Exploring Speculative Methods:Building Artifacts To Explore ‘Interspecies Intersubjective Subjectivity’

This article explores approaches to propagating interspecies understanding and examines the most appropriate ways to investigate the topic as a form of research. It addresses making, or Research through Design (RtD), as a more appropriate research method to generate new knowledge around interspecies embodied experience and to help audiences consider what it might be like to be a nonhuman animal than more traditional forms of scholarship. It presents a range of approaches to exploring interspecies understanding and then situates this knowledge in context with reference to a series of prototypes and design artifacts which constitute the body of work Equine Eyes. The Equine Eyes project consists of a mixed-reality headset, which uses immersive technology to help the user adopt the “point of view” of a horse. The work and the knowledge it produces is experiential in that it requires the audience to wear the headset which simulates horse-like vision to consider how tacit knowledge can be explored through making. The project adopts a RtD method to explore how speculative design artifacts, and play, can be utilised to help foster interspecies thinking and understanding and generate new speculative methods for interspecies design practice. It emphasizes the importance of developing usable speculative design artifacts that can be experienced by users to enact the speculation as an embodied experience

Games Design Research through Game Design Practice

Whilst many game design academics are also game designers, their research is often presented through the lens of other disciplines (philosophy, media theory, human computer interaction [HCI], etc.) and practice-based design research is arguably underrepresented in the games research community. Although game design research espouses to open an inclusive community, at present, research approaches and the presentation of results is dominated by those inherited from either the social sciences or HCI. This dominance of loaded and prescriptive academic frameworks is arguably why many of those creating games outside academia feel such research is unrepresentative of their own practices

Future Energy Networks and the Role of Interactive Gaming as Simulation

As energy systems integration deepens to support the development of a cleaner and more intelligent energy infrastructure, it will be increasingly important for consumers to better understand their relationship to energy systems and to take more proactive roles in managing energy. Foregrounding the importance of systems comprehension, we argue for the strong potential of interactive games to be helpful in engaging consumers in sustainable energy practices, as they can demonstrate complex system dynamics through simulation-based experiences. Focusing on interrogations of engagement and social change posed by gaming theorists and designers, and using several flagship interactive games as points of reference, we discuss the elements of game space that make it capable of simulating complex systems and large-scale implications of energy decisions richly and effectively. We discuss social, technological, and narrative elements of game play, pairing a theoretical investigation with a practical exploration of how energyrelated games can link with data in the real world, with particular emphasis on the emerging Internet of Things. Our conclusions emphasise the importance of game simulation toward the longer-term goal of cultivating more complex patterns of interaction and cultural analysis around energy use; this is based on the assertion that energy, a social resource, must be managed in ways that are equally social

[in]visible belfast

[in]visible Belfast was an alternate reality game or (ARG) designed and produced by Danielle Barrios-O’Neill and Alan Hook in 2011, with cooperation from the University of Ulster, Queen’s University Belfast, FilmTrip, Ltd., and a variety of local businesses and arts organizations in Belfast. In the game, players follow Ana, a student of astronomy, on a mysterious quest through a labyrinthine version of Belfast, in the hopes of answering the question asked in the game’s first chapter: What lies at the heart of the city? En route to solving the mystery, players engage with some of the great voices of English, Irish and world literature, by solving clues and following the trail of narrative crumbs across multiple websites, social media platforms, and in the real city of Belfast. In the real-time progression of the game, players reveal the city that is unseen: Invisible Belfast. [in]visible belfast was designed to provide an interactive experience of Belfast city that engages with its historical and cultural heritage, as well as emphasizing its multifaceted relationships with other world literatures. Thematically and structurally, the game endorses translation, collaboration, and various modes of networked cultures both digital and analogue; it conceives Belfast as a complexity constructed of many interlinked histories, whose interactions produce fascinating and unusual forms. The interconnections and linkages that the game forms through its interaction with the players can be an educational tool, a form of “edu-tainment” that highlights writer Ciaran Carson and Belfast history, engaging students and non-students with the rich culture of the city. The game ran from May to June 2011, coinciding with the 2011 Belfast Book Festival

PG 1700+518 Revisited: Adaptive Optics Imaging and a Revised Starburst Age for the Companion

We present the results of adaptive-optics imaging of the z=0.2923 QSO PG 1700+518 in the J and H bands. The extension to the north of the QSO is clearly seen to be a discrete companion with a well-defined tidal tail, rather than a feature associated with the host galaxy of PG 1700+518 itself. On the other hand, an extension to the southwest of the QSO (seen best in deeper, but lower-resolution, optical images) does likely comprise tidal material from the host galaxy. The SED derived from images in J, H, and two non-standard optical bands indicates the presence of dust intermixed with the stellar component. We use our previously reported Keck spectrum of the companion, the SED found from the imaging data, and updated spectral-synthesis models to constrain the stellar populations in the companion and to redetermine the age of the starburst. While our best-fit age of 0.085 Gyr is nearly the same as our earlier determination, the fit of the new models is considerably better. This age is found to be remarkably robust with respect to different assumptions about the nature of the older stellar component and the effects of dust.Comment: 11 pages; includes two eps figures. Latex (AASTEX). Two additional figures in gif format. Postscript version including all figs. (424 kb) can be obtained from http://www.ifa.hawaii.edu/~canaguby/preprints.html To appear in ApJ. Letter

A Transmedia Topology of 'Making a Murderer

This article constructs a transmedia topology of the Making a Murderer text, mapping the ecologies of interaction, participation and creation with and of the text by the audience. Firstly we explore the mixed textualities of the series delivered through the streaming service Netflix. We then expand the analysis to consider the wider transmedial textualities and trace the thresholds of the transmedial text to investigate new approaches to analysing transmedial work in the context of non-fiction media forms. We explore the relationships between the core series and the participatory engagement in the production of the text as a whole which includes online engagement, active investigations, and the production of a wide range of new material in response to the core series. Here we define transmedia topology as a tracing of what we could call the geography of the text, as defined by its features and boundaries (or lack thereof). We situate the series as a piece of Complex TV, but explore how the series invites active participation from the audience; through its structure, complexity and form. The article maps the series textual connections with more traditional documentary form, and more experimental transmedial approaches, relating it to Alternate Reality Games. We consider (at the time of writing and publication) the tangible, real world outcomes of the text and the audiences participation in the production of the text. This mapping situates the text within a number of media discourses to understand its media geneology and explore its textual trajectories. This mapping explores both the 10-part series, and the wealth of paratextual material as a text together, mapping the connections between the documentary series and the emergence of a transmedial textuality that is owed largely to audiences and the textual terrain. Also translated to Spanish: Hook, A., Barrios-O'Neill, D., & Mairs Dyer, J. (2019). "Una Topología Transmedia De Making A Murderer" In N. Golubov (Ed.), TV Ficciones: Reflexiones Criticas Sobre Television Estadunide (pp. 67-93