Textile aesthetics in the poetry and the artwork of Jorge Eduardo Eielson and Cecilia Vicuña

textThe present work explores the presence of Andean textile imagery in the poetry and the visual art of Jorge Eduardo Eielson and Cecilia Vicuña with the goal of illustrating how these woven aesthetics enrich the content of the written word and other artistic media by supplementing them with non-verbal, visual and tactile planes of meaning. Through the discourse of the thread, Eielson and Vicuña generate an alternative means of expression that dialogues with the conventionality of human language, the creation of cultural memory and the connection between intercultural groups. To prove this thesis, I approach the authors’ poetry and visual art based on theoretical and cultural studies regarding the materiality and the visuality of the text and other media in combination with a comparative analysis of the structural and the design properties of Andean and indigenous cloth products, namely the tejido and the khipu. In addition to close readings of poems that illustrate how the presence of the textile augments the meaning of the written text, I also illustrate how Andean weaving aesthetics provide the metaphorical springboard of comparison upon which a critical analysis of their visual art is based.Spanish and Portugues

GAINE - tanGible Augmented INteraction for Edutainment

Interactive tabletops are gaining an increasing interest since they provide a more natural interaction with digital contents and allow the interaction of multiple users at a time promoting face-to-face collaboration, information sharing and the raise of social experiences. Given the potentialities offered by these devices, several entertainment-edutainment applications based on interactive tabletops have been successfully developed in different areas, from medical therapy support to children’s collaborative learning, interactive storytelling and cultural heritage. However, the development of such applications often requires complex technical and implementation skills. Taking this into consideration, in this paper we present GAINE (tanGible Augmented INteraction for Edutainment), a software framework aimed at the rapid prototyping and development of interactive tabletop games. GAINE offers developers context specific high-level constructs and a simple scripting language that simplifies the implementation task. The framework is portable on different operating systems and offers independence from the underlying hardware. Two practical case studies are thoroughly discussed to show how GAINE can simplify the development of interactive tabletop applications in the entertainment and edutainment contexts

GAINE - A Portable Framework for the Development of Edutainment Applications Based on Multitouch and Tangible Interaction

In the last few years, Multitouch and Tangible User Interfaces have emerged as a powerful tool to integrate interactive surfaces and responsive spaces that embody digital information. Besides providing a natural interaction with digital contents, they allow the interaction of multiple users at the same time, thus promoting collaborative activities and information sharing. In particular, these characteristics have opened new exploration possibilities in the edutainment context, as witnessed by the many applications successfully developed in different areas, from children’s collaborative learning to interactive storytelling, cultural heritage and medical therapy support. However, due to the availability of different multitouch and tangible interaction technologies and of different target computing platforms, the development and deployment of such applications can be challenging. To this end, in this paper we present GAINE (tanGible Augmented INteraction for Edutainment), a software framework that enables rapid prototyping and development of tangible augmented applications for edutainment purposes. GAINE has two main features. First, it offers developers high-level context specific constructs that significantly reduces the implementation burden. Second, the framework is portable on different operating systems and offers independence from the underlying hardware and tracking technology. In this paper, we also discuss several case studies to show the effectiveness of GAINE in simplifying the development of entertainment and edutainment applications based on multitouch and tangible interaction

Sonic autoethnographies: personal listening as compositional context

This article discusses a range of self-reflexive tendencies in field recording, soundscape composition and studio production, and explores examples of sonic practices and works in which the personal listening experiences of the composer are a key contextual and compositional element. As broad areas for discussion, particular attention is given to soundscape composition as self-narrative (exploring the representation of the recordist in soundscape works) and to producing the hyperreal and the liminal (considering spatial characteristics of contemporary auditory experience and their consequences for sonic practice). The discussion then focuses on the specific application of autoethnographic research methods to the practice and the understanding of soundscape composition. Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author’s own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work

Heritage in a Van. The paradox of intangibility

‘Intangible heritage’ is a profound concept articulated in international charters, national legislation and conservation practice accreditation frameworks worldwide. By discussing the renovation of the former home of the writer Alan Bennett, where The lady in the van was filmed, this paper seeks to readdress the role of non-physical heritage in supporting communal meaning by placing to the fore some of its fragilities, assumptions and inherent confusion that are manifest when the concept of ‘intangible heritage’ meets the reality of a construction project

