. in volume, bass, and high and middle notes. Video as Therefore, a prototype is made to create an infnity room a test medium ofers a controlled virtual room that is with a one-way mirror to create the best experience. adjustable by editing. Therefore the ideal setting can be created to fake the experience as much as possible.

64 PART FOUR: IDEATION infnity room video area lamp 1

lamp 2 lamp 3

o Top left, showing a scene of the 360 video. The room with the most light-sources visible. Top right, showing the panel set-up of the physical prototype to create the infnity room and the location of the three desk ligths. Bottom, showing the perforated mirror (right) and refecting on a one-way mirror (left).

PART FOUR: IDEATION 65 Walkthrough test These six steps show the course of the test. This fow is set to not disrupt the participant within their experience.

Impression of the walkthrough of test.

1. Introduction 2. Preperation test 3. Showing 360o video 4. Moving to curtain 5. Infnity room 6. Interview A small introduction was A camera in de physical Within the video, the The sight to the rest of The participants are asked During an interview the done to inform about prototype started to participant was guided the room is blocked by to stay as long inside the frst impression and their what was asked of the record. The participant through six rooms. After a panel. The participant prototype as they prefer personal perception of participant, including was brought to an area fnishing it they hand moves in a few steps to and would normally do in the experience where a walkthrough of the where they can safely the goggle back and the the curtain and steps a museum setting. discussed. The intensity prototype and signing a move around. The lights music continues. inside the physical was drawn by the consent form. were dimmed and the prototype. participant on a template. video started.

66 PART FOUR: IDEATION Participants Raw data The poule of participants is selected with the following The data collected during the test is: requirements: • Consent form • No knowledge about the goal of the project • Drawn UX Curve on A3 • Fit the target group (people who enjoy pop and jazz • Audio recording interview music and go to festivals and concerts). • Video material inside the physical • A variety of age prototype • A variety in gender • Diferences in study background, to exclude knowledge An example of this data of one participant about research techniques is showed on this page.

This resulted in the following poule of 10 participants who showed up: • 6 female, 5 male (1 no show-up, male) • Age range of 18 -27 years Top, drawn UX Curve with notes • Study backgrounds; Architecture, Industrial Design, made by the participant. Bottom, Applied Physics, Econometrics, Computer science, Life a screenshot of the video Science Technology showing someone walking inside • Diferences in museum interest the prototype. Large spots at • All Delft inhabitants the front are refections at the participant.

PART FOUR: IDEATION 67 13.2 RESULTS All results combined The individual diferences in impression created a Each original UX Curve combined with the calibrated variation in the marked points in the UX Curve The most version can be seen in Appendix D. The combined results commonly used points in the experience are used as of the participants, each with a diferent color and as points to calibrate each experience on. true as their own interpretation of the line can be seen in the following fgure. The common context points are: • Start of the 360o video Grouping • Room with ‘Club Mojo’ sign Two main categories can be found in the shape and • Room with the most light-sources course of the drawn curves and two outliers (yellow and • End of the 360o video red) that do not show a similar course. INTENSITY OF EXPERIENCE • Stepping through the curtain 360 end 360 start club mojo lights out curtain

• First impression of the infnity room 1. A gradual increase of intensity CONTEXT walking • The moment when one fgured out how the installation The four participants in this group experienced a rather PARTICIPANT NUMBER P1 P2 P3 P4 P5 P6 P7 P8 P9 P1 0 works. gradual increase in the intensity of the experience. Combined results of all participants. • The ending of the experience when leaving the prototype. 2. Two peak moments during the experience. Next page: The participants in this group have an experience based Right: Dubble peak group. on two peaks. Middle: Gradual increase group. Left: Desired experience.

68 PART FOUR: IDEATION Designed experience Gradual increase Dubble peak INTENSITY OF EXPERIENCE INTENSITY OF EXPERIENCE INTENSITY OF EXPERIENCE CONTEXT CONTEXT CONTEXT start start start 360 360 360

club club club mojo mojo mojo

lights lights lights

end end end 360 360 360

curtain curtain curtain

walking walking walking out out out P1 P2 P3 P4 P5 P6 P7 P8 P9 P1 0

PART FOUR: IDEATION 69 QUOTES: CHILLS

Qualitative data “If I should have experience chills, “Hmmm, I don’t really know it was The recorded interviews are summarized in quotes. it would be at the moment when I a chills-chills moment. It felt more The quotes are placed in categories in order to analyse looked at myself.” - P10 like awe. It was when I became them. The following categories were made, based on relaxed insight the mirror room focus point of the Aesthetic Chills model but also on the “No, I didn’t experience chills.” - P1 and started to look around me prototypes: and thought ‘Woooow’.” - P2 • Experiencing chills “Hmmm, no I did not really • Intimacy of experience experience chills. But when I “Yes. I told you so. I really • Immersion stepped through the curtains I experience chills at when I entered • Curiosity thought ‘Wow!’, a nearly chills the mirror room, but I cannot • Anticipation experience.” - P4 explain why”- P3 • Causes changes in intenisity • Reaction to physical prototype “Yes, when I entered the mirror “Uuuh, maybe shortly when the • Reaction of 360o video room, that was so awesome. Such music started at the beginning • Reaction on Club Mojo sign a small room but it looks so large” of the video. It is such a diferent -P9 setting than the TU Delft.” - P8 All the Dutch quotes in each category can be found in Appendix D. An impression of the quotes are given on “Yes, at the beginning of the “No, didn’t experience them.” - P6 these pages. movie. It felt like entering a new world.” - P7

70 PART FOUR: IDEATION QUOTES: EXPERIENCE

“I found it quite strong to step “Rethinking the moment, the video “After the video I didn’t know what “Suddenly you see the mirror and inside the physical prototype makes you disorientated and you to expect. You enter a small room it was crazy! Especially when I saw because you get immidatly lose grip of reality. What is real? and I really had no idea.” – P10 it was a mirror, the one with the confronted with yourself. It is a I experienced the same with the holes in it. It is so amazing that the small room and a lot is happening mirror.” – P3 “I expected that the lights would lights are on your body, and you around you. Suddenly you look react to me in the physical saw that in the mirror. Normally straight at yourself. That makes “I thought the most intense point prototype. It wasn’t really clear to light and a mirror are not on the you get lost in thoughts” – P10 was seeing the sign of Club Mojo, me, but I hoped it was so. I tried to same side. It is surrealistic, it that was quite nice. First you don’t touch the red area and the green doesn’t match in my head that ‘’Stepping inside the physical know where you are and suddenly one in the hope something would the light is coming from the mirror. prototype became super intense, it falls into place.” – P9 happen. I felt awkward when I And those colors! Did you use colored suddenly there are lights didn’t know if anything more lights?” – P3 everywhere and I cannot tell “I liked the visual sight in the would happen.” – P2 the location of the light source. I mirror room, but you’ve seen it “I was experiencing an increasing experienced it as intense for quite all after 2 seconds. The video had “It is seems to be a static set- curve caused by the movie, so I long since there was so much to constant changes.” – P5 up, but it isn’t. The moving lights expected a lot of movement and discover.” – P4 much to discover.” brings it to life.” – P4 reaction. But is was mostly chill – P4 “The moving lights made the inside the mirror room.” – P2 design dynamic. A sort of fourth “I thought that you could maybe “The use of all those colors made dimension, because you move see me, so I didn’t dare that it more interesting and fun.” – P1 through the lights.” – P3 much.” – P2

PART ONE: PROJECT OUTLINE 71 Gradual increase Designed experience

Analysis of graphs The following statement can be made based on the calibrated UX Curves.

All curves. The graphs get concentrated at the end of the INTENSITY OF EXPERIENCE INTENSITY OF EXPERIENCE experience, inside the physical prototype, at a high level 360 360 end end 360 360 start start club club mojo mojo lights lights out out curtain curtain walking CONTEXT walking CONTEXT of the intensity. During the video, the intensity has more Dubble peak variety. All results combined

Group 1. A gradual increase in intensity This group has the most resemblance to the intended experience.

Group 2. Two peak moments during the experience. The six participants in this group experienced two clear peaks in the experience. The decrease between these peaks is caused by two elements. First, when people switch between video goggle and physical prototype they are disrupted in their experience. Secondly, caused by the INTENSITY OF EXPERIENCE INTENSITY OF EXPERIENCE decrease of intensity intended in the video but perceived 360 360 end end 360 360 start start club club mojo mojo lights lights out out curtain curtain walking CONTEXT CONTEXT walking more extreme than expected. P1 P2 P3 P4 P5 P6 P7 P8 P9 P1 0

72 PART FOUR: IDEATION Outliers

Discussion of results The main focus of test is to validate the efect The rapid changes created in the video created a designed for Club Mojo. A sub-focus is added to learning curve for the participants upon what they evaluate the Aesthetic chills model. started to anticipate. This created a positive efect with INTENSITY OF EXPERIENCE creating a situation that the participants did not know 360 end 360 start club mojo lights out

curtain Three participants said convincingly that they what they could expect anymore. On the other hand, CONTEXT walking Curves of outlier group experienced chills. Two participants mention a reaction by not providing a similar or faster phase insight the of awe, similar to the description of the sublime. Two physical prototype this anticipation worked against the Outliers. The two participants that difer from the two recognize a moment where it could have happened, but intensity and created a fast blow-of. groups with their drawn experience show to enjoy the did not experience them. Two did not experience them. VR experience more than the physical prototype. They Therefore, it can be stated there is a potential in the Every recording tells a quote about how the experience expected more than what they got. concept of ofering an aesthetic chill experience, but it made the participant curious. Curious about what needs some adjustment. By discussing the results, the they could fqure out and what would happen next. “The mirror room is very cool, but for a short moment needed adjustments are found. By providing elements in an non-obvious way, the only. Maybe if you would incorporate more elements participants search for more. Like the colored flters and people would stay curious for a longer time. Like it is Prototype light source. The curiosity focuses on the details of the done in the movie. “ - P9, yellow The majority of the UX Curves used the sign of Club prototype and the moment one discovers something. It is Mojo as an indication point. Seeing these letters showed about hiding in plain sight. ‘The fashes in the video make you curious about what to beneft the experience, since participants knew they is going to happen. It decreased since it was relatively were going somewhere. It gives the abstract experience calm.” a small element participants can hang on to.

PART FOUR: IDEATION 73 The hiding can be done with the overwhelming efect Elements that showed to drop the intensity of the created by the mirrors. All participants felt positive experience are getting used to the situation, not emotions when entering the prototype but it difered to experiencing changes at the same phase in the video as what extent the participant was intrigued by the efect physical prototype and a disruption in the experience by and for how long. losing the goggles.

Aesthetic chills model 13.3 CONCLUSION The aesthetic chill model brought elements that can be Club Mojo Aesthetic Chill Model used in order to create a chill evoking experience. The The following insights and recommendation about the The following elements are proven to work in the set-up participants mentioned elements that impressed them. design of Club Mojo are proven by this test: of the aethetic chills model. Some of the elements had a larger infuence on the • The wow-efect is created by the perforated infnity • Entry of new element. Unexpected elements such as intensity of the experience than others. Some negative room. color flters and a changing situations in a fulflling pace. and some postive. This conclusion validates the elements • The build up of a dark room and fashy lights beneft • Crescendo. The gradual increase of elements like and provides new insights. the chill experience. amount of lights and matching music. • Pushing through a curtain provides the extra curiosity • Interaction is key. Being part of the room and interact Positve elements that increase the intsity are the colored and contrast right before the wow-efect. with the light dots and not being in a virtual room. flters, the gradual increase of more elements, not • Showing a ‘Club Mojo’ sign benefts the experience. • Exceeding everyday life. By visual self confrontation understanding the installation immidiatly and being in a • The infnityroom needs full refecting mirror to create a and a proven wow-efect. non-virtual room. Also, the refection was experienced as sharp efect. • Immersion. As soon as the experience gets interupted it intimate and made the experience more intense. • Don’t oversell with anticipation and not live up to it. drops the intensity.

74 PART FOUR: IDEATION 13.4 CRITICAL NOTE There are a few critical notes that should be taken into account the results of this qualitative test.

• Social aspect. The Aesthetic Chill Model aims for an • A/B test. This test shows the potential of the concept. experience that can be shared by multiple visitors, this If another test would be done about this efect it can be test is done by individual participants. tested what the minimum combination of elements is that need to be included in the design to still work. For • Social pleasing, Even though there is a mix of example: is it possible to evoke chills by just stepping participants that did not know the researcher, there is into the infnity room? always the risk of participants giving an answer that will please the researcher. A next test for the Aesthetic Chill Model should look for an objective method to measure chills.

