Designing Awareness Support for Distributed Cooperative Design Teams

Motivation – Awareness is an integral part of remote collaborative work and has been an important theme within the CSCW research. Our project aims at understanding and mediating non-verbal cues between remote participants involved in a design project. \ud Research approach – Within the AMIDA1 project we focus on distributed ‘cooperative design’ teams. We especially focus on the 'material' signals – signals in which people communicate through material artefacts, locations and their embodied actions. We apply an ethnographic approach to understand the role of physical artefacts in co-located naturalistic design setting. Based on the results we will generate important implications to support remote design work. We plan to develop a mixed-reality interface supported by a shared awareness display. This awareness display will provide information about the activities happening in the design room to remotely located participants.\ud Findings/Design – Our preliminary investigation with real-world design teams suggests that both the materiality of designers’ work settings and their social practices play an important role in understanding these material signals that are at play. \ud Originality/Value – Most research supporting computer mediated communication have focused on either face-to-face or linguistically oriented communication paradigms. Our research focuses on mediating the non-verbal, material cues for supporting collaborative activities without impoverishing what designers do in their day to day working lives.\ud Take away message – An ethnographic approach allows us to understand the naturalistic practices of design teams, which can lead to designing effective technologies to support group work. In that respect, the findings of our research will have a generic value beyond the application domain chosen (design teams).\u

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

Property and the Construction of the Information Economy: A Neo-Polanyian Ontology

This chapter considers the changing roles and forms of information property within the political economy of informational capitalism. I begin with an overview of the principal methods used in law and in media and communications studies, respectively, to study information property, considering both what each disciplinary cluster traditionally has emphasized and newer, hybrid directions. Next, I develop a three-part framework for analyzing information property as a set of emergent institutional formations that both work to produce and are themselves produced by other evolving political-economic arrangements. The framework considers patterns of change in existing legal institutions for intellectual property, the ongoing dematerialization and datafication of both traditional and new inputs to economic production, and the emerging logics of economic organization within which information resources (and property rights) are mobilized. Finally, I consider the implications of that framing for two very different contemporary information property projects, one relating to data flows within platform-based business models and the other to information commons

The politics of journalistic creativity: expressiveness, authenticity and de-authorization

This article begins with the assertion that creativity in journalism has moved from being a matter of guile and ingenuity to being about expressiveness, and that this reflects a broader cultural shift from professional expertise to the authenticity of personal expression as dominant modes of valorization. It then seeks to unpack the normative baggage that underpins the case for creativity in the cultural industries. First, there is a prioritization of agency, which does not stand up against the phenomenological argument that we do not own our own practices. Second, creative expression is not necessarily more free, simply alternately structured. As with Judith Butler’s performativity model, contemporary discourses of creativity assume it to have a unique quality by which it eludes determination (relying on tropes of fluidity), whereas it can be countered that it is in spontaneous, intuitive practice that we are at our least agencical. Third, the article argues against the idea that by authorizing journalists (and audiences) to express themselves, creativity is democratizing, since the always-already nature of recognition means that subjects can only voice their position within an established terrain rather than engage active positioning

Physicality and Cooperative Design

CSCW researchers have increasingly come to realize that material work setting and its population of artefacts play a crucial part in coordination of distributed or co-located work. This paper uses the notion of physicality as a basis to understand cooperative work. Using examples from an ongoing fieldwork on cooperative design practices, it provides a conceptual understanding of physicality and shows that material settings and co-worker’s working practices play an important role in understanding physicality of cooperative design

How to embed performative Theatre of the Oppressed in Higher Education systems

Peer reviewedPublisher PD

Arts-based action research on enhancing children’s creativity through affect within participatory performance art and performance pedagogy

This article presents arts-based action research on enhancing children’s creativity through affect within participatory performance art and performance pedagogy. The study hypothesis was that children’s creativity can be enhanced by affect experienced at a performance site. The purpose of the study was to investigate the impact of children’s involvement in artistic performance on their creativity at a performance site. The impact of interactions at the site, the co-participating children,and the involved artists were monitored on a daily basis to collect qualitative data, which were analyzed using a general inductive approach. Objective themes relating to the variables were retrieved from the collected data and assigned codes, concepts, and keywords extracted from photographs,video recordings, and observation notes. The case under investigation was the “Nomadic Radical Academy 2020: The Good, the Bad, and the Art”, which built on a pilot event held in 2019. This research concluded that performance art can have a social and creative impact during an art event through children’s participation and can be used by performance artists and educators

Aesthetic objects, aesthetic judgments and the crafting of organizational style in creative industries

In this article, we conceptually engage with style as central to creative industries. We specifically argue that style is crafted into being via an interplay between aesthetic judgments and “aesthetic objects.” We define aesthetic objects as temporary, material settlements fueled by a continual sense of dissatisfaction, eventually resolved through relational engagements. These remain under aesthetic inquiry throughout the process of crafting, until brought to particular close. We elaborate our theorizing with a non-traditional exemplar of the Bride Dress in the preparation of a 2009 Jean-Paul Gaultier’s fashion show. Our subsequent contribution is a richer conceptual understanding of style, with a material, aesthetic engagement at its center. In addition, in foregrounding under-explored features (i.e., aesthetic judgments, crafting of physical materials), and introducing new concepts (i.e., aesthetic objects), we outline promising openings for and significant connections with scholarship on creative or fluid industries, style, and organizational identity

CONNECTING ARTS ACTIVISM, DIVERSE CREATIVITIES AND EMBODIMENT THROUGH PRACTICE AS RESEARCH

Environmental artists are ecologically and politically motivated to change the way we view our world. Artists undertake the production of art and activism, where the art-making becomes more than art; it becomes activism; a way that allows for raising awareness; a way to retrieve, express and communicate a political message. Here, diverse creativities (including intercultural, interdisciplinary, and artistic creativity) enable forms of authorship with particular kinds of power and capacity. In this chapter, We draw on three activist enquiry practices which embody: (i) intercultural creativity through an activist choreographic practice involving a Greenlandic and Scandinavian dance company; (ii) transdisciplinary creativity through an arts-based environmental education practice inspired by an activist sculpture involving a primary school in the UK; and (ii) artistic creativity inspired by an artist activist residency practice in a Higher Education setting in the UK. Each practice features artist-researcher collaborations. Each practice involves arts as activism. Each practice makes explicit an understanding of the body as inscriptor, where the relationship between the body, power and the authoring of diverse creativities is crucial in the embodiment of arts practice as research and arts education. Each practice as research stimulates reflection and discussion by teachers, students, artists, researchers and policy makers interested in what it might mean to live the arts-as-political-as-embodiment in creating practice as research where arts activism, diverse creativities and embodiment is manifest