Extending Public Accessibility to the Mind: Designing Airports for People with Aphasia

Imagine traveling in an airport in another country. The language is entirely foreign, and all signs are written in text you cannot understand. You have ten minutes to make your connection. How do you find your gate? How do you ask questions? This hypothetical generation of panic is the reality for many travelers every day who suffer from aphasia. Aphasia is a language disorder often caused by stroke or other brain injury that makes it difficult to communicate, read, and process numbers, especially in stressful environments like an airport. More than two million people in America suffer from aphasia and have not been effectively served in the public sphere. Since 1990, the Americans with Disabilities Act (ADA) has sought to “promote equal opportunity, full participation, independent living, and economic self-sufficiency for Americans with disabilities.” Though America has seen great strides in helping public spaces become more accessible to the physically handicapped, fewer attempts have been made to help those suffering from mental handicaps. This research will help to address one of the many subgroups that struggle to mentally navigate public spaces. Through secondary research, case studies, and visual analysis, this research will explore practical methods and solutions that enable people with aphasia to navigate and utilize airports independently and confidently. The solution to this issue will require a layered approach of reimagining signage and navigation tools for airports and creating training tools for airport employees to better understand and serve aphasia patients when they travel. Equipping aphasic travelers with the necessary tools and support will empower them to fly with confidence and independence. This collection of research and tools could expand to impact other people with language disorders navigating high-traffic public spaces like hospitals, schools, subways, and bus stations

Mapping immaterial flows : how consumption invisibilizes labor : the satellite and shipping container

The kiosk system went down and everyone missed their flight. I had this experience recently at Chicago O’Hare International airport when I was flying to Austin. It affirmed the importance of understanding networks and how their working (or in this case, the lack thereof) immobilizes goods and people. Usually, when you check in for a flight, there is a kiosk, a station where you can print out your ticket, bag tags, and receipt. This automation of airline customers and their luggage is routine and due to its speed, allows a lot more people to obtain services. A standard of speed and ease of access is therefore coupled and expected. When this automation is no longer available, people lose their shit or more elegantly stated, the artifice of entitlement becomes gruesomely apparent. I understand everyone has a place to go and we won’t get their soon enough. However, the system is down and the airline workers are doing their best. Of course, once the network is back in place, the kiosks will resume operation and yes, they will arrange a later flight. But in a global economy where networked spaces are equated solely to make money at an expedient pace, how do we get people to understand other ways to respond to a malfunction? The common assumption is that systems are supposed to be perfect and a glitch or a malfunction is an exception, however it is quite the reverse. What if networks weren’t based on dualism? The binary being either: an all digital internet of everything kind of space or a cyberpunk infused reversion to the analog. Instead, what should be thought of and put into place is a multiplicity of network configurations such as A to Z, alif to bari yay, 1 to a 1000, uno to millón. This is what I propose in my research and arts practice: how do we build multiplicity and equity in systems? Networks are not arbitrarily put into place, they have funders, users, buyers, beneficiaries, and losers involved. Therefore, they are porous flows, exchanges, and axioms, always open to change. My research lies in between histories of media, technology, and globalization. I investigate these themes through performance, sculptural installations, reading groups, and workshops that focus on the role of technology. Specifically, my practice is focused on objects that are produced from global circuits and their embedded codes, encompassing both the technological and sociological. I investigate the history of objects such as the satellites and shipping containers and make immaterial streams tangible. The specific objects of the satellite and shipping container carry information that frames notion of historic and present day globalization facilitated by technology. The sections of this text are not necessary meant to be read sequentially, there are organized like nodes. In the first node, I will examine the role of satellites in my projects, Satellites and TELL A STAR. Satellites project examines Our World, the first global transmission (1967) through a sculptural installation, video and website. This project critiques the notion of techno-utopianism, a idea that technology will resolve all inequalities plaguing humanity. Then, I will review TELL A STAR, a 3-channel installation, where I divert the history of the first American satellite, Telstar (1962) through the lens of Afrofuturism, archival research and fluidity of identity. In the second node, I will review my project, Con-tain-er, its installation and performative elements and the role of “flows” within global shipping networks. Near the ending node, the role of networks, “junk,” and the use of workshops will be examined as part of my arts practice. Demanding the creation of more inclusive and divergent networks is central to imagining fluidity. It is within reach, we need to imagine it.Studio Ar