• Context. The test focused on 5 of the 7 steps of The Aesthetic Chill Model. The context where this model fnds itself in, the museum and the behavior it evokes at participants were lost in the chosen set-up.

PART FOUR: IDEATION 75 CONCLUSION PART FOUR

PART FOUR presented a concept that is qualitatively 1. Climax. An overstimulating infnity room with dynamic 3. Exhibition integration. The visitors are set in a proven to evoke chills with three out of ten brilliance lighting guided by matching the music. In order mindset that is social, explorative, curious and accepting participants. Two other described the moment similar to reach the maximum potential of this efect, all walls escapism by the festival experience. Club Mojo matches to a sublime experience, mentioning a reaction of are covered with full refecting mirror. This moment this behavior by immediately entering a new world and awe. Therefore, it is stated that the concept has the is reached by the visitor after a ‘journey’ towards the ofering social interaction layers through separate areas. potential to reach the goal. In order to increase the center of the club. This journey will create a proper The infnity mirror efect can be experienced as intimate number of people the following recommendations increase of the intensity. and therefore feel intrusive when one is disrupted in the about a design for aesthetic chills can be stated along experience. the three design challenges: 2. Cognitive investment This journey facilitates rapid changes in a multi-sensory way, such as lighting, visibility, and music. This triggers the anticipation of the visitor of what may follow. The puzzling efect of the infnity room that can be seen at the climax complements the cognitive investment by showing too much at the same time the visitor cannot focus on everything at the same time. This creates a curiosity to what the mirrors all have to ofer and create an immersion by the focus of the visitor.

76 77 PART FIVE FINAL CONCEPT

78 78 INTRODUCTION

PART FIVE presents the fnal concept of Club Mojo. By choices that are made in order to reach the maximum presenting the experience, the motive behind design potential of this design. choices and showing construction details states a realistic and impressive solution for the stated PART FIVE closes by argument why this concept assignment. adds value to the exhibition. Thereby it presents requirements that are needed to take into account By elaborating on the experience through a when realizing this concept, including an eye of storyboard, the details of the design are presented possible changes to the design. Since the fnal plan of in a time course. Presenting the reaction of the exhibition is still in development. the character on the design provides a holistic understanding of the course of the intensity of one’s This chapter is summarized in a list of all the motives experience. Highlighted words show how the story is that argue why this is the realistic and impressive linked to all the steps of the Aesthetic Chills Model. design of Club Mojo.

After experiencing the concept, chapter 15 states what the concept physically is. Thereby stating the design

78 79 14. STORYBOARD

It all begins when you visit the Mojo Backstage exhibition together with your friend Anna. The exhibition presents the rich history of Mojo Together you wander on through the Concerts, showing the concerts and exhibition and enter a new room. This festivals they’ve organized. Once in room has many installations and Anna a while, you are being teased with a and you get separated by curiosity black dot somewhere. You don’t think to other installations. Anna is drawn anything of it until the light hits it at towards a festival stage at the other a certain angle and it suddenly grabs side of the room that flls the room your attention. You walk closer and with music. While Anna is walking see the refecting text ‘Club Mojo’ away, your focus slips to one wall surrounded by many tiny dots. You part where other visitors are standing look around you, but there is no around a box covered with mirrors. explanation anywhere. Walking towards the box you notice that people are playing with their refections by making funny poses and some of them walk closer to their refection. You start to join with funny poses.

80 Then, suddenly your focus slips to a side covered with heavy strokes where another visitor appears with a smirk on his face. Without thinking, you move to the strokes where you notice that in front dots appear on the foor. The dots look familiar and increase in amount towards an entrance, but you cannot quite remember from what. Carefully, you push the heavy strokes of plastic away. Curiosity takes over and you decide to enter this box.

Behind you, the strokes fall back together and separate you from the world you just stood in. You are now totally closed of. The room you fnd yourself in is dark all around you. The foor, walls, and ceiling are all painted black. Your eyes need to adjust to the sudden darkness.

PART FIVE: FINAL CONCEPT 81 Then you notice some tiny holes in the ceiling high above you, spilling a bit of light in the room. The light falls on the dark walls and shows you some letters. The letters are very big and the room is tiny, so it takes you a while before you notice the letters of ‘Club Mojo’ on the wall. You’re glad that you dared to step into this place to discover Club Mojo.

Looking back to the ceiling you notice that the tiny dots somewhat guide you further. Your eyes follow the trail of holes that go to a bit of light falling behind one wall. You walk towards it and push through a door (pre-climax).

82 PART ONE: PROJECT OUTLINE The music takes you over while you push through the door. You feel it in your entire body. The tension and curiosity that flled you in in that short time, is replaced with awe. The magical view of thousands of dancing lights flling a small room and the overwhelming music makes you feel something. Something you feel only once in a while. The climax starts at your neck and falling down your spine. And if you’re lucky it will give you goosebumps.

PART ONE: PROJECT OUTLINE 83 Turning to one wall, your eye catches a glare. You look closer and fgure it Amazed and overwhelmed you move out; the lights shining from the outside in one step to the middle of the room are shining through the mirror by guided by the dancing lights. The tiny holes. For a moment your focus music you heard coming from the slips to the refection of the mirror. festival stage earlier, now sounds so You were so focused at looking at the bright and full. Even though you might holes that you are surprised by seeing have expected something like this, your own refection covered with you’re still fully amazed. The mirror- many dots. Some lights are colored walls create an infnity room and it and others are bright white mixing embraces you. Colors and dancing together on you. You move yourself to lights are everywhere. a spot with fewer holes to give your 84 PART ONE: PROJECT OUTLINE eyes some rest. Then you hear some noises behind you. Tensed you wait for the other person to also discover this place and you’re curious about their reaction. The door opens towards curtains open and suddenly Anna appears in the room. You relax again. With the same awe on her face, she is in one step Suddenly, the rhythm of the pulsing standing next to you. You notice how light is disrupted, and you are aware the dancing lights are bouncing on her of how intimate the room feels. The body, blocking and refecting the light. fgure blocking the light is starting The room gets a whole new dimension. to look human. It looks like someone is posing. You take a moment for Together you start to play with lights, yourself and in full focus, you’re now your refection, and the infnity looking around you to understand the efect to blow-of steam. Forgetting whole room. It all falls together now; time and place outside this room. the person outside is posing for the Being flled with the moment, the mirror blocking the lights. experience, the music and sharing this moment together. You’ve just experienced Club Mojo. PART ONE: PROJECT OUTLINE 85 15. CONCEPT DETAILS

This chapter discusses what design choices are made to follow the steps of the Aesthetic Chills Model in order to reach a climax moment in the center of the design.

15.1 EXTERNAL IN THE EXHIBITION During the exhibition, the visitor should be teased for Club Mojo. In order for this solution to be incorporated in the exhibition a simple and not too distracting design is needed. The design does need to trigger the curiosity and anticipation of the visitor.

Sticker The solution for the tease is a sticker. This sticker the sticker to fnd out if one has seen everything on the provides a hint of what the visitor can expect inside Club sticker that can be seen. Also providing the name ‘Club Mojo. Since the sticker is seen for the frst time out of Mojo’ starts the anticipation of the visitor. Both words, the context of Club Mojo, it will not say anything yet to and the combination of it, creates associations that Concept design of Club Mojo the visitor. The sticker is matt black with highly refective will set a certain expectation. Thereby, it would let the promotion sticker for the exhibtion ‘Club Mojo’ surrounded with tiny dots printed on it. The visitors actively search for the place, which triggers the text on the sticker can only be seen when the light falls explorative mindset of the festival experience. in the right angle on it. This trick will lure one towards

86 PART FIVE: FINAL CONCEPT 15.2 EXTERNAL IN EXHIBITION ROOM The outside of the box is designed to facilitate the start and increase of the Aesthetic Chills Model. The curiosity and anticipation that was teased with the sticker needs to be relived and increased as soon as one sees the box. Since the box is placed in a room full of other installations it needs a sharp and outstanding design to trigger cognitive investment.

Mirrors Band curtain Mirrors are chosen as outer material in order to let A dark and heavy band curtain is chosen to provide people move around the box and play with their an easily accessible entrance that is also in need of a shadows, These shadows are neccessary to create physical action by the visitor to enter the next room. organic and lively shadows as seen from the inside. This Also, it will block the sight of the curious ones to really let also adds a social layer with the people in and out of the them enter the room and not just only peak into it. box. Looking at one’s own refection would also distract one from looking through the holes.

PART FIVE: FINAL CONCEPT 87 15.3 INTERNAL The inside of the box is designed to facilitate the CLIMAX pre-climax, climax and blow-of. Since a part of the An asymmetrical design of the placement of the mirrors increase already starts at the outside of the box, is chosen to trigger the anticipation of the visitor. They the main focus of the internal design is to provide an see a square box and will enter a hexagon. Facing overwhelming efect. mirrors already creates a puzzling efect with the infnity room it creates, but the efect is intensifed by using PRE-CLIMAX diferent widths of the mirror and diferent angles. The pre-climax creates a contrast with the climax and provides an area that makes the visitor curious, The puzzling efect is also created by placing light immersed and let their anticipation run wild. Also, the sources both internal as external. When one enters physical actions of the visitors are essential in this part the infnity room one will see more light sources than since space and duration are limited. By using a heavy expected when one looked to the outside. By placing entrance and a swing door with lots of resistance, the pulsating internal lights at diferent heights and physical power of the visitors is asked. Therefore, it combining it with colored flters, out of the side, a visual makes the visitor, even for a split second, conscious of overstimulating efect is created. the step they are about to make.

88 PART ONE: PROJECT OUTLINE 0,35 0,25 0,50 0,35 0,72

0,72 0,75 0,48 16. REALISATION

In order to deliver a realistic design for Club Mojo, practicalities about the materials and construction are presented. The choices made for this realization are based on creating a design that lasts for fve months. Thereby, the design needs to be safe for visitors to 3,00 enter and sturdy to interact with. Nevertheless, the choices do not alter or reduce the intensity of the experience in a clean design.

16.1 MEASUREMENTS Standardized measurements are used to reduce visitors need to be able to feel welcome in that material loss, costs, and an easier design to construct. room and more space to move would beneft this. The standard size of construction panels is 2,44x1,22 m, generally for most materials. If two panels are used for The width of the swing door is 0,5m and therefore one surface the dividing line should be placed above smaller than an average door or entrance. The 2,44m to reduce the disruption in the sight of the visitor. limited swing space and needed width of the mirror 1,00 set this size. Thereby, the explorative and curious The assigned volume for Club Mojo is 1,0x1,5x3,0m. The efect is enhanced with providing a small entrance foor surface (1,0x1,5m) is divided in the pre-climax and where one needs to work one through. 1,00 0,50 the climax area in a respective 1/3 and 2/3 scale. This Measurements in meters ratio creates more space for the infnity room since

PARTFIVE: FINAL CONCEPT 89 D C E B F A 16.2 INFINITY MIRROR G The design of the infnity mirror needs to be sharp, sparkly and overwhelming to create the most overwhelming efect. Limited to space, the following choices are made to facilitate this moment. Design of perforated mirror. Holes Top: top-view naming each The size, position, and rhythm of the perforated holes mirror. Right: plan of the in the mirrors are designed in an organic way. It ofers design of the perforation and a contrast to the hard lines of Club Mojo and the visual colored flters. style of the exhibition. Test-samples, as can be seen in Appendix C, show that diferent sized holes with a variation of diameter between 2 - 6 mm provide the overwhelming efect. The waves of concentrated holes create areas with a higher intensity to look at and in, and on the other hand, creates spots where one can look at to give the eyes some rest. With this rest point, one can focus more on the refection in the mirror than look directly into the lights.

A BC D E F G

90 PART FIVE: FINAL CONCEPT Render of perforated mirror. Showing the glare at diferent intensities with open holes and pink and orange colored flters.

PART FIVE: FINAL CONCEPT 91 16.3 LIGHT AND SOUND The dynamics of the lights and sounds bring the design to life. The choices show how the right movements and balance of the audiovisual elements Details of light falling through are incorporated in the design. perforated holes with color flters.

