Art on Instagram : the impact of art-related content on followers’ and artists´self-perception of creativity

Because Instagram is such a visually oriented social media platform, it is vital to understand the influence that it may have on its users' perceptions of their own creative abilities and potential. In part because of its scale, many artists now consider that their presence on the platform is mandatory; yet, the network has also offered art enthusiasts an unparalleled opportunity to get closer to these artists and their work. The purpose of this dissertation is to investigate the impact of art-related accounts on Instagram on artists and other followers who are not professional artists, especially in terms of their creativity. During the research, semi-structured interviews with artists who use Instagram were conducted, as well as focus groups with individuals who follow art-related accounts on the social media platform. The findings revealed that both artists and the followers agree that consuming artrelated content on Instagram has significant potential to aid in the creative and inspirational process. While the artists and non-artist followers’ motivations differ in a few ways, which are primarily related to artists' views of the platform as a tool for promoting and improving their work, and followers' views of the platform as a source of entertainment or distraction, they also share some motivations for following art-related content. The results also concluded that there were possible negative consequences on creativity, such as comparison and anxiety, that eventually discouraged artists, even while many were able to get creative inspiration on Instagram

SelVReflect: A Guided VR Experience Fostering Reflection on Personal Challenges

Reflecting on personal challenges can be difficult. Without encouragement, the reflection process often remains superficial, thus inhibiting deeper understanding and learning from past experiences. To allow people to immerse themselves in and deeply reflect on past challenges, we developed SelVReflect, a VR experience which offers active voice-based guidance and a space to freely express oneself. SelVReflect was developed in an iterative design process (N=5) and evaluated in a user study with N=20 participants. We found that SelVReflect enabled participants to approach their challenge and its (emotional) components from different perspectives and to discover new relationships between these components. By making use of the spatial possibilities in VR, participants developed a better understanding of the situation and of themselves. We contribute empirical evidence of how a guided VR experience can support reflection. We discuss opportunities and design requirements for guided VR experiences that aim to foster deeper reflection

Creativity and Information Systems: A Theoretical and Empirical Investigation of Creativity in IS

Be productive. Since the industrial revolution, managers have had an almost singular focus on equipping employees with productivity tools in productivity-supportive environments. Information technologies—systems designed to increase productivity—entered the marketplace in the 1980\u27s and were initially credited with the subsequent boom. Eventually, innovation was shown to be the primary spark, and the managerial focus shifted. Increasingly, the imperative is: be creative. This dissertation investigates how a technology environment designed to be fast and mechanistic influences the slow and organic act of creativity. Creativity—the production of novel and useful solutions—can be an elusive subject and has a varied history within Information Systems (IS) research so the first essay is devoted to conducting an historical analysis of creativity research across several domains and developing a holistic, technologically-aware framework for researching creativity in modern organizations. IS literature published in the Senior Scholar\u27s journals is then mapped to the proposed framework as a means of identifying unexplored regions of the creativity phenomenon. This essay concludes with a discussion of future directions for creativity research within IS. The second essay integrates task-technology fit and conservation of resources theory and employs an experimental design to explore the task of being creative with an IS. Borrowing from fine arts research, the concept of IS Mastery is introduced as a resource which, when deployed efficiently, acts to conserve resources and enhance performance on cognitively demanding creative tasks. The third essay investigates an expectedly strong but unexpectedly negative relationship between technology fit and creative performance. This finding launches an exploration into alternate study designs, theoretical models and performance measures as we search for the true nature of the relationship between creativity and technology fit. The essay concludes with an updated map of the technology-to-performance chain. These essays contribute to IS research by creating a technology-aware creativity framework for motivating and positioning future research, by showing that the IS is neither a neutral nor frictionless collaborator in creative tasks and by exposing the inhibiting effects of a well-fitting technology for creative performance

Improving Requirements Generation Thoroughness in User-Centered Workshops: The Role of Prompting and Shared User Stories

The rise of stakeholder centered software development has led to organizations engaging users early in the development process to help define system requirements. To facilitate user involvement in the requirements elicitation process, companies can use Group Support Systems (GSS) to conduct requirements elicitation workshops. The effectiveness of these workshops for generating a valuable set of requirements for system developers has been previously demonstrated. However, a more representative measure of progress towards a system that will meet users’ needs-- the completeness of the requirements generated by such groups has not been explored. We explore two process design considerations for increasing the completeness of requirements generated by these users: increased sharing of user stories (individual electronic brainstorming groups vs. shared user stories electronic brainstorming groups), and the use of reflective inducement prompts (unprompted vs. prompted groups). Using the Search for Ideas in Active Memory model, we predict that prompted electronic brainstorming groups will outperform any other group, including prompted, shared user stories groups at generating a more thorough set of requirements. To test the hypotheses an experiment with 56 groups consisting of 197 users was conducted. The users were asked to generate requirements for a fictitious online textbook exchange website. All hypotheses received support. The study has implications for GSS-Supported workshop design and for future research on collaborative performance in requirements elicitation

