1,805 research outputs found

    Mobile heritage practices. Implications for scholarly research, user experience design, and evaluation methods using mobile apps.

    Get PDF
    Mobile heritage apps have become one of the most popular means for audience engagement and curation of museum collections and heritage contexts. This raises practical and ethical questions for both researchers and practitioners, such as: what kind of audience engagement can be built using mobile apps? what are the current approaches? how can audience engagement with these experience be evaluated? how can those experiences be made more resilient, and in turn sustainable? In this thesis I explore experience design scholarships together with personal professional insights to analyse digital heritage practices with a view to accelerating thinking about and critique of mobile apps in particular. As a result, the chapters that follow here look at the evolution of digital heritage practices, examining the cultural, societal, and technological contexts in which mobile heritage apps are developed by the creative media industry, the academic institutions, and how these forces are shaping the user experience design methods. Drawing from studies in digital (critical) heritage, Human-Computer Interaction (HCI), and design thinking, this thesis provides a critical analysis of the development and use of mobile practices for the heritage. Furthermore, through an empirical and embedded approach to research, the thesis also presents auto-ethnographic case studies in order to show evidence that mobile experiences conceptualised by more organic design approaches, can result in more resilient and sustainable heritage practices. By doing so, this thesis encourages a renewed understanding of the pivotal role of these practices in the broader sociocultural, political and environmental changes.AHRC REAC

    Non-Market Food Practices Do Things Markets Cannot: Why Vermonters Produce and Distribute Food That\u27s Not For Sale

    Get PDF
    Researchers tend to portray food self-provisioning in high-income societies as a coping mechanism for the poor or a hobby for the well-off. They describe food charity as a regrettable band-aid. Vegetable gardens and neighborly sharing are considered remnants of precapitalist tradition. These are non-market food practices: producing food that is not for sale and distributing food in ways other than selling it. Recent scholarship challenges those standard understandings by showing (i) that non-market food practices remain prevalent in high-income countries, (ii) that people in diverse social groups engage in these practices, and (iii) that they articulate diverse reasons for doing so. In this dissertation, I investigate the persistent pervasiveness of non-market food practices in Vermont. To go beyond explanations that rely on individual motivation, I examine the roles these practices play in society. First, I investigate the prevalence of non-market food practices. Several surveys with large, representative samples reveal that more than half of Vermont households grow, hunt, fish, or gather some of their own food. Respondents estimate that they acquire 14% of the food they consume through non-market means, on average. For reference, commercial local food makes up about the same portion of total consumption. Then, drawing on the words of 94 non-market food practitioners I interviewed, I demonstrate that these practices serve functions that markets cannot. Interviewees attested that non-market distribution is special because it feeds the hungry, strengthens relationships, builds resilience, puts edible-but-unsellable food to use, and aligns with a desired future in which food is not for sale. Hunters, fishers, foragers, scavengers, and homesteaders said that these activities contribute to their long-run food security as a skills-based safety net. Self-provisioning allows them to eat from the landscape despite disruptions to their ability to access market food such as job loss, supply chain problems, or a global pandemic. Additional evidence from vegetable growers suggests that non-market settings liberate production from financial discipline, making space for work that is meaningful, playful, educational, and therapeutic. Non-market food practices mend holes in the social fabric torn by the commodification of everyday life. Finally, I synthesize scholarly critiques of markets as institutions for organizing the production and distribution of food. Markets send food toward money rather than hunger. Producing for market compels farmers to prioritize financial viability over other values such as stewardship. Historically, people rarely if ever sell each other food until external authorities coerce them to do so through taxation, indebtedness, cutting off access to the means of subsistence, or extinguishing non-market institutions. Today, more humans than ever suffer from chronic undernourishment even as the scale of commercial agriculture pushes environmental pressures past critical thresholds of planetary sustainability. This research substantiates that alternatives to markets exist and have the potential to address their shortcomings

    UMSL Bulletin 2023-2024

    Get PDF
    The 2023-2024 Bulletin and Course Catalog for the University of Missouri St. Louis.https://irl.umsl.edu/bulletin/1088/thumbnail.jp

    UMSL Bulletin 2022-2023

    Get PDF
    The 2022-2023 Bulletin and Course Catalog for the University of Missouri St. Louis.https://irl.umsl.edu/bulletin/1087/thumbnail.jp