Lighting The concept has two types of white lightsources. that makes the visitor wonder whether there will happen • External lights on the ceiling outside the box more. The details show how the light efect is created with • Internal lights integrated into the box. colored flters. and both external lighting and integrated lighting. The lights on the ceiling are museum spots shining on each side of the box. The integrated lights are Audio placed in the corners of the construction at diferent A consultation with acoustic expert R. van Egmond, TU heights, creating the light efect everywhere in the Delft, formed the audio-plan of Club Mojo. The mirror walls infnity room. The integrated lights are connected to a refect the sound waves. Therefore a minimum amount controller, pulsing the lights to the rhythm of the music. of waves should be put into the room by a speaker. One The controller dims the lights individually. Every 3 to 5 qualitative box is placed right above the middle of the minutes the pulsating intensifes by a faster phase of infnity room. A semi-absorbing foor is chosen to reduce dimming the lights. By intensifying for a short moment some of the refection. The speaker is linked to the same the installation will create a more cognitive investment audio source as one of the stages in the exhibition room. Location of lights and speaker

92 PART FIVE: FINAL CONCEPT 16.4 MATERIAL The properties of the materials refect the light and soundwaves all in a certain way. To facilitate the Walls desired efect, the following materials are chosen as a Black MDF can be used for the walls. Using a pre-painted realistic and processable solution. material will give a clean and even fnish. These plates are limited to a 2,44m height and there would need Top: Top view of Club Mojo, Mirror multiple plates to cover one surface. As mentioned, the white are mirrors, dark grey Full refecting silver perspex is the perfect material dividing line should be placed closer to the ceiling than mdf. Right detail of hinge. for the mirror. A laser cutter is used to create straight the foor, to make a visual clean design. corners and cut the holes with diferent diameters. A real mirror cannot be processed in this way and is therefore Hinges placed in the triangular areas that aren’t visible for the not an option. Perspex does need a stif construction The hinges that are used for the door towards the infnity visitors. Using this area creates a clean design. Thereby, to reduce curvations of the mirror that would cause a room need to provide resistance so the visitor will put its using this space also provides a location for the lights to fun-house efect. The panels have a maximum size of weight into opening the door. Thereby, the mirror should be placed on. 3,05x2,05m, so it is possible to produce every mirror in be centered in rest. one piece. Band curtain Construction The band curtain is used for the entrance and needs to Floor The construction needs to be stif and sturdy to hold the be heavy. This asks for some efort of the visitor to enter The foor should be made of a semi-sound-absorbant construction. It is a tight space where people will walk in the room. Also, the strokes need to overlap so it closes material, like felt. But it cannot be too soft since it would so it needs fxation to the foor in order not to fall down. the pre-climax room from light and noises from the change the experience of the visitor. Since space is limited, the construction needs to be exhibition room.

PART FIVE: FINAL CONCEPT 93 17. ADDED VALUE

17.1 GOAL OF CLUB MOJO The goal of Club Mojo is to let visitors experience an 17.3 MINIMUM REQUIREMENTS overwhelming moment, aiming for chills that one could cognitive triggering. An installation that will fulfll the The fnal concept of the entire exhibition is still in experience at a festival, concert, and club. The appearing heart and mind. development at the moment of delivering this report. static installation ofers unexpected dynamic audiovisual There is interest from Museum Prinsenhof en Mojo efects once one has entered the center of the club. The • This design of Club Mojo will help to gain name by the Concerts to include the design of Club Mojo at the systematic and gradual increase of diferent elements aimed visitors since it is a social media proof design exhibition. Since there is a high change that changes evokes the curiosity and anticipation of the visitor into an that has a highly photogenetic efect. are made to the current exhibition plan, the following immersive climax moment. minimum requirements are stated for the context of Club • It fts the mindset of Mojo Concerts, with Club Mojo Mojo. 17.2 ADDED VALUE the exhibition ‘.. can all be more fun and it can always • Club Mojo ofers a holistic experience that let visitors be made better.’ Requirements escape reality and experience chills. The experience • The infnity room needs to be closed of of the provides more than a pretty audiovisual efect. It exhibition. is so visually overwhelming that it dazzles the visitor. • There is an area for the pre-climax. Music guiding this experience completes it. Club Mojo • At least one of the walls with a mirror is facing a part creates social interactions between visitors. The visitor of the exhibition in order to evoke interaction between is forced to use physical efort by pushing through two people in and outside Club Mojo. entrances to enter the center of the room. A full curious • Some sort of tease needs to be included in the exploration is created that is both emotional an exhibition.

94 PART FIVE: FINAL CONCEPT CONCLUSION PART FIVE

This design of Club Mojo is a realistic and impressive design that meets the demands and desires of the aesthetic experience. This list sumarizes the motives of the design choices that argue why the design is worthy of being part of the exhibition.

• The design includes all the steps of the Aesthetic Chills • The design creates contrast between the climax • The design evokes curiostiy at multiple levels, starting model and therefore has the potential of ofering the moment and the remaining of the design. . by teasing the visitors with stickers. This mindset can experience of chills. continue when one steps through closed of entrances • Chosing materials that are easily provided by (online) and sees the visual efect that does make the visitor • It ofers a proven overwhelming audiovisual efect at stores and processable, makes the design realizable. discover all the secrets of the mirror. the climax, that has impressed many people already. Both in ofcal tests but as well in small iterative • The outer measurements of Club Mojo meet the • The anticipation is triggered by ofering systematic sessions. assigned area, so this concept can be included in the changes in light and music. exhibtion. • The visitor is immersed in this work by closing of the • The design fts the mindset of Mojo Concerts. With Club outer world and facilitating an efect that grabs one’s • It is most likely that this piece will beneft in gaining Mojo the exhibition ‘.. can be more fun and it can always full attention. name with the visitors aim, since it is an efect that is be better.’ highly atrractive at social media.

95 PART SIX REFLECTION

96 96 INTRODUCTION

This fnal PART concludes the project as presented in The last chapter of this report is a personal refection this report. First the recommendations are stated. The of this project. It shows the insights that are gained recommendations are needed when one desires to on personal goals. Goals that are stated at the continue on the design of Club Mojo or the Aesthetic beginning of the project. These goals are presented in Chills Model. The recommendations also elaborate this chapter for the frst time in this report. It shows on the shortcommings of this project and how one how this project was a learning experience for the should deal with missing information or design graduate student. choices. Lastly, it states what concessions are made by reducing the assigned space drasticly.

Following, the end conclusion of this report is presented. It highlights the main insights of this report in order to argue how the presented design of Club Mojo.

96 97 18. RECOMMENDATIONS

The recommendations are dived in two sections, 19.1 AESTHETIC CHILLS MODEL the frst for designers who wish to continue with the Including time Analysis tool Aesthetic Chills Model. Developing the Aesthetic Chills As can be seen with the design of Club Mojo it was How can this tool be used for current design, and Model provided an interesting view on designing for difcult to validate the amount of time one needs for the improve or adjust them in such a way that it would evoke chills. Chills are a complex experience, but a beautiful build-up or time between the diferent steps. Including an chills? one to include in experience design. With this research, advice of the minimum that is needed for every step will the frst step to more chill evoking designs is set. In beneft the design following the model. Consulting experts order for designers to work with, or further develop As mentioned with the creation of the model, studies and this model these recommendations are made. Including extremes perspectives of many felds of expertise were used for I think it would be interesting to research the extrema this result. Consulting these experts could beneft from Secondly, recommendations directed to Museum of this model. What is the minimum combination to fnding the essentials needed for this model, as well as a Prinsenhof are presented. By the change that, a part follow in order to create a climax moment? But as well; critical note of the experience. concept of Club Mojo will of, the fnal concept of Club Mojo will be developed what the most extravagant, but perfectly in balance, be developed the following points need to be taken into the following points need to be taken into account. overwhelming awe-evoking, jaw-dropping experience in account by Museum Prinsenhof. order to let as many people experience positive chills?

Individual impact What is the impact of the individual elements? Can you create categories in order to create diferent kinds of experiences, such as design more focused on immersion, one focused on anticipation and one of curiosity?

98 PART SIX: REFLECTION 19. 2 CLUB MOJO Holistic design Concessions in space Club Mojo is more than a pretty, social media proof, • I recommend to include a stage or DJ-booth with The fnal area that was given for the design is 1x1,5x3m. infnity-room. Informed by the Aesthetic Chills Model, music on the other side of the exhibition room that The previous concepts of Club Mojo were created and all the scientifc studies in front, show the value is linked to the speaker inside Club Mojo. for a larger surface. By scaling the design down, the of preparing the visitors before entering the climax fexibility and scalability is shown. Nevertheless, some area of the design. This preparing is done by evoking • I recommend that a ftting music solution of what concessions to the design based on the Aesthetic Chills movements of the visitors with the mirror and also kind of genre and songs to play can be decided Model are made. The amount of time that a visitor has ofering an area that will close the visitor fro on by experts, such as a connection within Mojo for experiencing the ‘increase’ part of the Aesthetic Chills Concerts. Mode is way less. By reducing the area, one will walk • I recommend that at least one wall is facing a part basically in one step through this area. By forcing to let of the exhibition to create an interaction between Visual identity one walk through a dark space one’s speed is slowed people inside Club Mojo and a part of the exhibition. The dots are a visual identity of Club Mojo that is down and need to take maybe six steps instead of one. repeated in the stickers on the walls, ground and the This creates extra, and most of all valuable, time to • I recommend to include a closed of pre-climax area holes of the mirror. increase the curiosity, immersion, and anticipation of the to create a high contrast with the infnity room. visitor. • I recommend not to use circles as a visual identity Music for other to reduce confused visitors unless the • I recommend adding extra dark space in front of The music that is played inside Club Mojo is a subject confusion benefts the context. the entrance to ‘force’ the curiosity, anticipation, that is slightly researched inside this project. In the and immersion of the visitor to increase the wow- current design, the sound is linked to another source in efect and therefore the intensity of the experience. the exhibition.

PART SIX: REFLECTION 99 19. MAIN CONCLUSION

The aim of the project was to develop an installation, holistic understanding. To make the model less the concept that triggers the cognition and emotions called Club Mojo, for the Mojo Backstage exhibition abstract and suited for the context of the exhibition, of the participants, close to the experience of the that would let visitors experience chills similar to one interviews and a study of festival experience were sublime. at a festival or concert. added. It resulted in a model that shows how a specifc increase of multi-sensory stimuli can trigger the With the approval of Museum Prinsenhof to include The fnal concept is a realistic result of this emotions and cognition of a visitor to reach a climax the light efect created for Club Mojo in the exhibition, assignment. To develop this design, multiple planned moment and send chills down one’s spine. the fnal design was developed. This design combines and unplanned iterations were done. Eventually, the the proven insights of the designer with a changed Museumkelder acted as a 150m2 case study for the A critical note in using this model, since it was created concept and available space. It resulted in a design design. The fnal context of Club Mojo was created by by the designer herself and therefore not been tested that includes the necessary build-up and blow-of two shrinkages, frst a proposal for 12m2 was created in this construction, was done by a research through in the experience, as well as elements that create a and fnaly a concept for a mere 1,5m2. The shrinkage design approach. By answering three questions social and curious setting. resulted in a concentrated installation that is proven that followed the Aesthetic Chills Model with design to evoke aesthetic chills. solutions, ideas and tests, more knowledge was This last iteration of Club Mojo shows the fexibility gained about the model. and scalability of the design, but also that of the To create a design that would evoke aesthetic chills, Aesthetic Chills Model. This graduation satudy resulted the Aesthetic Chills Model is created by the designer A late concept was tested with a qualitative research in two scientifcally informed concepts, respectively to make the complexity of a chills experience tangible that focussed on the experience created by two the one that was intended by the assignment and the o for a design process. The model is based on literature prototypes, a 360 video that simulated the increase one that is given to the feld of user experience design. research of multiple felds such as user experience, of an audiovisual experience ending in a physical philosophy, and psychology in order to create a prototype. It proved that elements are included in

100 PART SIX: REFLECTION 20. SELF-REFLECTION

This chapter provides a self-refection on the entire Follow my intuition. The Aesthetic Chills Model is the best Stay enthusiastic. Approximately for 90% of the time, I process of the 6 months project by the graduate example of this. I did an extensive literature research to was in a high state of enthusiasm. There have been so student. This is done following the personal goals that models and tools that could help me to reach my goal, many moments, big and small, that gave me so much were stated in May. but only complex abstract information was found. I energy and made me feel proud of what I’ve reached a believed that I could use this information for my design. certain moment. For example during a large test in the PERSONAL MAIN GOAL When I started to communicate my thoughts it seemed basement. I sat on the foor, looked to the efect that At the exhibition Mojo Backstage there is installation that the bare information wasn’t enough to argue with I had created that was seen everywhere (like the big called Club Mojo, guided by a small information sign my design. Early drafts of the model have been used panorama photo), put on my favorite music and just that includes the name Ir. Lana Letanche. To reach throughout the design, but the fnal and communicative enjoyed the moment. Experiencing something in such this goal I would need to graduate with a design that version can be seen in this report. a peace that I created. I would like to feel like this more convinces Museum Prinsenhof, Mojo Concerts, and Te often during the rest of my designing career. Bos. But moreover; need to impress the visitors that visit Get specifc. The previous example already shows how the exhibition. getting specifc could help me to communicate my Make it to the exhibition. Well, since there is still interest abstract thoughts. But mostly I’m surprised by the joy I to include the design in the exhibition I’m doing pretty SUB GOALS felt in creating a realizable concept. During DfI I shouted good on this goal. I did need to do concessions on the • Follow my intuition, based on the knowledge I gained often ‘I’m the fuzzy-end designer, someone else will design, but by working fexible and meeting the adjusting in the past 7 years. make it practical’. But I’ve experienced the choices that demands of the client the project resulted in a realistic • Get specifc, in order to deliver a realistic design that need to be made do change the design drastically. By design. It made it possible to defend my scientifcally isn’t too abstract (as I love to be). doing these changes myself, I was in a position to guard informed design. • Stay enthusiastic, since it’s my best drive to deliver a the abstract vision I still had about the design but made qualitative design. it practical.

