Week 2(b) Time Management, Conceptual diagrams and Identify My Target Audience

1. Graduation Project Expected Gantt Chart workflow

2. Project Context & Conceptual Focus

Conceptual diagrams

Artistic Projects:

• Expressive and conceptual ideation
• Aesthetic and experiential design
• Emphasis on storytelling and engagement

After exploring artistic works and philosophical theories, my project is intended for audiences and creators interested in nature, ecology, and the relationships between humans and non-human beings.

Through this installation, I aim to guide viewers to realise that plants are not static or passive entities. They possess their own rhythms of life and internal expressions. However, because plants communicate through means such as ultrasonic vibrations and bioelectrical signals, often beyond the range of human perception, we tend to overlook their presence and agency.

By transforming these signals into sound and visual forms, the installation allows plants to be perceived as expressive beings within virtual space (Qureshi, 2023).

The project explores the fusion of technology and art and presents an ecological perspective. It invites viewers to rethink their relationship with plants. Plants speak in a different language system, but they are not separate from us. They are integral members of our shared world, worthy of being heard and perceived.

In the early stages of developing this project, I also focused on exploring who might benefit, emotionally, cognitively, or behaviourally, from engaging with the installation.

Beneficiaries Analysis: Who Can Benefit from My Immersive Installation?

1. Emotional Dimension

This work may resonate with individuals who are emotionally sensitive to nature or who are seeking new ways to reconnect with the non-human world. The installation’s purpose is to transform plant bioelectrical signals into generative music, which in turn affects the colour and movement of virtual plant particles. According to Music has the power to evoke strong emotional responses and unite people across cultural and linguistic barriers(Babaeitarkami and Baghchi, 2024). The installation creates a meditative and immersive atmosphere by inviting the audience to take on the role of both listener and observer. This space encourages introspection and offers an emotional experience in which plants are no longer passive objects but expressive living entities.

2. Cognitive Dimension

The project offers an alternative perspective on plants as not just static organisms, but as active communicators capable of expression through bioelectricity. Artists, musicians, students, researchers, and those interested in the intersection of art, music, ecology, and technology may find this especially meaningful. It challenges conventional views of plants as merely decorative or functional, encouraging a re-evaluation of their agency and presence within ecological systems.

3. Behavioural Dimension

The installation may also influence visitors’ future behaviours or thinking. It might inspire a renewed respect for plant life or spark curiosity about bio-sonification and nature-human relationships. Educators, creatives, and environmental advocates could find inspiration in the way plants are given a voice (both visual and auditory), potentially affecting how they engage with ecological or creative practices in their own fields.

Identifying My Audience Members

Based on these three dimensions of impact, I began identifying which types of people might be most affected by the experience, and in what ways. This led to the development of a table mapping the key audience groups for my project.

In the process of identifying the target audience for my graduation project, I created a table to clarify which groups of people may benefit from experiencing the work.

My installation is centered around expressing the inner life of plants, using sensory elements such as sound and visuals to make their otherwise imperceptible signals more accessible.

Starting from this sensory foundation, I considered how different types of individuals might be affected emotionally, cognitively, or behaviorally by encountering the work.

The table helped me organize my thoughts around audience characteristics, how they engage with sensory experiences, and in what ways they might benefit through reflection, learning, or emotional connection.

This structured approach also helped me move from abstract concepts to concrete user groups, allowing me to design the experience with more clarity and intention.

References:

Norman, D. A. (2005) Emotional Design: Why We Love (or Hate) Everyday Things. New York: Basic Books.Osborn, A. F. (1953) Applied Imagination: Principles and Procedures of Creative Problem-Solving. New York:

Immersive Art Installations: https://fastercapital.com/topics/immersive-art-installations.html

Qureshi, O., 2023. Artistic Innovation and Creativity: Driving Forces of Human Progress. Journal of Religion and Society, 1(2), pp.1-16.

Babaeitarkami, S. and Baghchi, S., 2024. The Influence of Art on Society: Exploring the Impact of Visual Arts, Music, and Literature.