Searching Knowledge CinemaSense as a Case Study in Collaborative Production of a WWW Service in Two Universities

In this paper I will present design research carried out between 1999–2004 at the University of Art and Design Helsinki in collaboration with the Classroom Teacher Training Programme for Finnish Sign Language Users of Jyv¨askyl¨a University, Finland. The aim of the project was to produce an accessible web-based study product, as well as to clarify the sign language students’ deepening of knowledge and conceptualization related to the subject of cinematic expression, as well as their collaboration during the web-based course. The aim of the design research was connected to the general aim of inclusion, for a shared university for all, which adapts flexibly to the needs of different and diverse students. The design research was positioned in the areas of film art and pedagogy. By merging participatory action research and WWW production a collaborative study concept dealing with cinematic expression entitled, CinemaSense, was developed and produced as part of the research work. It can be accessed at http://elokuvantaju.uiah.fi/. The usability and accessibility of the CinemaSense was observed during web-based courses in cinematic expression during 2001, with the help of a concept survey and network-based communication.Peer reviewe

Co-design for accessibility in academia for Deaf students

Learning opportunities for students with diverse needs in higher education have increased in recent decades. Consequently, university faculties need more evidence-based information about how students with diverse needs make the sense of the curricula. This paper presents findings from two co-design projects made at the Aalto University in collaboration with Deaf communities. It argues that the involvement of Deaf users in the design process can produce better digital environments in terms of (1) creating visual approaches designing interfaces and (2) providing new tools that advance the user experience of many other user groups such as dyslexic students and visual learners.Peer reviewe

Collaborative Knowledge Building for Accessibility in Higher Education. The inclusion of human diversity on the teaching & learning processes at Aalto University

This paper examines accessibility from the point of view of inclusive teaching and learning in the higher education. Instead of focusing on the various disabilities, addressing the needs and the diversity of all students is adopted as a starting point. We present several conceptual tools regarding the process of collaborative knowledge building. Finally, we suggest an iterative cycle of developing inclusive teaching and learning by using a PDCA tool with the continual iteration on communities of practice level among all stakeholders.Peer reviewe

Narrative exploration via media art

Mika 'Lumi' Tuomola introduces a selected chronological collection of Media Lab's, Crucible Studio research group's artistic productions. The Art of Storytelling in New Media research group, Crucible Studio, was originally established in 2002 as a collaboration of the Media Lab with the Media Centre LUMB, when I was the visiting artist at Media Lab Helsinki. As the lead author of the artistic and practice-based research studio proposal, I also started to head it until now. The studio per se does not focus on (Media) Art, but on any generative, interactive and enactive use of narrative in New Media production and design. However, in the investigation of storytelling and drama, experimental Media Art productions - while usually maintaining their standing as art works of their own right as well- have been and are useful tools of exploration via research questions like: • How to bring both designers' I authors' and users' I participants' internal intentions into a dramatically interesting dialogue/chorus within a mediated interaction environment? • What kinds of media database, system, interaction and narrative logics may be able to generate a dramatic interactive experience with coherent audiovisual language? • What are the ethics of (narrative) aesthetics, when designed participatory processes orchestrate multiple points of view? • How have the audience genre expectations evolved (e.g. via games and social media) considering what an interactive/enactive drama/art experience is and how does it influence our design work