Electronic Textiles as Tangible Interface for Virtual Reality

This project investigates the development of a series of experimental, tangible, electronic textile (e-textile) interfaces to virtual reality (VR), using the approach of human-computer interaction (HCI). The e-textile interface is an unconventional controller that manipulates objects (3D visual asset) within virtual reality. This research has been framed within the context of HCI using a framework of Tangible User Interfaces (Ulmer and Ishii 2000). Through this research I explore how human touch relates to tangible objects and passive haptics. I also explore the overlap between visual experience and virtual reality by employing the theory of Haptic-Visual overlap (Fitzmaurice 1998), which deals with 3D volumetric perception of a physical object as well as the idea of Active Touch (Gibson 1962, Lederman and Klatzky 2009, Visell et al. 2016). Using the aforementioned theoretical frameworks and employing research through design methodology, I prototyped a series of explorative e-textile interfaces and virtual reality digital counterparts

Intimate Past & Present Light: Using Photography to Investigate Self-Defining Memories

This practice-led research project investigates the relationship between autobiographical memory and photography. My research question comprises two parts. Firstly, how can I mediate the virtual space between myself, as both the maker and as the subject of my practice, to the viewer? Rather than communicating autobiographical specificity, how to emphasise the malleability of personal memories, using the photographic object as metaphor, so that a viewer may experience some shared nostalgia for the ‘lost’ past. Secondly, to what extent can the separation of self occur, from being ‘fixed’ in a snapshot and ‘semi-fixed’ in memory to being ‘present’ in the studio? I initiated this project from my preoccupation with self-defining memories of intimate relationships. I began with my ‘self’. These memories provided a means of confronting my research objective: using photography to manipulate them. This research reflects the need to address through photography the plasticity and transferability of memory’s hold on the present. To do this, I reworked personal snapshots and memories through material and sensory encounter. To help make way for a viewer’s bond to form with my work, I needed to dissolve and rework my bond with personal snapshots and memories. This was key to bridging the intangible space of my past. I produced several series of photographs, contextualised by Endel Tulving’s hypothesis of chronesthesia (mental time travel) and Henri Bergson’s theory of recollection recovery. Through conception and execution of reworked photographs, I occupied a distinctive space as a maker/subject. This space, which I have termed prepositional space, allowed me to ‘unfix’ self from snapshots and memories to be present in the studio. This makes way for a viewer’s bond to form. I argue that prepositional space is a significant new methodology for artists and viewers to assess their encounter with such photographs

Designing physical-digital artefacts for the public realm

The exploration of new types of everyday interactions enabled by the increasing integration of digital technologies with the physical world is a major research direction for interaction design research (Dourish, 2004), and a focus on materials and materiality is also of growing significance, e.g.: Internet of Things; interactive architecture; the intersection of craft and technology. Increasingly, designer-researchers from a range of material-focused creative design disciplines are starting to address these themes. Previous studies indicate that new approaches, methods and concepts are required to investigate the evolving field of physical-digital synthesis in the built environment. Addressing this, the thesis asks one central question: What resources for design research can help practitioners and researchers from multiple creative design disciplines improve the design of physical-digital artefacts located in the public realm? A detailed Scoping Study explored experimental research methods for this thesis and produced an overview of physical-digital artefacts in outdoor public space. This scoping influenced the subsequent research: an in-depth field study of the design culture and practices of fifty material-focused designer-researchers; four case studies of physical-digital artefacts in outdoor public spaces; a formative creative design workshop with fourteen participants to test the findings from the research. The chief contribution of this thesis to interaction design research is the development of two resources for design research (the Experiential Framework and the Conceptual Materials for Design Research) and the practical application of these new tools as a method for design research in a simulated ‘real-world’ creative workshop setting. Both resources are intended to co-exist and be integrated with established design research methods and emerging approaches. Hence, the outputs from this thesis are intended to support designer-researchers from a range of creative design backgrounds to conceptualise and design physical-digital artefacts for urban outdoor public spaces that provide richer interaction paradigms for future city dwellers