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Integrating art into bodily interactions : exploring digital art in HCI design to foster somaesthetic experiences

PhD ThesisMy interdisciplinary doctoral research of this thesis explored how interaction design – with a combination of digital art, body-centred practice and biophysical sensing technology – cultivates self-awareness and self-reflection to foster somaesthetic experiences in everyday walking. My research followed a Research through Design (RtD) approach to provide design artefacts as examples of research in the expanded territory of Somaesthetic Design, technology-enhanced body-centred practices and digital art applied in interaction design. Background research included a critical review of Affective Computing, the concept of somaesthetic experience, existing body-centred practices (e.g. mindfulness and deep listening), HCI designs for somaesthetic experiences, and interactive digital art applications (using biophysical data as input) to express bodily activities. In methodological terms the research could be summarized as a process of ‘making design theories’ (Redström, 2017) that draws upon a Research through Design (RtD) approach. The whole research process could be described with a ‘bucket’ model in making design theories (Redström, 2017): identified initial design space as the initial ‘bucket’; derived the first design artefact ‘Ambient Walk’ as a ‘fact’ to represent the initial design space and the cause of transitioning, re-accenting process from mindfulness to ‘adding a sixth-sense’ (i.e. to extend the initial ‘bucket’); the making of second design artefact ‘Hearing the Hidden’ as a ‘fact’ to represent the re-accented research rationale in designing for somaesthetic experience by ‘adding a sixth sense’. I followed a qualitative approach to evaluate individual user feedbacks on enhancing somaesthetic experiences, the aspects to be considered in designing for experiences, and how my design process contributed to refining design for experiences. At the end of this thesis, I discuss the findings from the two practical projects regarding the somaesthetic experiences that have been provoked during users’ engagement with ‘Ambient Walk’ and ‘Hearing the Hidden’; the inclusion of bodily interactions with surroundings in somaesthetic design; the use of ‘provotypes’ in experience-centred design practices; and the benefit of integrating digital art into technology for body-centred practices

Models for Learning (Mod4L) Final Report: Representing Learning Designs

The Mod4L Models of Practice project is part of the JISC-funded Design for Learning Programme. It ran from 1 May – 31 December 2006. The philosophy underlying the project was that a general split is evident in the e-learning community between development of e-learning tools, services and standards, and research into how teachers can use these most effectively, and is impeding uptake of new tools and methods by teachers. To help overcome this barrier and bridge the gap, a need is felt for practitioner-focused resources which describe a range of learning designs and offer guidance on how these may be chosen and applied, how they can support effective practice in design for learning, and how they can support the development of effective tools, standards and systems with a learning design capability (see, for example, Griffiths and Blat 2005, JISC 2006). Practice models, it was suggested, were such a resource. The aim of the project was to: develop a range of practice models that could be used by practitioners in real life contexts and have a high impact on improving teaching and learning practice. We worked with two definitions of practice models. Practice models are: 1. generic approaches to the structuring and orchestration of learning activities. They express elements of pedagogic principle and allow practitioners to make informed choices (JISC 2006) However, however effective a learning design may be, it can only be shared with others through a representation. The issue of representation of learning designs is, then, central to the concept of sharing and reuse at the heart of JISC’s Design for Learning programme. Thus practice models should be both representations of effective practice, and effective representations of practice. Hence we arrived at the project working definition of practice models as: 2. Common, but decontextualised, learning designs that are represented in a way that is usable by practitioners (teachers, managers, etc).(Mod4L working definition, Falconer & Littlejohn 2006). A learning design is defined as the outcome of the process of designing, planning and orchestrating learning activities as part of a learning session or programme (JISC 2006). Practice models have many potential uses: they describe a range of learning designs that are found to be effective, and offer guidance on their use; they support sharing, reuse and adaptation of learning designs by teachers, and also the development of tools, standards and systems for planning, editing and running the designs. The project took a practitioner-centred approach, working in close collaboration with a focus group of 12 teachers recruited across a range of disciplines and from both FE and HE. Focus group members are listed in Appendix 1. Information was gathered from the focus group through two face to face workshops, and through their contributions to discussions on the project wiki. This was supplemented by an activity at a JISC pedagogy experts meeting in October 2006, and a part workshop at ALT-C in September 2006. The project interim report of August 2006 contained the outcomes of the first workshop (Falconer and Littlejohn, 2006). The current report refines the discussion of issues of representing learning designs for sharing and reuse evidenced in the interim report and highlights problems with the concept of practice models (section 2), characterises the requirements teachers have of effective representations (section 3), evaluates a number of types of representation against these requirements (section 4), explores the more technically focused role of sequencing representations and controlled vocabularies (sections 5 & 6), documents some generic learning designs (section 8.2) and suggests ways forward for bridging the gap between teachers and developers (section 2.6). All quotations are taken from the Mod4L wiki unless otherwise stated

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities