Speculative devices for photo display

In this paper, we describe three purposefully provocative, digital photo display technologies designed for home settings. The three devices have been built to provoke questions around how digital photographs might be seen and interacted with in novel ways. They are also intended for speculation about the expressive resources afforded by digital technologies for displaying photos. It is hoped interactions with the devices will help researchers and designers reflect on new design possibilities. The devices are also being deployed as part of ongoing home-oriented field research

Crazy ideas or creative probes?: presenting critical artefacts to stakeholders to develop innovative product ideas

A number of design practices derive from and develop the notion of critical theory. Notable developers of such “critical design practices” are Dunne &amp; Raby with “critical design”, Sengers and colleagues at Cornell University's Culturally Embedded Computing Group with “reflective design”, and Agre with “critical technical practice” within artificial intelligence research. And there are an increasing number of designers who, whilst not specifically explicating their theoretical ancestry, include critical elements in their products. The reflection afforded by the products of critical design is generally seen as its endpoint. However I have used this reflection instrumentally within human-centred design activities. “Critical artefacts” have proved more useful as tools than direct questioning techniques; in particular as a way of enabling stakeholders to engage with novel situations and consequently engage in creative thinking about future possibilities. This paper begins with a review of critical design practices. Two case studies are then detailed demonstrating my approach. A discussion of the commonalities and differences between critical design practices follows noting their relationship to critical social theory and the relationship of my work to them. Finally further research to develop generalisable methods is outlined.</p

The memory space: Exploring future uses of Web 2.0 and mobile internet through design interventions.

The QuVis Quantum Mechanics Visualization project aims to address challenges of quantum mechanics instruction through the development of interactive simulations for the learning and teaching of quantum mechanics. In this article, we describe evaluation of simulations focusing on two-level systems developed as part of the Institute of Physics Quantum Physics resources. Simulations are research-based and have been iteratively refined using student feedback in individual observation sessions and in-class trials. We give evidence that these simulations are helping students learn quantum mechanics concepts at both the introductory and advanced undergraduate level, and that students perceive simulations to be beneficial to their learning.Comment: 15 pages, 5 figures, 1 table; accepted for publication in the American Journal of Physic

Showing and Telling Sweet Lies

Throughout this paper, I will lay out some of the underpinnings of my practice. My practice is multivalent; it ranges widely, draws from many sources and employs a multitude of media. It reflects my explorations in using the parafiction as a narrative device to investigate memories and history. It relies on research to explore backgrounds and linkages. It is about collections of objects as allegorical devices and the play with the archive, the Wunderkammer and museological tropes. My practice is an examination of the potential of the narrative and its narrator(s) to reveal the wonders of the everyday. This paper traces my investigation and analysis of the narrative as a means to understand fictions that deal with possibles and plausibles, specifically through the works of Mieke Bal, Manfred Jahn and Carrie Lambert Beatty. Referencing the films of Patrick Keiller and works by Rodney Graham I examine the role of the narrator, as a not always reliable guide, for uncovering forgotten, misplaced and speculative memories and histories. I reveal the narrator as “trickster” whose disclosure of information offers only clues and trace elements. The evolution of my own work, from just prior to and during the MFA, illustrates my material and theoretical explorations that have led to the body of work called Remote Viewer, presented in the 2018 MFA Graduate Exhibition. By referencing the practices of artists Susan Hiller, Mark Dion and Cornelia Parker, I illustrate how my play with everyday objects as allegorical devices operates in support of my speculative narratives. Similar to the practices of Tom Sachs and Richard E Prince, I employ models and dioramas to highlight the inherent magic of the sometimes futile attempt to replicate memories and events. This paper is also about the struggle to define and “own” my art practice. A practice that over the course of my MFA, through playful exploration and experimentation has developed faster than my theoretical “understanding” of how it operates. This “final” version is the next step in catching up and closing the gap

Remembering today tomorrow: exploring the human-centred design of digital mementos

This paper describes two-part research exploring the context for and human-centred design of ‘digital mementos’, as an example of technology for reflection on personal experience(in this case, autobiographical memories). Field studies into families’ use of physical and digital objects for remembering provided a rich understanding of associated user needs and human values, and suggested properties for ‘digital mementos’ such as being ‘not like work’, discoverable and fun. In a subsequent design study, artefacts were devised to express these features and develop the understanding of needs and values further via discussion with groups of potential ‘users’. ‘Critical artefacts’(the products of Critical Design)were used to enable participants to envisage broader possibilities for social practices and applications of technology in the context of personal remembering, and thus to engage in the design of novel devices and systems relevant to their lives. Reflection was a common theme in the work, being what the digital mementos were designed to afford and the mechanism by which the design activity progressed. Ideas for digital mementos formed the output of this research and expressed the designer’s and researcher’s understanding of participants’ practices and needs, and the human values that underlie them and, in doing so, suggest devices and systems that go beyond usability to support a broader conception of human activity

Visuality and the haptic qualities of the line in generative art

The line has an important and particular relationship with the generative artwork distinct from other elements such as the ‘pixel’, ‘voxel’ or the ‘points’ that make up point clouds. The line has a dual nature as both continuous and discrete which makes it perhaps uniquely placed to straddle the analog and digital worlds. It has a haptic or felt quality as well as an inherent ambiguity that promotes a relatively active interpretive role for the audience. There is an extensive history of the line in generative systems and artworks, taking both analog and digital forms. That it continues to play an important role, alongside other more photographically inspired ‘perceptual schemas’, may be a testament to its enduring usefulness and unique character. This paper considers the particular affordances and the ‘visuality’ of the line in relation to generative artworks. This includes asking how we might account for the felt quality of lines and the socially and culturally constructed aspects that shape our relationship with them. It asks whether, in what has been described as a ‘post digital’ or even ‘post post digital’ world, the line may offer a way to re-emphasise a more human scale and a materiality that can push back, gently, against other more dominant perceptual schemas. It also asks what generative art can learn from drawing theory, many of the concerns of which parallel and intersect with those of generative art

Large Area Crop Inventory Experiment (LACIE). User requirements

There are no author-identified significant results in this report