Recovering aesthetics in teaching : beauty informed with love

This dissertation looks at teaching through an aesthetic lens that brings the classroom into focus as a living composition of active and loving relationship. As the dimension of its form unfolds, it reveals the full and inclusive nature of aesthetics: that which embraces and celebrates the design of a teacher as a loving artist within the space of the classroom. The first chapter begins by holding the context of this learning space up to the light of the current trends in educational reform. The aesthetic voice confronts methodical systems that market step by step teaching practices. Teacher-as-artist questions whether mandated goals and objectives of efficient instruction muffle the learning sounds of awe and wonder. The voices of educators from a variety of disciplines are heard in Chapter II as they consider the presence of artistry in all classrooms. The composition of this chapter reveals that so much more than mastery of subject matter goes on within these rooms where students and teachers come together everyday to learn with and from one another. It recovers the active etymological root of the noun, "classroom," transforming it into a summoning or calling to make room for possibility and change

The Qualities of Quality: Understanding Excellence in Arts Education

Based on interviews, site visits, and a literature review, examines how excellence in arts education is defined, how it is measured, and how decisions at all levels affect program quality. Offers tools to help decision makers reflect on and align goals

Lessons from the Workshop: A Guide to Best Practices in Performing Arts Education

Developed by the Workshop's Associate Artistic Director, Anne-E Wood, the Best Practices Guide is a hands-on tool for school administrators, teachers, artists, parents or arts organizations facilitating an artist residency program. The guide explains arts education within the framework of educational policy and practice in California, but the model can be adapted for many communities. In this guide, you will learn about the residency model, the history of Performing Arts Workshop's residency model and what 40 years of experience has shown to be the best practices for artists and teachers

Beyond words: Aesthetic knowledge and knowing in design

Aesthetic knowledge comes from practitioners understanding the look, feel, smell, taste and sound of things. It is vital to work in many organizational contexts. In this paper, we explore aesthetic knowledge and knowing in organizations through detailed observation of design work in the architectural practice Edward Cullinan Architects. Through our research, we explore aesthetic knowledge in the context of architectural work, we unpack what it is, how it is generated, and how it is applied in design projects, shared between practitioners and developed at the level of the organization. Our analysis suggests that aesthetic knowledge plays an important part in organizational practice, not only as the symbolic context for work, but as an integral part of the work that people do. It suggests that aesthetic reflexivity, which involves an opening up and questioning of what is known, is experienced as part of practice as well as a `time out' from practice

Don’t touch! hands off! art, blindness and the conservation of expertise

The embargo on touching in museums is increasingly being brought into question, not least by blind activists who are calling for greater access to collections. The provision of opportunities to touch could be read as a potential conflict between established optic knowledge and illicit haptic experience, between the conservation of objects and access to collections. Instead I suggest that touch is not necessarily other to the museum; rather, the status of who does the touching and knowing is crucial and not the use of touch per se. It is expert territory and vested academic interests that are at stake here. Using Bruno Latour’s (1993) conceptions of hybrid networks and purified zones of academic practice, I then explore what the unacknowledged existence of touch means for museums and for notions of authority more generally. I suggest that if the apparent boundaries of disciplines are unconvincing in practice, then the possibility of expert knowledge is seriously undermined. Blind people’s demand for access through touch is not then a challenge of one paradigm to another but implicitly questions the accreditation of authority itself. As such it forms part of a wider institutional shift with regard to expertise and an increased need for negotiating between different conceptual frameworks. The ocularcentric bias of museums is increasingly being questioned by blind and visually impaired visitors who emphasize touch as a learning and aesthetic experience. This challenge is contentious not least because it ostensibly brings the individuals’ rights of access into direct conflict with museum conservation. I argue that concerns over conservation can, however, mask and serve to legitimate preconceptions about who should have access to collections; what counts as damage or dirt; and the means by which art and artefacts can be understood or enjoyed. It is expertise rather than the conservation of objects which is at stake. This article suggests that in campaigning for access through touch, blind people physically move beyond the barriers which reserve contact for the museum elite and simultaneously establish the viability of learning in a way that is not sanctioned by the art historical community. Thus resistance to touch in museums is not so much a concern for preservation as a defence of territory and expertise

