Design Fiction Diegetic Prototyping: A Research Framework for Visualizing Service Innovations

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.Purpose: This paper presents a design fiction diegetic prototyping methodology and research framework for investigating service innovations that reflect future uses of new and emerging technologies. Design/methodology/approach: Drawing on speculative fiction, we propose a methodology that positions service innovations within a six-stage research development framework. We begin by reviewing and critiquing designerly approaches that have traditionally been associated with service innovations and futures literature. In presenting our framework, we provide an example of its application to the Internet of Things (IoT), illustrating the central tenets proposed and key issues identified. Findings: The research framework advances a methodology for visualizing future experiential service innovations, considering how realism may be integrated into a designerly approach. Research limitations/implications: Design fiction diegetic prototyping enables researchers to express a range of ‘what if’ or ‘what can it be’ research questions within service innovation contexts. However, the process encompasses degrees of subjectivity and relies on knowledge, judgment and projection. Practical implications: The paper presents an approach to devising future service scenarios incorporating new and emergent technologies in service contexts. The proposed framework may be used as part of a range of research designs, including qualitative, quantitative and mixed method investigations. Originality: Operationalizing an approach that generates and visualizes service futures from an experiential perspective contributes to the advancement of techniques that enables the exploration of new possibilities for service innovation research

Between Nodes and Edges: Possibilities and Limits of Network Analysis in Art History

This article examines a number of prominent network analysis projects in the field of art history and explores the unique promises and problems that this increasingly significant mode of analysis presents to the discipline. By bringing together projects that conceptualize art historical networks in different ways, it demonstrates how established theories and methods of art history—such as feminist and postcolonial theory—may be productively used in conjunction with quantitative/computational approaches to art historical analysis. It argues that quantitative analysis of art and its networks can expand the qualitative approaches that have traditionally defined the field, particularly if theorizing is not positioned as something to be overcome by quantifiable data, but rather regarded as a fundamental means of understanding how data is structured, examined, and visualized. Although network analysis has a great potential to reveal the significance of actors marginalized by canonical narratives of art history and track unforeseen transnational and intercommunal histories of artistic exchange, it may also paradoxically silence social hierarchies and mechanisms of marginalization, as well as historical disruptions to them, if the principles underlying the data are not interrogated from the outset. Ultimately, the article proposes much can be gained when art historians work with and through digital technologies, using critical visual analysis to examine the epistemologies which structure the network visualizations that they produce

Introduction: digital methods and tools for historical research

As an introduction to a series of articles focused on the exploration of particular tools and/or methods to bring together digital technology and historical research, the aim of this paper is mainly to highlight and discuss in what measure those methodological approaches can contribute to improve analytical and interpretative capabilities available to historians. In a moment when the digital world present us with an ever-increasing variety of tools to perform extraction, analysis and visualization of large amounts of text, we thought it would be relevant to bring the digital closer to the vast historical academic community. More than repeating an idea of digital revolution introduced in the historical research, something recurring in the literature since the 1980s, the aim was to show the validity and usefulness of using digital tools and methods, as another set of highly relevant tools that the historians should consider. For this several case studies were used, combining the exploration of specific themes of historical knowledge and the development or discussion of digital methodologies, in order to highlight some changes and challenges that, in our opinion, are already affecting the historians' work, such as a greater focus given to interdisciplinarity and collaborative work, and a need for the form of communication of historical knowledge to become more interactive

Making an Animation as a Means of Dissemination and as a Tool for Research into Historical Sites: The Case Study of San Julián de Samos

© 2021 The Author(s), This manuscript version is made available under the CC-BY 4.0 license https://creativecommons.org/licenses/by/4.0/ This version of the article has been accepted for publication in International Journal of Humanities and Arts Computing. The final published paper is available online at: https://doi.org/10.3366/ijhac.2021.0266Versión final aceptada de: López-Salas, E. (2021). Making an Animation as a Means of Dissemination and as a Tool for Research into Historical Sites: The Case Study of San Julián de Samos. International Journal of Humanities and Arts Computing 15(1-2), 133-151. https://doi.org/10.3366/ijhac.2021.0266[Abstract] In this article we will examine how and why the animation ‘Creating the monastic site: from its origins to the nineteenth century’ allowed us to expand the digital art and architectural project ‘Digital Samos. A digital approach to the Monastery of San Julián de Samos’. On the one hand, by making the animation, we were able to create an easy-to-read and more effective visual product to disseminate our research results about the evolving nature of the monastic site of San Julián de Samos in north-western Spain, far beyond static computer-aided design reconstructions. On the other hand, we will see that the animation became a research tool that forced us as scholars to tackle the visualization of relational past realms in their entirety and on a short-term time basis, without compromising the rigour with which computer-based visualization methods and outputs should be used in the communication of and research into cultural heritage

Holographic prism projection: extinction rebellion & energy futures on sci-fi television

This study in media practice provides insights on video production for holographic prism projection, which has become more accessible as smart flat screens have become more available. The study reflects on the experiences of producing, installing and viewing a documentary video projected via holographic prism, titled ‘FarNearFutureNow.’ Engaging the participation of Extinction Rebellion (XR) members, this university-funded production included recording and combining interview footage with energy policy texts in the visual style of the hologram scene from Star Wars, the 1977 science-fiction film. With viewer co-experience, environmental politics and legacies of colonialism in mind, we produced a 5-minute video and prism projection system for public exhibition. FarNearFutureNow was produced through collective processes of gathering, assembling, reviewing, storyboarding, scripting and editing interview footage and other recordings as well as testing and fabricating installation materials. These production processes enabled us to understand the affordances of creative darkness in holographic production for disassociating and recombining visual elements. The hologram’s disassociated focus on a single object proved useful in drawing audience attention and for assembling non-fiction elements in sequences referencing popular fiction. It is also useful for showing radically different visual scales in sequence, and for simultaneously juxtaposing audio and visual scales

Abstracts: HASTAC 2017: The Possible Worlds of Digital Humanities

The document contains abstracts for HASTAC 2017

Seeing the smart city on Twitter: Colour and the affective territories of becoming smart

This paper pays attention to the immense and febrile field of digital image files which picture the smart city as they circulate on the social media platform Twitter. The paper considers tweeted images as an affective field in which flow and colour are especially generative. This luminescent field is territorialised into different, emergent forms of becoming ‘smart’. The paper identifies these territorialisations in two ways: firstly, by using the data visualisation software ImagePlot to create a visualisation of 9030 tweeted images related to smart cities; and secondly, by responding to the affective pushes of the image files thus visualised. It identifies two colours and three ways of affectively becoming smart: participating in smart, learning about smart, and anticipating smart, which are enacted with different distributions of mostly orange and blue images. The paper thus argues that debates about the power relations embedded in the smart city should consider the particular affective enactment of being smart that happens via social media. More generally, the paper concludes that geographers must pay more attention to the diverse and productive vitalities of social media platforms in urban life and that this will require experiment with methods that are responsive to specific digital qualities