PART SIX: REFLECTION 101 CONCLUSION PART SIX

PART SIX closes the report with refecting on the fnal The recommendations for the Aesthetic Chills Models concept, as well as the project itself. are on a research-level and discusses attention points to continue on the development of this model. Providing recommendation for both the Aesthetic Chills Model as the concept of Club Mojo. By The conclusion summarizes in one page how the presenting the recommendations separately, both development of the Aesthetic Chills Model has can be easily used as a starting point for further provided a tool for the designer to succeed in the aim development. The recommendations for Club Mojo for a realistic and impressive design, worthy of being are directed to Museum Prinsenhof, these need to be placed at the Mojo Backstage exhibition in 2019. taken into account when the realization starts.

102 REFERENCES

Ballantyne, R., Packer, J., & Falk, J. (2011). Visitors’ learning for Goldstein, A., 1980. Thrills in response to music and other stimuli. environmental sustainability: Testing short-and long-term impacts Physiological Psychology 8, 126–129. of wildlife tourism experiences using structural equation modelling. Tourism Management, 32(6), 1243-1252. Grewe, O., Kopiez, R., & Altenmüüller, E. (2009). The chill parameter: Goose bumps and shivers as promising measures in emotion research. Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to Music Perception: An Interdisciplinary Journal, 27(1), 61-74. music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences, 98(20), Huron, D. B. (2006). Sweet anticipation: Music and the psychology of 11818-11823. expectation. MIT press.

Colver, M. C., & El-Alayli, A. (2016). Getting aesthetic chills from Kujala, S., Roto, V., Väänänen-Vainio-Mattila, K., Karapanos, E., & music: The connection between openness to experience and frisson. Sinnelä, A. (2011). UX Curve: A method for evaluating long-term user Psychology of Music, 44(3), 413-427. experience. Interacting with Computers, 23(5), 473-483.

Colver, M. (2016, May 25), Why Does Great Music Give You the Chills? McCarthy, J., & Wright, P. (2004). Technology as experience. Retrieved from https://slate.com/technology/2016/05/getting- interactions, 11(5), 42-43. chills-when-listening-to-music-might-mean-youre-a-more-emotional- person.html Meyer, L. B. (1956). Emotion and meaning in music. 1956. for an important attempt to distinguish image processes, connotations, Frith, S. (1998). Performing rites: On the value of popular music. moods, and afective experience in the apprehension of musical Harvard University Press. phenomena, 256-272.

104 Morgan, M. (2008). What makes a good festival? Understanding the event experience. Event Management, 12(2), 81-93.

Morley, S. (2010). Introduction: The contemporary sublime. The Sublime, 12-21.

Panksepp, J. (1995). The emotional sources of” chills” induced by music. Music perception: An Interdisciplinary Journal, 13(2), 171-207.

Schoeller, F. (2015). Knowledge, curiosity, and aesthetic chills. Frontiers in psychology, 6, 1546.

Schoeller, F., & Perlovsky, L. (2016). Aesthetic chills: Knowledge-acquisition, meaning- making, and aesthetic emotions. Frontiers in psychology, 7, 1093.

Sloboda, J. A. (1991). Music structure and emotional response: Some empirical fndings. Psychology of music, 19(2), 110-120.

Steinbeis, N., Koelsch, S., & Sloboda, J. A. (2006). The role of harmonic expectancy violations in musical emotions: Evidence from subjective, physiological, and neural responses. Journal of cognitive neuroscience, 18(8), 1380-1393.

105 CONCLUSION PART ONE APPENDIX APPENDIX A BIOLOGY OF CHILLS In order to increase the intensity to create aesthetic the hairs. With our ancestors, this resulted into a thicker chills, some background knowlegde is needed about isolating fur. this phenomona. This appendix will present the biology side of goosebumps and how aesthetic chills are a Secondly, goosebumps caused by emotions. Historically, part of them. this was to protect oneself with an impressive thick fur to look bigger and more threatening to the source of When one talks about aesthetics, they often talk danger. Linking emotions to instinctive reactions is used to about things that are pleasing to look at. In this case, remember the situation more lively for future scenario’s, aesthetics are defned as the science of the mind and therefore increase the change of surviving. But then and emotions in relation to the sense of beauty. again, people also experience goosebumps during positive (https://www.dictionary.com/browse/aesthetic) That events. emotional goosebumps are called aesthetic chills is later explained in this chapter. This last phenomenon is called aesthetic chills. These chills are the main topic of this research since they are often 5.1 Goosebumps evoked by music, movies or other overwhelming situation. Let’s start with the basics of this unconscious phenomenon The origin and extensive defnition of aesthetic chills can be ‘goosebumps’. This occurs when some of the body hairs found in the section ‘Defnition Aesthetic Chills’. fex based on an external input. We can divide goosebumps by two types of input, both an evolutionary result and still 5.2 Biology an instinctive reaction. How come that if one perceives something emotionally, the body hair will fex? Let’s start with the hairs and work up First, people develop goosebumps when they experience towards the brain. The hair follicles are attached to a tiny cold. The skin tries to regulate the warmth by fexing muscle called the arrector pili. Contraction of this muscles causes that the skin will be pulled downwards and the hairs to fex. This results in a bumpy skin, also known as piloerection.

This arrector pili is linked to the sympathetic nervous prefrontal system, which is responsible for the fght-and-fight cortex response. This system reacts unconsciously since it is part arrector pili of the autonomic nervous system. This is why goosebumps are an instinctive reaction.

limib system The sympathetic nervous system is regulated by the amygdala, a part of the brain. This part is known for piloerection amygdala anticipation and the fear centrum. An activated amygdala sends signals through the nervous system and releases adrenaline and endorphins into the bloodstream. sympathetic nervous system Adrenaline makes the body act faster and endorphins sets the body into a functional mood based on a specifc emotion.

The prefrontal cortex is activated as well during an aesthetic chill. This part of the brain is known for the cognition and emotional functions. These two sections are connected by the limbic system, which is related to emotion, motivation, pleasure and the emotional memory. of input activate the mind There are some cases known where people are able to instinctively, wherefore it cause voluntary goosebumps. Some people are able Therefore, if we perceive something that triggers our assumes that it is in danger. to cause them by activating their sympathetic nervous instincts and we feel emotions about this, this activates In a split second the body system, others are able to create such intense emotions essential parts of the mind that are connected to the hairs makes itself ready for a by a memory or thoughts that they experience them. on our body and we experience chills. fght-or-fight response and (Heathers et al., 2018) sends all the necessary signals 5.3 Signals to the body. The amygdala Concluding, both the arousal of senses, and triggering The signals we perceive can be divided into two sections: reacts twice as fast before the assumptions of the situation emotions with memories are crucial in evoking aesthetic top-down and bottom-up signals. Top-down signals are validated. (Goleman, 1996) After the split second, our chills. A lot of research is done where chills are evoked by are controlled by the brain, where bottom-up signals brain recognizes that there is no danger, so our mind calms music. This combines both signals, especially when one are perceived by the senses. The aesthetic chills are down. could choose ones preferred song. The specifc elements an interaction between these two signals. We perceive that are found to evoke chills are presented in the next something with our senses and our mind matches an Although the mind is calmed down, the body on the other chapter.. emotion to it. The ratio between these two can difer hand is still activated. The activation is done by slow- based on the cause of the aesthetic chill, of which we can moving neurons; what we know as the shivers down the 5.4 Personality distinguish two types of causes. spine. Within this case, we can say that the bottom-up Not everyone is able to experience goosebumps. It depends signals (external) are more relevant in evoking an aesthetic on someone personality (McCrae, 2007). Based on the NEO First, people experience the chills from an arousal that chill. -PR-II, people who score high in ‘Openness to experience’ triggers their instincts. This can be a massage or a In the second case, the top-down signal is more relevant. in the Big Five model are more likely to experience soft touch on your arm that activates the sympathetic In the beginning, one perceives the signal with ones senses. aesthetic chills. Openness is characterized by loose mental nervous system. But it can also be something that you The signal brings up memories or thoughts that can evoke boundaries (McCrae & Costa, 1997). As McCrae mentions, experience as intense, like a song or a view. These types strong emotions. From this moment on the top-down signal a sudden dramatic turn in the emotionally charged takes over to reach an aesthetic chill. atmosphere of music or drama may push emotional aesthetic chills. emotion. (Perlovsky, 2014) Seen on evolutionary base it is processing over some threshold and require release in an very useful to link emotions and instincts since it will create aesthetic chill. Defnition of aesthetic chills a lively memory of what threatens us or gives us pleasure. Aesthetic chills are evoked by aesthetic emotions. Defning (Goleman, 1996) Openness is divided into a cognitive and emotional side. aesthetic emotions became a difcult task since diferent Some studies put more weight on the emotional side to studies used a slightly diferent description. The multiple The chills that can be released during this satisfaction, cause aesthetic chills (see Blood & Zatorre, 2001; Grewe defnitions do resemble one particular thing: the emotions are called aesthetic chills. They are other released at a et al., 2007a; Panksepp, 1995; Rickard, 2004; Sloboda, one experiences while perceiving something one fnds peak moment. Aesthetic emotions can also occur with 1991; Steinbeis et al., 2006) there is also a study that looks satisfactory. Some keep this satisfaction limited to the dissatisfaction, but this project focusses on positive more into the cognitive factors (Colver and El-Alayli, pleasure of art, especially music (Scherer & Zentner, 2008). emotions. Therefore only the satisfaction part will be 2016). Quoting Colver and El-Alayli, “Frisson likely includes Others keep the description broader as the satisfaction continued. In case one would follow this process on the an important cognitive component associated with of the knowledge and understanding of the surroundings. dissatisfaction, it would cause horror chills (Schoeller, 2015). anticipation, prediction, and working memory, all of which (Perlovsky, 2014) (Schoeller, 2015) For this assignment, the have been directly associated with the more cognitive last defnition will be followed in order to fnd inspiration in Summarising, the defnition of aesthetic chills: Chills features of Openness. In other words, for people high in subjects besides art disciplines. following an emotional peak caused by the satisfaction of Openness, unexpected musical events may be far more In intense situations, people act with their instincts, a gift knowledge and understanding. cognitively salient and, subsequently, far more emotionally from our ancestors and own life history. Instincts exist to moving and likely to induce frisson. This knowledge could protect us from harm and provide satisfaction to our bodily allow individuals to put forth more cognitive efort in order needs. In order to increase the amount and intensity of to achieve frisson experiences more readily. So this could satisfaction, humans need knowledge and understanding be interesting for a designer to design the interaction in of their surroundings. If that what one would perceive as such a way that it would ask for more cognitive efort, satisfaction, based on knowledge and understanding, and to evoke more moving emotions that will lead towards enrich this situation with emotions, we call it an aesthetic APPENDIX B INSPIRATION 10 11.1 TeamLab A group that ofers a lot of inspiration is Teamlab. Teamlab “This interactive digital installation consists of a seemingly When a person enters the installation and a fgure senses works with lights, projections, holograms, and other high- endless number of life-sized holograms. They play the viewer, that fgure responds to the person and stops tech solutions. One project that would match Club Mojo is a instruments and dance, and each individual is infuenced by playing music. The fgure passes on this information to music-making and dancing crowd of holograms that acts the sounds from the fgures close to them. External events other fgures close by. After a short period of time, the upon the presence of visitors. can cause disorder, but in time, peace will gradually be fgure will start playing music and dance again, but this restored. disturbance will have disrupted the harmony. If, however, the viewer stays still or leaves, the dancers will begin to form back into one harmonious group and the feeling of peace will return.” - TeamLab

TeamLab has a lot of other examples of interactive rooms. Their installations are big, high-tech and impressive. It keeps the visitor attached for a while, which is an interesting aspect for Club Mojo.

intensity intensity This project inspires by an example of an interactive of experience g x installation that can be fully controlled. Therefore, it n i ma it i shows an example that can be used over the entire cl ex . increase . blow-off 4. pre-climax 1. teas 3. 5. 6. b 7. 2 2. start course of the experience.

exhibition Club Mojo exhibition

context 12 11.2 Yashurio Chida An artwork that could be seen at the Light Festival 2017 in wreath in rainbow colors. The phenomenon occurs This simple technique let people play with beams of Amsterdam was a major source of inspiration. The impact when the sun is positioned directly behind you, thereby light. By controlling the number of holes while passing can be created with a simple technique. breaking and scattering the light rays. Chida recreates this by the intensity of how active one is can be controlled. phenomenon […] in a large metal box in which he punctured Therefor this inspiration is suitable from the increase ‘’Yasuhiro Chida’s installation Brocken 6 A was inspired by a thousands of holes by hand. Concentrated bundles of untill the blow-of. natural light phenomenon: the mysterious Brocken spectre. artifcial light penetrate the dark space and present your The ‘ghost’ consists of a shadow of you that has been own Brocken spectre.’’ - Amsterdam Light Festival projected on a cloud of fog and surrounded by a luminous x intensity intensity f e of experience g x n i t it re-clima ncreas p i star ex . . 5. clima 6. blow-of 1. teas 7 2. 4. 3

exhibition Club Mojo exhibition

context Left: Inside Brocken 6 A. Photo by Mira Chaloupka. top: Outside Brocken 6 A 14 11.3 Studio Olafur Eliasson One artist that ofers inspiration for this project is Olafur The artworks of Studio Olafur Eliasson show how Eliasson, focussing on artwork that takes over the room. people can be amazed and overwhelmed by a room It is a big gesture and a ftting example for the basement with a single source that evokes interaction. Looking since there is also a large volume that can be flled. The at the movements the source evokes at the visitors, example above, ‘Map for unthought thoughts’, shows this such as playing with one’s own shadow, fts the big gesture with a single source of light. timeline from the climax to the end.

“Map for unthought thoughts occupies a semicircular space whose long axial wall is covered in mirrors to give the impression that space is a full circle. At the center of the room, a slowly rotating light shines from the base of the wall through fve curved, concentric fences. Each fence consists of a diferent arrangement of crossing steel bands; the shadow cast by all the fences taken together forms a fvefold symmetrical pattern on the room’s curved white x

wall. intensity f e of experience g x t t

As visitors pass through space, their perception of the re-clima ncreas p i star

. exi 5. clima 6. blow-of 1. teasin 2. 4. 7 fences’ alignment shifts. The shadow pattern cast on the 3. wall and the size of the visitors’ own shadows undergo exhibition Club Mojo exhibition constant transformation.” - Studio Olafur Eliasson context Photo: Map for unthought thoughts (Iwan Baan, www.olafureliasson.net) I really can't think of another Because even the experience restaurant where, when I tell of walking into Alinea is people about the experience of it, disorienting and weird and kind You open the door and it looks I don't even wanna tell them how of uncomfortable, but kinda like a hallway that goes on for you get into the place. magical. 30 meter.

16 And maybe eight steps into it, a door to the side of the hallway You’re like “Wait, where was the And you look and it’s an optical just opens. rest of the hallway?” illusion.

But in retrospect, it’s also this And for ever-ever-how-long thing where you realize they’re They’re totally gonna screw with you’re there, you really don’t totally gonna mess with you. your brain. know what’s gonna happen.

Pictures: Screenshots Chef’s Table, Volume 2 - Grant Achatz 11.4 Restaurant Alinea The Netfix documentary Chef’s Table ofers a look in the kitchen of the most famous restaurants in the world. One particular restaurant became a source of inspiration for Club Mojot; Alinea in Chicago led by chef Grant Achatz.

The episode (Volume 2, Grant Achatz), shows how dining at Alinea isn’t just dining. It is a whole experience that starts when you enter it. Especially this moment of entering is interesting since it shows how visitors start to learn during their visit. Also, it shows how one can build up to a moment.

The screenshots of this particular fragment show how food critic Francis Lam experiences the entrance of the restaurant and how it sets it an expectation for the continuation of his visit.

The restaurant inspires to look at the entrance of Club x intensity intensity e ff ma of experience g

Mojo and how anticipiation can be build up during the i x n i t t experience. ma i cl blow-o exi increas . . . pre-cl . 1. teas 5 6 4 2. star 7 3. Foto: Screenshot Neftlix exhibition Club Mojo exhibition

context 18 11.5 Tresor This is the typical, dark and gloomy hallway one would expect guiding to an awesome and heavy party at an industrial location. This hallway can be found in Berlin, at nightclub Tresor. When discussing ideas for Club Mojo this place was mentioned by two separate persons.

It is a dark, concrete hallway lit by dim blue industrial lights. The lamps shine just bright enough so one is able the see the person in front and the length of the hallway. Suddenly bright white lights at the ceiling move fast from one end to the other. Just one time; back and forward. Then it is dark again for a while.

The limited space of a hallway that prepares the anticipation of the visitor before entering the dancefoor, suits Club Mojo from the entrance to the climax. x intensity intensity e ff of experience g x n i t ma it i ncreas i cl ex star

. Pictures: Screenshots of T. Kroesse visit at Tresor Berlin. . pre-clima 1. teas 5 6. blow-o 2. 4 7. 3. Down: same hallway. Source www.theclubmap.com exhibition Club Mojo exhibition

context 20

Lowlands

Mysteryland Down the Rabbit hole 10.6 Unexpected Bars Including the inspiration is also an repeating event house (Concert at Sea), next to the mainstage (Decibel), at The interaction that the Unexpected Bars creates suits organised by Heineken in collaboration with multiple (Mysteryland) or at Lowlands underneath the mainstage. the course of the experience of Club Mojo. The tease is festivals, including ones of Mojo Concerts. During the The picture of the key of the Unexpected Bar at Lowlands is enormous once one knows about this place, but does festival season of 2018 Heineken hosted ‘Unexpected Bars’ own material. not know how to get in or where to fnd it. at an unexpected location on the festival terrain. One is only alowed to go into the bar when they fnds the For instance above the main stage (Defqon), underneath key to open the door. To get the key, one needs to get this a tiny house (Down the Rabbit hole), on top of a light key from someone with a red star on one’s shirt. intensity intensity of experience g x n i ma it i cl ex . blow-off . increase 4. pre-climax 1. teas 3. 5. 6. b 7. 2 2. start

exhibition Club Mojo exhibition

context PART ONE CHRONOLOGICAL ORDER DEVELOPMENT INFINITY MIRROR The overwhelming efect This timeline shows the chronological order of the realization of the overwhelming efect that Club Mojo will be.

Perforated cloth Using a light blocking cloth and a paper hole puncher to create a wall of holes. The desired efect of shimmers of light is refected on the walls. Experiencing Brocken 6 A Window prototype Personally being Using the daylight as a light source and Testing with participants overwhelmed and in awe using colored flters to enhance the original They don’t move, just watch and the with this efect. stained glass. And placing a perforated daylight is not reliable enough for the cloth in front of it. amount of light. Perforated mirror Creating test mirror Validating efect Inspired by Studio Olafur Eliasson, placing a A scale model of refecting Using desk lights to test mirror next to the perforated cloth lets one perspex with diferent sized the efect. This creates a see the light efect on themselves. When holes is created with a laser mesmerizing efect that tested with others; they start moving even cutter. The color flters used needs to be experienced without music. In order to keep the design from the window are placed full scale. simple, the efect of a perforated mirror is at the back of the mirror. tested. Showing how organic lines are translated to scatterd dots for lasercut fle.

1:1 model A refective perspex plate of 110 x 80 cm is designed. and cut. Testing the scale model 1:1 test Showing the test setup, how showed a clear matrix of lights. A design The mirror is tested with the light falls on the setup and with various sized holes and an organic a matrix of nine dimming efect from behind the mirror. arrangement will be tested in this version. lights. 26

Panoramic view of 1:1 test in the Museumkelder. Showing the light efect and how it falls on the arched ceiling and on a person. Smaller dancefoor The test showed that the brilliance created by the mirror reaches its full potential with a mirror close to it, creating an infnity room of a few square meters.

27 Photo looking at the non- Photo looking at perforated perforated mirror. Refecting mirror showing the refections the light dots of the on the participant, refection perforated mirror, the holes of in the mirror and using the the mirror and refections of second mirror. the participant between the mirrors. Conclusion The climax of Club Mojo is designed as a brilliance light efect with matching music in an infnity room at the core of the installation. But a sudden appearance Qualitative test of this efect does not evoke chills, based During the qualitative test, a small infnity Photo showing the refection Photo showing what is on the model presented in PART TWO. room was created with the mirror and a in the see-through mirror visible behind the see- Therefore, the upcoming two chapters see-through mirror. The see-through mirror that is not as sharp as the through mirror; the holes of answer the research questions that look didn’t refect enough brilliance to create refection of a full mirror. the perforated mirror and further into how this efect can have its best a sharp efect. This test will be further refections of the light bundles build-up in order to evoke chills and how it presented in PART FOUR. on the window. fts in the exhibition. APPENDIX D QUALITATIVE TEST D.1 Impression set-up

Participant frst impression Participant wathcing 360 video The frst impression of the test room, Multisense at Industrial Design, when A participant watching the 360 video, holding the goggle against her head. a participant enters. At the front, a large table is seen. This table is used In case she starts to feel nauseous she can sit on the rotating desk chair for the introduction and interview. At the back, the physical prototype can at the bottom left. During the test, the ceiling lights were dimmed reducing be seen. The perforated mirror is blocked by a cloth. At the left, an area is light falling at the edges of the goggle. visually closed of from the room to reduce the impression a participant has while switching prototype. Prototype impression Left the frst impression of the curtain can be seen. It covers most of the vieuw, but at the bottom a few light dots can be seen. These are more visible when the ceiling lights are dimmed. Prototype enlightment The prototype is lit up by three desk lights attached to a tripod. Therefore At the top the impression inside the physical prototype can three hights can be tested a multiple light combinations can be used. Dark be seen. At the left the spionage mirror with the refection clothes are used to block as much light as possible insight the prototype. of the perforated mirror on the right. During the test, the ceiling lights were dimmed. D.2 Panoramas shown in 360 video

Six rooms Room 1 Room 2 In the video the particpants are teleported Time frame (0:00 - 0:08) Time frame (0:08 - 0:20) between 6 rooms. There are changes made A dark room with showing tiny refectives This room shows gradually more and larger between the rooms, like the amount of at the end of the hallway. The music starts pulsing refectives. They also appear on the light-sources and refective stickers. The with a low volume and increases a bit foor. The three dots seen in the previous light-sources, and therefor the refective during the fragment. There is little bass. room are now larger. The music becomes stickers as well, are pulsating. This efect louder and the bass is added gradually. . is also seen in the video. These render are shown in a panoramic view. The center of the render is the front of the image. Room 3 Room 4 Time frame (0:20 - 0:40) Time frame (0:40 - 0:50) Is covered in even more and larger Three pulsating light-sources can be seen. refectives than the previous room. The Also tiny dots are now visible. The music is refectives are located at the ceiling, still loud but the bass is toned down a bit. ground, and side walls. Thereby the Club Mojo sign is largly shown behind the participant. The music is louder and the bass is heavy. Room 5 Room 6 Time frame (0:50 - 1:05) Time frame (1:05 - 1:15) Nine ligth-sources are now pulsating. Some There are two light sources. The bass is of the tiny dots and refective stickers are gone and a flter loosing the high and collored. The music is at the same level as middle notes is added. The number of the previous room. musical elements is also less than before this moment.

The music contiues to the vocal part of the song, lasting till 3:18.

zou zijn. zijn. zou

om naar te kijken kijken te naar om prototype fysieke de in dit dat verwacht perse niet ook had Ik -

aan het ronddraaien. Ik vond de geperforeerde kant interessant interessant kant geperforeerde de vond Ik ronddraaien. het aan video. de

- Ik was niet heel hard heen en weer aan het bewegen maar wel wel maar bewegen het aan weer en heen hard heel niet was Ik - in groter veel waren stippen De anders. was verwachting De -

het bedekt. bedekt. het interessanter.

- Als het groter wordt, is het denk ik gaver met alle muren die die muren alle met gaver ik denk het is wordt, groter het Als - die ik vond kijken kon heen je om echt je en was echt het

- Geen kippenvel moment gehad. gehad. moment kippenvel Geen - in het omdat lichten, alle met was ik waar niet snapte Ik -

kijkt, dat gevoel kreeg ik. ik. kreeg gevoel dat kijkt, interessant. ook

- Dat gevoel dat je ’s nachts onder de sterren fetst en omhoog omhoog en fetst sterren de onder nachts ’s je dat gevoel Dat - waren fitsen groene de leuk, weer wel ik vond stippen Veel -

vond ik interessant. ik vond vinden.

- Door die spiegel erachter hing kon je in de diepte kijken, dat dat kijken, diepte de in je kon hing erachter spiegel die Door - tof heel weer wel dan ik kan lichtshows De praten. elkaar met

me denken aan een sterrenlucht. sterrenlucht. een aan denken me niet kan je en hard te staat muziek de nachtclub, een naar

minder want ik ben zelf niet zo van de club’s. Ik ga niet graag graag niet ga Ik club’s. de van zo niet zelf ben ik want minder lampjes en dat vind ik heel leuk. Hier was veel te zien. Het deed deed Het zien. te veel was Hier leuk. heel ik vind dat en lampjes

- Bij Club Mojo was het een beetje hetzelfde, ik vond het wat wat het vond ik hetzelfde, beetje een het was Mojo Club Bij - - Je kwam binnen en het was donker, en je ziet een paar paar een ziet je en donker, was het en binnen kwam Je -

niet wist wat ik kon verwachten. verwachten. kon ik wat wist niet - Ik vond het als verloop leuk, dat het steeds meer werd. werd. meer steeds het dat leuk, verloop als het vond Ik -

-Ik vond in het begin bij de video, ik vond het interessant dat ik ik dat interessant het vond ik video, de bij begin het in vond -Ik - Meer kleuren maakt het interessanter en daarmee leuker. daarmee en interessanter het maakt kleuren Meer -

cu 1: Participant

dutch, can be found. found. be can dutch,

the calibrated UX Curve. Next to each curve the matching quotes, in in quotes, matching the curve each to Next Curve. UX calibrated the

Curve. In grey the new axis showing the location, the blue line shows shows line blue the location, the showing axis new the grey In Curve.

The calibrated version of the curve is drawn on top of the original UX UX original the of top on drawn is curve the of version calibrated The

fig Calibration

UX Curve Curve UX wa D.3

ruimte had ik het meer als een ervaring gezien. gezien. ervaring een als meer het ik had ruimte

gehaald worden. Misschien als ik de bril had afgedaan in de de in afgedaan had bril de ik als Misschien worden. gehaald

even terugkomen in de ruimte en even uit de experience experience de uit even en ruimte de in terugkomen even

- Dit was de wisseling tussen de bril en het prototype. Puur Puur prototype. het en bril de tussen wisseling de was Dit -

veel beweging en reactie. Maar het was vooral chill. chill. vooral was het Maar reactie. en beweging veel kijken zat en ontspannen was. Toen kon ik kijken en ‘wooow’. ‘wooow’. en kijken ik kon Toen was. ontspannen en zat kijken

- Ik zat in een stijgende lijn door het flmpje, en ik verwachte verwachte ik en flmpje, het door lijn stijgende een in zat Ik - meer chill. Toen ik eigenlijk stil stond en gewoon om heen te te heen om gewoon en stond stil eigenlijk ik Toen chill. meer

gebeuren. Omdat het relatief rustig bleef, zakte het af. af. het zakte bleef, rustig relatief het Omdat gebeuren. meer verwondering. Toen de verwachting en gedaald was en en was gedaald en verwachting de Toen verwondering. meer

- Door de fitsen ben je ook nieuwsgierig wat er nu gaat gaat nu er wat nieuwsgierig ook je ben fitsen de Door - - Hmm, ik weet niet of het echt kippenvel-kippenvel was. Maar Maar was. kippenvel-kippenvel echt het of niet weet ik Hmm, -

fitsen had je door dat er dingen aan het gebeuren waren. waren. gebeuren het aan dingen er dat door je had fitsen hoorde. hoorde.

interessanter, sommige waren feller dan de andere. Door de de Door andere. de dan feller waren sommige interessanter, - Ik wist niet zo goed of de dubbele spiegel bij de opstelling opstelling de bij spiegel dubbele de of goed zo niet wist Ik -

- Ik merkte dat er een soort verandering was. Het werd werd Het was. verandering soort een er dat merkte Ik - soms wat meer kleuren. kleuren. meer wat soms

- Het werd even wat lager door de overgang die erin zat. zat. erin die overgang de door lager wat even werd Het - - Het ervoor lopen merkte ik inderdaad. Soms wat meer witte, witte, meer wat Soms inderdaad. ik merkte lopen ervoor Het -

in de test. test. de in goed. goed.

erin zitten door de 360. Ik had er ook gewoon best wel veel zin zin veel wel best gewoon ook er had Ik 360. de door zitten erin - Ik dacht dat je me misschien wel zou zien, dus ik durfde niet zo zo niet durfde ik dus zien, zou wel misschien me je dat dacht Ik -

- Halverwege het flmpje was ik er best wel into it. Volledige Volledige it. into wel best er ik was flmpje het Halverwege - c gebeuren. zou meer er of wist niet ik doordat ongemakkelijk was

verwondering en een beetje confusion. confusion. beetje een en verwondering - Het zag er wel heel mooi uit, dat met die lichten op jezelf. Het Het jezelf. op lichten die met dat uit, mooi heel wel er zag Het -

je eruit en dan is het ‘oh nee, ik ben op de uni’. Ik had had Ik uni’. de op ben ik nee, ‘oh het is dan en eruit je zou gebeuren. gebeuren. zou

gemaakt. Ik had heel kort dezelfde ervaring. En toen kwam kwam toen En ervaring. dezelfde kort heel had Ik gemaakt. Misschien als ik over het rode of over het groene ging dat er iets iets er dat ging groene het over of rode het over ik als Misschien

was. Daar hadden ze met blacklight allemaal schilderingen schilderingen allemaal blacklight met ze hadden Daar was. mij. Het was me niet helemaal duidelijk, maar ik hoopte het was. was. het hoopte ik maar duidelijk, helemaal niet me was Het mij.

- Het deed me denken aan een huisfeestje waar ik laatst laatst ik waar huisfeestje een aan denken me deed Het - - Ik merk dat ik verwachte dat de lichten zouden reageren op op reageren zouden lichten de dat verwachte ik dat merk Ik - Participant 2: Participant

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- Je hebt niet echt door dat je het niet helemaal snapt. Maar het het Maar snapt. helemaal niet het je dat door echt niet hebt Je -

hand is. En dan kom je erachten en dan denk je ooooh. ooooh. je denk dan en erachten je kom dan En is. hand

dat dat het ook trigger dat je niet helemaal snapt wat er aan de de aan er wat snapt helemaal niet je dat trigger ook het dat dat waarom.

- Wat is nou echt? Dat efect had ik ook in de spiegel. Misschien Misschien spiegel. de in ook ik had efect Dat echt? nou is Wat - je. Ik had toen echt kippenvel, maar ik kon niet duiden duiden niet kon ik maar kippenvel, echt toen had Ik je.

raakt de realiteit kwijt. kwijt. realiteit de raakt -Had je kippenvel ergens in de ervaring? Ja. Ik zei het het zei Ik Ja. ervaring? de in ergens kippenvel je -Had

- Als ik nu terugdenk, je wordt door de video gedesoriënteerd en en gedesoriënteerd video de door wordt je terugdenk, nu ik Als - het verstoorde mijn ervaring. ervaring. mijn verstoorde het

vandaan, dat maakte het vet. vet. het maakte dat vandaan, - Het voelde alsof jij een andere museum gast was, en en was, gast museum andere een jij alsof voelde Het -

het vandaan kwam, het was heel mysterieus. Het kwam nergens nergens kwam Het mysterieus. heel was het kwam, vandaan het en een paarse lamp. lamp. paarse een en

gehypnotiseerd. Ik vond dat wel een vet iets. Ik zag niet waar waar niet zag Ik iets. vet een wel dat vond Ik gehypnotiseerd. gaatjes zit ook in een sterrenhemel-achtig en de kleuren kleuren de en sterrenhemel-achtig een in ook zit gaatjes

gegeven moment gingen er groene lichten aan en werd ik ik werd en aan lichten groene er gingen moment gegeven van vierde dimensie. Je beweegt zelf erdoorheen, de de erdoorheen, zelf beweegt Je dimensie. vierde van

- Op een geven moment zag ik Club Mojo. Op een een Op Mojo. Club ik zag moment geven een Op - - De bewegende lampen maakte het dynamisch. Soort Soort dynamisch. het maakte lampen bewegende De -

elkaar zat. zat. elkaar wordt dat deels voor je gecontroleerd. gecontroleerd. je voor deels dat wordt

- Ik had nog niet helemaal gekoppeld hoe het allemaal aan aan allemaal het hoe gekoppeld helemaal niet nog had Ik - - Je kan zelf bepalen waar je kijkt, maar in de video video de in maar kijkt, je waar bepalen zelf kan Je -

de kleurtjes. Waren het verschillende lampen? lampen? verschillende het Waren kleurtjes. de er nou voor het eerst uitzag. uitzag. eerst het voor nou er

surrealistisch. Het klopt niet dat het licht uit de spiegel komt. En En komt. spiegel de uit licht het dat niet klopt Het surrealistisch. kan het eigenlijk ook niet meer voor me halen hoe het het hoe halen me voor meer niet ook eigenlijk het kan de spiegel. Normaal komt dat niet van dezelfde kant. Het is is Het kant. dezelfde van niet dat komt Normaal spiegel. de

c Ik door. gordijntje het in, fysiek ergens echt loopt Je - - Ik vond het heel vet dat het op jou zat, en dat zag je weer in in weer je zag dat en zat, jou op het dat vet heel het vond Ik - was. was.

zie je echt hoe het licht licht het hoe echt je zie was. De lampen stonden onderin, wat eigenlijk ook gek gek ook eigenlijk wat onderin, stonden lampen De was.

toen ik zag dat het een spiegel was, die met de gaatjes erin. Dan Dan erin. gaatjes de met die was, spiegel een het dat zag ik toen - Ik had niet meer helemaal door wat boven en onder onder en boven wat door helemaal meer niet had Ik -

- Toen zag je ineens de spiegel en toen was het leip! Al helemaal helemaal Al leip! het was toen en spiegel de ineens je zag Toen - daar ging ik in mee. mee. in ik ging daar

was. Het ging wel omhoog. omhoog. wel ging Het was. - Ik was verdwaald aan het begin door de video, maar maar video, de door begin het aan verdwaald was Ik -

- De video was, ik weet het niet, het was even wennen waar je je waar wennen even was het niet, het weet ik was, video De - was wel heel vet toen ik het eenmaal wel door had. had. door wel eenmaal het ik toen vet heel wel was Participant 3: Participant fi

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- Ik had weinig verwachtingen over de fysieke opstelling. opstelling. fysieke de over verwachtingen weinig had Ik -

van video en fysiek. fysiek. en video van

- De VR en het prototype sloten niet echt aan, toch een verschil verschil een toch aan, echt niet sloten prototype het en VR De -

- Na een tijdje raak je gewend. gewend. je raak tijdje een Na -

dingetjes en toen had ik iets nieuws te ontdekken. ontdekken. te nieuws iets ik had toen en dingetjes

- Ik dacht ‘Oh ik heb hem door’ maar toen zag ik de kleuren kleuren de ik zag toen maar door’ hem heb ik ‘Oh dacht Ik -

- Het werd pas rustiger voor me me voor rustiger pas werd Het -

- De verschillende kleuren was ook leuk. leuk. ook was kleuren verschillende De -

- Je zag jezelf, ook intens. intens. ook jezelf, zag Je -

ontdekken was. was. ontdekken

waar de lichtbron zit. Het bleef lang intens omdat er heel veel te te veel heel er omdat intens lang bleef Het zit. lichtbron de waar door kwam dacht ik wel ‘wow’, echt bijna kippenvel. kippenvel. bijna echt ‘wow’, wel ik dacht kwam door

- Toen werd het super intens, er is overal licht en ik weet niet niet weet ik en licht overal is er intens, super het werd Toen - - Hmm, nee niet echt ervaren. Maar toen ik het gordijntje gordijntje het ik toen Maar ervaren. echt niet nee Hmm, -

me pas bewust van de muziek. Stond die de hele tijd aan? Ja. Ja. aan? tijd hele de die Stond muziek. de van bewust pas me iemand anders in sta, door de geluiden die ze maken. maken. ze die geluiden de door sta, in anders iemand

weet wat erachter zit maar je hoort wel de muziek. Hier werd ik ik werd Hier muziek. de wel hoort je maar zit erachter wat weet - Ik zou het misschien minder intens ervaren als ik er met met er ik als ervaren intens minder misschien het zou Ik -

- Door het gordijntje heen was al best wel intens. Omdat je niet niet je Omdat intens. wel best al was heen gordijntje het Door - spelen. Hard op denken. denken. op Hard spelen.