    The Individual And Their World

    Get PDF

    Grounds for a Third Place : The Starbucks Experience, Sirens, and Space

    Get PDF
    My goal in this dissertation is to help demystify or “filter” the “Starbucks Experience” for a post-pandemic world, taking stock of how a multi-national company has long outgrown its humble beginnings as a wholesale coffee bean supplier to become a digitally-integrated and hypermodern cafĂ©. I look at the role Starbucks plays within the larger cultural history of the coffee house and also consider how Starbucks has been idyllically described in corporate discourse as a comfortable and discursive “third place” for informal gathering, a term that also prescribes its own radical ethos as a globally recognized customer service platform. Attempting to square Starbucks’ iconography and rhetoric with a new critical methodology, in a series of interdisciplinary case studies, I examine the role Starbucks’ “third place” philosophy plays within larger conversations about urban space and commodity culture, analyze Starbucks advertising, architecture and art, and trace the mythical rise of the Starbucks Siren (and the reiterations and re-imaginings of the Starbucks Siren in art and media). While in corporate rhetoric Starbucks’ “third place” is depicted as an enthralling adventure, full of play, discovery, authenticity, or “romance,” I draw on critical theory to discuss how it operates today as a space of distraction, isolation, and loss

    Dragon Dance: A Japanese jazu kissa-inspired listening experience in the heart of East Belfast.

    Get PDF
    'The Awakening'. A solitary, haunting sax cuts through the cold December air. The sound of Billy Harper soars above bowed heads, invisible – not only to the closed eyes – as it spills through the space. For Bartmanski & Woodward, “playing vinyl encourages various ritualistic engagements: localised immobile and immersive listening, [and] careful selection.”1 This paper is centred around the focused, communal experience of an audience listening to jazz on vinyl at the Tokyo Jazz Joints: Belfast listening event in the Sound Advice record shop. This event was conceived and curated by me, photographer and researcher Philip Arneill, and co-creator of Tokyo Jazz Joints, an audio-visual project which has documented the unique world of Japanese jazz listening spaces since 2015. The first event of its kind in Belfast, it was designed to channel the spirit of Japan’s jazu kissa(ten) (lit. “jazz tea-drinking shop”) and recreate their ambience within a different physical and cultural milieu. Over the course of two hours on a cold December evening in East Belfast, 36 attendees were invited to listen to a curated selection of jazz tracks on vinyl in the intimate environment of a local record shop, without moving around, using phones, or talking. This paper reflects on the listening event through creative nonfiction writing, embedded QR-coded voice notes from individual participants and by situating it within the wider context of vinyl and listening culture

    Play/writing histories: investigating the dramaturgical potential of architectural drawing practices in exploring the hidden histories of built spaces. An architextural study of the Citizens Theatre

    Get PDF
    This practice research project investigates the dramaturgical potential of architectural drawing techniques and proposes ‘architexting’ as creative methodology for exploring the hidden histories of built spaces. Architexting exploits the relationship between architectural drawing and playwriting as allographic practices, identifying generative territory in their mutual preoccupation with shaping provisional spaces. I suggest that architexting can be used as a tool for a spatial approach to historiography that is organised by site rather than time. In doing so, architexting seeks to reveal and celebrate diachronic communities separated by time but created and connected by the places they share. This thesis is in three parts. In the first, ‘Project Plan and Methodology,’ I provide an overview of my interdisciplinary approach. In the second, ‘Site Analysis,’ I excavate relevant theoretical fields including architectural theory, dramaturgy, historiography and cultural geography to construct a theoretical framework for architexting. The third section, ‘Portfolio,’ forms the practical output of this project and consists of three architexts: Blueprint, Perspective and Axonometric or How to Build a Place from Memory, each with accompanying critical reflections. While architexting is a methodology that may be applied to any building, this project specifically investigates the hidden histories of the Citizens Theatre in Glasgow which, in 2018, underwent the most significant redevelopment in its 144-year history. My architexts have been created using material from oral histories and workshops with over sixty adults and young people connected to the Citizens theatre, as well as archival material from relevant collections held by the Scottish Theatre Archives at the University of Glasgow
    • 

    corecore