Student Expressions of Aesthetic Learning Experiences

Aesthetic learning experiences are grounded in qualities influenced by the arts: perceptive, sensorial, imaginative, and creative. While the concept of aesthetic experience has been applied broadly within education, student expressions of such experiences have been neglected. This poses a problem of equity both ethically in that the suppression of student voice is perpetuated and pragmatically in that the range and form of aesthetic learning expressed by students is insufficiently attended to and acted upon. Theoretically guided by John Dewey’s explications of an aesthetic experience and conceptually supported by three interpretive frames—Eisner’s dimensions of schooling, Uhrmacher et al.’s instructional arc, and Uhrmacher’s aesthetic themes of education—this research qualitatively explored K-8 student expressions of aesthetic learning experiences at one rural school in the western U.S. via the following research question: What are student expressions of aesthetic learning experiences? Additionally, I addressed three sub-questions: 1) What are the teacher’s intentions in creating conditions for aesthetic learning experiences?, 2) How are these intentions enacted in the classroom?, and 3) How do students respond to aesthetic learning experiences—that is, what do students say, do, and create? My research employed an educational criticism and connoisseurship approach to perceive, disclose, and appraise qualities inherent in student aesthetic learning experiences through three sources of data: classroom observations, teacher and student interviews, and curricular, pedagogical, visual, and community artifacts. The findings from this inquiry suggest that student expressions of aesthetic learning experiences materialized across three focal points—music, place, and composition—and were influenced by the teacher’s intentions to cultivate a love of learning within her students. From these findings, I consider four anticipatory frameworks and their implications for diverse contexts: savoring inefficiency, constructing ordinary imaginaries, sense-making and space-making in the curriculum, and becoming in place with others

Music, Myth and Motherland: Culturally Centered Music & Imagery

This study assessed ethnic identity in adults of Indian origin through Culturally Centered Music & Imagery (CCMI), a music-centered, psychotherapeutic technique that emphasizes socio-cultural context, identity and meaning. The purpose was to examine how participants’ native music, in the context of CCMI, could evoke identity-based imagery and assess ethnic identity in a globalized context. Five cisgender Indian men and women from Hindu backgrounds participated in one CCMI session each, including an interview and follow up discussions. The qualitative methodology of portraiture (Lawrence-Lightfoot, 1997) was used in this study. The results reveal how CCMI can access the cultural and ethnic unconscious, a relatively new area of consciousness in Jungian and GIM paradigms. The study also shows how CCMI can highlight the fluid and multiple nature of ethnic identity, revealing its intersection with other identities such as gender, sexual orientation, caste and religion. In addition, the data support the use of contextual and identity-based music selections in assisting participants to explore, recreate or gain a deeper understanding of their ethnic identity through image and metaphor. Major findings include new categories of ethnic identity such as Aesthetic, Ancestral, Philosophical, Mythological, Spiritual and Core Indian identities. Subthemes include experiences of Rebirth, Disconnection, Unconscious Divide, as well as other socio-cultural identities such as Kaleidoscopic, World Citizen and Global Nomad. These and other themes relate to American, global, spiritual, queer, socio-economic, caste, gendered, and individual contexts. The research also suggests that this technique may be effective in emotionally and psychologically supporting adults who are going through the process of immigration or acculturation

Black Holes and Vacuum Cleaners: Using Metaphor, Relevance, and Inquiry in Labels for Space Images

This study extended research on the development of explanatory labels for astronomical images for the non-expert lay public. The research questions addressed how labels with leading questions/metaphors and relevance to everyday life affect comprehension of the intended message for deep space images, the desire to learn more, and the aesthetic appreciation of images. Participants were a convenience sample of 1,921 respondents solicited from a variety of websites and through social media who completed an online survey that used four high-resolution images as stimuli: Sagittarius A*, Solar Flare, Cassiopeia A, and the Pinwheel Galaxy (M101). Participants were randomly assigned initially to 1 of 3 label conditions: the standard label originally written for the image, a label with a leading question containing a metaphor related to the information for the image, or a label that contained a fact about the image relevant to everyday life. Participants were randomly assigned to 1 image and compared all labels for that image. Open-ended items at various points asked participants to pose questions to a hypothetical astronomer. Main findings were that the relevance condition was significantly more likely to increase wanting to learn more; the original label was most likely to increase overall appreciation; and, smart phone users were more likely to want to learn more and report increased levels of appreciation. Results are discussed in terms of the need to examine individual viewer characteristics and goals in creating different labels for different audiences.Comment: 50 pages, 7 tables, 2 figures, accepted by the journal "Psychology of Aesthetics, Creativity, and the Arts