- Het gebouwde prototype inlopen. inlopen. prototype gebouwde Het - - Als je met je vrienden bent ga je wel meer met elkaar elkaar met meer wel je ga bent vrienden je met je Als - Oh dit is een leuk spel om op zoek te gaan naar meer punten. punten. meer naar gaan te zoek op om spel leuk een is dit Oh

c lichtbronnen. verschillende de van bewuster ik - Het werd steeds intenser want ik ontdekte steeds meer dingen. dingen. meer steeds ontdekte ik want intenser steeds werd Het - gaande’. Iets van een flmpje ofzo. Door de kleuren werd werd kleuren de Door ofzo. flmpje een van Iets gaande’.

- Het werd rustiger want ik raakte aan de situatie gewend. gewend. situatie de aan raakte ik want rustiger werd Het - - Door die kleuren dacht ik ineens ‘er is iets achter achter iets is ‘er ineens ik dacht kleuren die Door -

rondgekeken tot dat moment. moment. dat tot rondgekeken De lamp wisselingen brengen het meer tot leven. leven. tot meer het brengen wisselingen lamp De

- Het begon met de felle letters van Club Mojo. Ik kan niet verder verder niet kan Ik Mojo. Club van letters felle de met begon Het - - Een opstelling die heel erg statisch lijkt te zijn, is het niet. niet. het is zijn, te lijkt statisch erg heel die opstelling Een -

- Ik was verward omdat ik eerst zwart zag met vlekken erin. erin. vlekken met zag zwart eerst ik omdat verward was Ik - - Ik had lage verwachtingen en toen was het ineens ‘wow’! ineens het was toen en verwachtingen lage had Ik - Participant 4: Participant

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het begin was. Dat je eerst even verwart raakt. raakt. verwart even eerst je Dat was. begin het

- Het mojo logo vond ik heel vet, ook tof dat niet in in niet dat tof ook vet, heel ik vond logo mojo Het -

club sta. sta. club

- Het is een heel fjn nummertje, zelfs als ik in de de in ik als zelfs nummertje, fjn heel een is Het -

met de lampen aan het spelen was. was. spelen het aan lampen de met

- Toen dacht ik ‘Huh wat gebeurd er nu’, toen je je toen nu’, er gebeurd wat ‘Huh ik dacht Toen -

leuk. leuk.

Als je in een lege club bent, vind je het ook niet niet ook het je vind bent, club lege een in je Als

- Voor in een club mis je de mensen om je heen. heen. je om mensen de je mis club een in Voor -

geperforeerde is veel cooler. cooler. veel is geperforeerde

- Ik wist niet zo goed om welke spiegel het ging. De De ging. het spiegel welke om goed zo niet wist Ik -

spiegel. spiegel.

- Je blijft wel een beetje naar jezelf kijken in de de in kijken jezelf naar beetje een wel blijft Je -

- Flitsende lichten en meer mensen om je heen, heen, je om mensen meer en lichten Flitsende -

het continue. continue. het eigenlijk had gezien. gezien. had eigenlijk

c verandert flmpje het In seconden. 2 na gezien wel - Even een daling in de intensiteit toen ik het het ik toen intensiteit de in daling een Even - je heb dat maar mooi, heel vorming de vond Ik -

intensiteit heel snel naar beneden. beneden. naar snel heel intensiteit vetter. steeds werd dat en verwacht

- Ik draaide een paar rondjes, en toen ging de de ging toen en rondjes, paar een draaide Ik - had ik als heftig zo niet ook eerst het vond Ik

- Steeds een kleine opbouw. opbouw. kleine een Steeds - intenser. steeds werden lampen de en muziek De -

zoeken. zoeken. tof. heel muziek de vond Ik -

- Ik ging verder kijken. Zoeken, zoeken, zoeken, zoeken, zoeken, Zoeken, kijken. verder ging Ik - rondje steeds draaide Ik - Participant 5 Participant fi

wa

wa fi

- Participant 6 heeft geen - Participant 7 kreeg kippenvel kippenvel ervaren. aan het begin van de test, door het opdoen van de goggle. Het voelde alsof hij

een nieuwe wereld betrad. c

40 recording error. some notes from notebook.

- De fysieke ruimte maakt me nieuwsgierig naar wat er nog nog er wat naar nieuwsgierig me maakt ruimte fysieke De -

komt. komt.

- Als je niet weet dat het einde is, dan blijf je wachten tot er iets iets er tot wachten je blijf dan is, einde het dat weet niet je Als -

gebeuren. gebeuren.

- Ik was nieuwsgierig naar wat er misschien nog meer zou zou meer nog misschien er wat naar nieuwsgierig was Ik -

komen neemt de intensiteit af. af. intensiteit de neemt komen

de tweede (lage) lijn. Zodra er geen nieuwe veranderingen veranderingen nieuwe geen er Zodra lijn. (lage) tweede de

- Als het als een constante ervaring werd gezien, dan werd het het werd dan gezien, werd ervaring constante een als het Als -

voelde als constant. als voelde

- Had niet door de veranderingen van de lampen door, die die door, lampen de van veranderingen de door niet Had -

kon ik wel in het flmpje vinden. Daar was overal iets anders. anders. iets overal was Daar vinden. flmpje het in wel ik kon

- Meer nieuwe dingen zorgt voor meer aandacht en prikkel. Die Die prikkel. en aandacht meer voor zorgt dingen nieuwe Meer -

emoties wilt. wilt. emoties

- Ik miste nieuwe dingen in de ruimte, al helemaal als je meer meer je als helemaal al ruimte, de in dingen nieuwe miste Ik - ontspannen. ontspannen.

- Ik had het snel gezien, ik was er korter dan in de flm. flm. de in dan korter er was ik gezien, snel het had Ik - verandering is. Nu wissel tussen studeren en en studeren tussen wissel Nu is. verandering

- De ruimte was constant. constant. was ruimte De - - Ik krijg kippenvel wanneer er een snelle snelle een er wanneer kippenvel krijg Ik -

- Tijdens de ruimte gebeuren er minder dingen dan bij de bril. bril. de bij dan dingen minder er gebeuren ruimte de Tijdens - vandaan kom. kom. vandaan

wat meer. meer. wat muziek begon. Heel anders dan de TU waar ik nu nu ik waar TU de dan anders Heel begon. muziek

- De ruimte was wel beter. Iets meer. Door dat het reëel is, is het het is is, reëel het dat Door meer. Iets beter. wel was ruimte De - - Uuuh, misschien even aan het begin toen de de toen begin het aan even misschien Uuuh, -

niet echt. echt. niet een ventilator en dan was er wind geweest. geweest. wind er was dan en ventilator een

- Bij de bril zag je steeds nieuwe dingen en van alles. Dit was was Dit alles. van en dingen nieuwe steeds je zag bril de Bij - meer kon gebeuren. Straks stond er ineens ergens ergens ineens er stond Straks gebeuren. kon meer

- Het begin, wanneer je alle kleuren zag. zag. kleuren alle je wanneer begin, Het - Participant 8 Participant

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het prototype. prototype. het

wordt wel opgebouwd in het flmpje maar niet waargemaakt in in waargemaakt niet maar flmpje het in opgebouwd wel wordt vond ik heel vet. Zo’n kleine ruimte maar het lijkt zo groot. groot. zo lijkt het maar ruimte kleine Zo’n vet. heel ik vond

erin verwerken zodat mensen langer nieuwsgierig blijkt. Dat Dat blijkt. nieuwsgierig langer mensen zodat verwerken erin - Ja toen ik binnen kwam in de ruimte had ik kippenvel, dat dat kippenvel, ik had ruimte de in kwam binnen ik toen Ja -

- Het is wel heel gaaf, maar kort. Misschien meer elementen elementen meer Misschien kort. maar gaaf, heel wel is Het - maakt. maakt.

in. in. - Misschien een interactie als extra element, dat het intenser intenser het dat element, extra als interactie een Misschien -

- Het word langzaam minder, want je gaat een andere scene scene andere een gaat je want minder, langzaam word Het - - Je wordt opgebouwd naar een bepaalde hype. hype. bepaalde een naar opgebouwd wordt Je -

meegemaakt. Dan ga je dat een beetje ontdekken. ontdekken. beetje een dat je ga Dan meegemaakt. wel van dit abstracte niveau. niveau. abstracte dit van wel

- Omdat het 3D beeld is, is dat al heel vet. Had ik nog nooit nooit nog ik Had vet. heel al dat is is, beeld 3D het Omdat - Mojo, dan snappen mensen het wel. Ik vind het wel vet en hou hou en vet wel het vind Ik wel. het mensen snappen dan Mojo,

lichtinval en het wel gezien dan neemt t wel af. af. wel t neemt dan gezien wel het en lichtinval - Als je het combineert met iets dat echt gerelateerd is aan aan is gerelateerd echt dat iets met combineert het je Als -

- Wanneer je denkt, ik heb een beetje gespeeld met de de met gespeeld beetje een heb ik denkt, je Wanneer - - Een soort van tijdcapsule, omdat het zo abstract en vreemd is. is. vreemd en abstract zo het omdat tijdcapsule, van soort Een -

snel naar beneden want ik had het wel gezien. gezien. wel het had ik want beneden naar snel achievements van de afgelopen 50 jaar waren. jaar 50 afgelopen de van achievements

- Dan ga je een beetje kijken hoe het werkt. Daarna ging het het ging Daarna werkt. het hoe kijken beetje een je ga Dan - 50 jaar hadden gedaan. De puntjes kan je zien als alle alle als zien je kan puntjes De gedaan. hadden jaar 50

je niet gelijk ziet. ziet. gelijk niet je verwacht dat het iets te maken had met wat ze de afgelopen afgelopen de ze wat met had maken te iets het dat verwacht

- Ik vond het vet om de kleuren te zien, iets wat dieper, iets wat wat iets dieper, wat iets zien, te kleuren de om vet het vond Ik - - Ik zie niet precies in waarom het Club Mojo heet. Ik had had Ik heet. Mojo Club het waarom in precies niet zie Ik -

verwachten. verwachten. ervaren. ervaren.

- Het begin vond ik wel nice, je weet niet wat je kan kan je wat niet weet je nice, wel ik vond begin Het - je door en dan kom je in een kamer met club mojo. Een beetje beetje Een mojo. club met kamer een in je kom dan en door je

dat wel. wel. dat

cu loop dan en zit, gangenstelsel een in je dat me voor het zie Ik -

je het wel gezien. Pakt niet echt je aandacht. Club Mojo deed deed Mojo Club aandacht. je echt niet Pakt gezien. wel het je - Bij Club Mojo was het wel fashy. Hier ga je op ontdekking. ontdekking. op je ga Hier fashy. wel het was Mojo Club Bij -

- Eerst was het een soort van ruimte, maar na 5 seconde had had seconde 5 na maar ruimte, van soort een het was Eerst - voorbij. voorbij.

- Daarna zag je ook niet echt meer interessante dingen. dingen. interessante meer echt niet ook je zag Daarna - - Het is wel impressive, maar na een tijdje is het ook wel weer weer wel ook het is tijdje een na maar impressive, wel is Het -

weet je niet waar je bent, en dan zie je ineens waar je bent. bent. je waar ineens je zie dan en bent, je waar niet je weet past de muziek bij. bij. muziek de past

- Het hoogte punt, Club mojo zien. Dat vond ik wel nice. Eerst Eerst nice. wel ik vond Dat zien. mojo Club punt, hoogte Het - - Je wordt meegezogen in een bepaalde experience, en daar daar en experience, bepaalde een in meegezogen wordt Je - Participant 9 Participant

fig

wa o

totaal niet wat ik kon verwachten. Je gaat een kleine ruimte in, in, ruimte kleine een gaat Je verwachten. kon ik wat niet totaal

- Ik had helemaal geen verwachtingen. Na de video wist ik ik wist video de Na verwachtingen. geen helemaal had Ik -

- De puntjes in de video en het prototype sluiten op elkaar aan. aan. elkaar op sluiten prototype het en video de in puntjes De -

in het protoype. het in

- Ik hield mezelf vast en was om mijzelf heen aan het draaien draaien het aan heen mijzelf om was en vast mezelf hield Ik -

mee. Toen het liedje voorbij was had ik wel gezien. gezien. wel ik had was voorbij liedje het Toen mee.

- Doordat het liedje afgelopen was, was ik er ook wel klaar klaar wel ook er ik was was, afgelopen liedje het Doordat -

kijken. Het was niet verblinden. verblinden. niet was Het kijken.

- De lichten die aan uit gingen was heel interessant om naar te te naar om interessant heel was gingen uit aan die lichten De -

geluid. Al was het maar 1 seconde. 1 maar het was Al geluid.

voor mijn het intenst. In combinatie met de lichten en het het en lichten de met combinatie In intenst. het mijn voor

nadenken. Je bent er bewust van dat je jezelf ziet. Dat was was Dat ziet. jezelf je dat van bewust er bent Je nadenken.

muziek was ook niet per se super vrolijk, daar ga je door door je ga daar vrolijk, super se per niet ook was muziek

van alles om je heen. En je kijkt jezelf ineens recht aan. De De aan. recht ineens jezelf kijkt je En heen. je om alles van

wordt gelijk geconfronteerd met jezelf. Het is klein er gebeurd gebeurd er klein is Het jezelf. met geconfronteerd gelijk wordt

- Ik vond het heftig om het prototype in te stappen want je je want stappen te in prototype het om heftig het vond Ik - dat er iets engs achter je staat. staat. je achter engs iets er dat

intensiteit af. af. intensiteit - Ik moest denken aan horror flms met die VR bril, bril, VR die met flms horror aan denken moest Ik -

- De fitsen werden na een tijdje minder, dus toen nam de de nam toen dus minder, tijdje een na werden fitsen De - nooit zo’n test had gedaan. gedaan. had test zo’n nooit

intens’. intens’. - Aan het begin was ik zenuwachtig omdat ik nog nog ik omdat zenuwachtig ik was begin het Aan -

- ‘de fitsen, van ‘oh shit komt daar iets uit’, dat vond ik wel wel ik vond dat uit’, iets daar komt shit ‘oh van fitsen, ‘de - zodra ik mijzelf aan keek. keek. aan mijzelf ik zodra

je ziet geen voeten’ voeten’ geen ziet je - Als ik kippenvel had moeten voelen, dan was het het was dan voelen, moeten had kippenvel ik Als -

- ‘Ik vond het heftig dat je naar beneden kijkt en het gaat door, door, gaat het en kijkt beneden naar je dat heftig het vond ‘Ik - en ik had echt geen idee. idee. geen echt had ik en Participant 10 Participant

w D.4 Quotes categorized (Dutch)

Reaction on chills: van alles om je heen. En je kijkt jezelf ineens recht aan. Daar ga dingetjes en toen had ik iets nieuws te ontdekken. (P4) -Als ik kippenvel had moeten voelen, dan was het zodra ik je door nadenken. (P10) - Door die kleuren dacht ik ineens ‘er is iets achter gaande’. Iets mijzelf aan keek. (P10) - Je zag jezelf, ook intens. (P4) van een flmpje ofzo. Door de kleuren werd ik bewuster van de - Geen kippenvel moment gehad. (p1) - Je blijft wel een beetje naar jezelf kijken in de spiegel. (P5) verschillende lichtbronnen. (P4) - Hmm, nee niet echt ervaren. Maar toen ik het gordijntje door - Ik vond het vet om de kleuren te zien, iets wat dieper, iets wat kwam dacht ik wel ‘wow’, echt bijna kippenvel. (P4) Immersion je niet gelijk ziet. (P9) - Ja toen ik binnen kwam in de ruimte had ik kippenvel, dat - Op een gegeven moment gingen er groene lichten aan en - Bij Club Mojo was het wel fashy. Hier ga je op ontdekking. (P9) vond ik heel vet. Zo’n kleine ruimte maar het lijkt zo groot. (P9) werd ik gehypnotiseerd. Ik vond dat wel een vet iets. Ik zag niet - Door de fitsen ben je ook nieuwsgierig wat er nu gaat - Hmm, ik weet niet of het echt kippenvel-kippenvel was. Maar waar het vandaan kwam, het was heel mysterieus. Het kwam gebeuren. Omdat het relatief rustig bleef, zakte het af. (P2) meer verwondering. Toen de verwachting en gedaald was en nergens vandaan, dat maakte het vet. (P3) - Misschien dat dat het ook trigger dat je niet helemaal snapt meer chill. Toen ik eigenlijk stil stond en gewoon om heen te - Als ik nu terugdenk, je wordt door de video gedesoriënteerd en wat er aan de hand is. En dan kom je erachten en dan denk je kijken zat en ontspannen was. Toen kon ik kijken en ‘wooow’. raakt de realiteit kwijt. Wat is nou echt? Dat efect had ik ook in ooooh. Je hebt niet echt door dat je het niet helemaal snapt. (P2) de spiegel. (P3) Maar het was wel heel vet toen ik het eenmaal wel door had. - Ja. Ik zei het je. Ik had toen echt kippenvel, maar ik kon niet (P3) duiden waarom. (P3) Curiosity - Meer nieuwe dingen zorgt voor meer aandacht en prikkel. Die - Uuuh, misschien even aan het begin toen de muziek begon. - De lichten die aan uit gingen was heel interessant om naar te kon ik wel in het flmpje vinden. Daar was overal iets anders. Heel anders dan de TU waar ik nu vandaan kom. (P8) kijken. Het was niet verblinden. (P10) (P8) -At the beginning of the movie, it felt like entering a new world. - Door die spiegel erachter hing kon je in de diepte kijken, dat - De fysieke ruimte maakt me nieuwsgierig naar wat er nog (P7) vond ik interessant.(p1) meer kon gebeuren. Straks stond er ineens ergens een ventilator - Het werd steeds intenser want ik ontdekte steeds meer dingen. en dan was er wind geweest. (P8) Intimate experience: Oh dit is een leuk spel om op zoek te gaan naar meer punten. - Ik ging verder kijken. Zoeken, zoeken, zoeken, zoeken. (P5) - Ik vond het heftig om het prototype in te stappen want je (P4) wordt gelijk geconfronteerd met jezelf. Het is klein er gebeurd - Ik dacht ‘Oh ik heb hem door’ maar toen zag ik de kleuren Anticipation - Ik vond het als verloop leuk, dat het steeds meer werd. (p1) het echt was en je echt om je heen kon kijken vond ik die - Ik had helemaal geen verwachtingen. Na de video wist ik - Het werd rustiger want ik raakte aan de situatie gewend. (P4) interessanter. (p1) totaal niet wat ik kon verwachten. Je gaat een kleine ruimte in, - Toen werd het super intens, er is overal licht en ik weet niet - Je kwam binnen en het was donker, en je ziet een paar en ik had echt geen idee. (P10) waar de lichtbron zit. Het bleef lang intens omdat er heel veel te lampjes en dat vind ik heel leuk. Hier was veel te zien. Het deed - Ik had lage verwachtingen en toen was het ineens ‘wow’! (P4) ontdekken was. (P4) me denken aan een sterrenlucht. (p1) - Een opstelling die heel erg statisch lijkt te zijn, is het niet. De - Eerst was het een soort van ruimte, maar na 5 seconde had je - Door het gordijntje heen was al best wel intens. Omdat je niet lamp wisselingen brengen het meer tot leven. (P4) het wel gezien. Pakt niet echt je aandacht. Club Mojo deed dat weet wat erachter zit maar je hoort wel de muziek. Hier werd ik - Het begin vond ik wel nice, je weet niet wat je kan verwachten. wel. (P9) me pas bewust van de muziek. Stond die de hele tijd aan? (P4) (P9) - Het werd even wat lager door de overgang die erin zat. - Dan ga je een beetje kijken hoe het werkt. Daarna ging het - Ik zat in een stijgende lijn door het flmpje, en ik verwachte veel Puur even terugkomen in de ruimte en even uit de experience snel naar beneden want ik had het wel gezien. (P9) beweging en reactie. Maar het was vooral chill. (P2) gehaald worden. (P2) - Het is wel impressive, maar na een tijdje is het ook wel weer - Ik merk dat ik verwachte dat de lichten zouden reageren op - De ruimte was wel beter. Iets meer. Door dat het reëel is, is het voorbij. (P9) mij. Het was me niet helemaal duidelijk, maar ik hoopte het was. wat meer. De ruimte was constant. (P8) - Ik merkte dat er een soort verandering was. Het werd Misschien als ik over het rode of over het groene ging dat er iets - De muziek en de lampen werden steeds intenser. Ik vond het interessanter, sommige waren feller dan de andere. Door de zou gebeuren. Het was ongemakkelijk doordat ik niet wist of er eerst ook niet zo heftig als ik had verwacht en dat werd steeds fitsen had je door dat er dingen aan het gebeuren waren. (P2) meer zou gebeuren. (P2) vetter. (P5) - Ik dacht dat je me misschien wel zou zien, dus ik durfde niet zo - Ik miste nieuwe dingen in de ruimte, al helemaal als je meer - Ik vond de vorming heel mooi, maar dat heb je wel gezien na 2 goed. (P2) emoties wilt. (P8) seconden. In het flmpje verandert het continue. (P5) - Toen zag je ineens de spiegel en toen was het leip! Al helemaal - Even een daling in de intensiteit toen ik het eigenlijk had gezien. toen ik zag dat het een spiegel was, die met de gaatjes erin. Intensity changes (P5) Ik vond het heel vet dat het op jou zat, en dat zag je weer in - De fitsen werden na een tijdje minder, dus toen nam de de spiegel. Normaal komt dat niet van dezelfde kant. Het is intensiteit af. (P10) Reaction on physical prototype surrealistisch. Het klopt niet dat het licht uit de spiegel komt. En - Meer kleuren maakt het interessanter en daarmee leuker.(p1) - Ik snapte niet waar ik was met alle lichten, omdat het in de kleurtjes. Waren het verschillende lampen? (P3) - Je loopt echt ergens fysiek in, het gordijntje door. Ik kan het zitten door de 360. Ik had er ook gewoon best wel veel zin in de eigenlijk ook niet meer voor me halen hoe het er nou voor het test. (P2) eerst uitzag. (P3) - De video was, ik weet het niet, het was even wennen waar je - De bewegende lampen maakte het dynamisch. Soort van was. Het ging wel omhoog. Ik was verdwaald aan het begin vierde dimensie. Je beweegt zelf erdoorheen, de gaatjes zit ook door de video, maar daar ging ik in mee. (P3) in een sterrenhemel-achtig en de kleuren en een paarse lamp. - Bij de bril zag je steeds nieuwe dingen en van alles. Dit was (P3) niet echt. (P8) - Ik wist niet zo goed om welke spiegel het ging. De geperforeerde is veel cooler. (P5) Reaction on Club Mojo - Ik wist niet zo goed of de dubbele spiegel bij de opstelling - Bij Club Mojo was het een beetje hetzelfde, ik vond het wat hoorde. (P2) minder want ik ben zelf niet zo van de club’s. Ik ga niet graag naar een nachtclub, de muziek staat te hard en je kan niet met Reaction on video elkaar praten. De lichtshows kan ik dan wel weer heel tof vinden. - Aan het begin was ik zenuwachtig omdat ik nog nooit zo’n test (p1) had gedaan. Ik vond het heftig dat je naar beneden kijkt en het - Het begon met de felle letters van Club Mojo (P4) gaat door, je ziet geen voeten. Ik moest denken aan horrorflms - Het hoogte punt, Club mojo zien. Dat vond ik wel nice. Eerst met die VR bril, dat er iets engs achter je staat. (P10) weet je niet waar je bent, en dan zie je ineens waar je bent. (P9) - Na Club Mojo zag je ook niet echt meer interessante dingen. - Het mojo logo vond ik heel vet, ook tof dat niet in het begin (P9) was. Dat je eerst even verwart raakt. (P5) - Omdat het 3D beeld is, is dat al heel vet. Had ik nog nooit meegemaakt. Dan ga je dat een beetje ontdekken. (P9) - Je wordt opgebouwd naar een bepaalde hype. (P9) - Halverwege het flmpje was ik er best wel into it. Volledige erin