Visual arts and 2D – 3D motion typo.graphic design

This project explores issues of typographic design within multimedia contexts, which include interactive, sonic and animated components

Typographical Experimental Research in Audiovisual Spaces [T.E.R.A.S. lab]

Emmanouil Kanellos and Anastasios Maragiannis, PhD researchers, are co-founders of TERASlab; an online virtual project that demonstrates how the amalgamation of virtual typography and visual sound, influences the process of design communication, within creative media practices. One of the key roles of typography is to visually communicate spoken language. In this project letterforms are employed as visual elements to represent the sounds. The sounds that are utilized for the experimental projects are mainly real world recordings, electro-acoustic or vocal

Exhibitions & Performances DRHA2014

Communication Futures: Connecting interdisciplinary design practices in arts/culture, academia and the creative industries. Site-Specific projections, Exhibitions, Installations in and around the Old Royal Naval College, Greenwich Maritime campus. This catalogue includes exhibits related to practice-based research in performance and arts. Delegates presenting theatrical performances or an installations. For over 13 years DRHA: Digital Research in the Humanities and Arts (Previously named: Digital Resources in Humanities and the Arts) continues to be a key gathering for all those are influenced by the digitization of cultural activity, recourses and heritage in the UK

Diversity and Inclusivity in the Age of Wearables: A Buzzword, a Myth, an Uncertain Reality

‘Wearable Technology’ is a buzzword of our contemporary era. It could be argued there are few examples of aesthetically pleasing devices that are designed to meet our needs and/or our consumer desires. However, do we focus on design and aesthetics of technology as a holistic action with the capacity to simultaneously engage conceptual and practical shifts that make our society a place with no boundaries? To design inclusively is to engage the user deeply throughout the design process, sharing our practices and amalgamating people’s unique knowledge as technological interventions. Design diversity and inclusion seems to be used interchangeably with two other terminologies, a) Universal Design and b) Design for All. The terms have a parallel purpose but their origin and use is distinguished in various parts of the world. For example, Inclusive Design is used within Europe and goes beyond age, ethnicity, gender, sex, and disabilities to focus on other excluded groups to deliver mainstream solutions. Inspired by the limited understanding and choices around aesthetics and personalisation in wearables, this article discusses how we use technology to empower individuals in a variety of contexts; to improve our way of living in the world, through a number of contextual resources and practice-research, which were devised and conducted to address women’s concerns and preferences on wearable technologies

Diversity and inclusivity by design

‘Diversity and Inclusivity by Design’ [d+iD] is a collaborative research project, established in 2016 and led by Dr Anastasios Maragiannis. The project embeds diversity and inclusivity research in the creative spaces of art and design through co-design methods, and explores the question: What is enabled when designers design with and for others? The research investigates how innovative co-design approaches can amplify, diversify, and mobilise various aspects of the design process; enabling design to act more inclusively and irrespective of disability, gender, ethnicity, vulnerability, language, or age. In 2021, the research achieved global recognition by the UNESCO partner organisation, the prestigious International Institute of Information Design Award (IIID)

Digital Grand Challenge Innovative Multidisciplinary Research Projects and collaborations to redefine problems outside ordinary boundaries.

About The Digital Grand Challenge [DGC] Digital technologies have become a significant part of our society; almost every product and field of work includes digital design or digital technologies at some point. By developing innovative research projects we can research on how theory can shape digital practice and vice versa; as a way to enhance multiple interactions across numerous disciplines, including, Arts and Design, Architecture, Computing, Humanities, Mathematics and other Sciences

2014 Digital Rsearch in the Humanities and Arts (Full (DRHA): Full paper proceedings

This publication includes a selection of peer reviewed academic papers. The full paper/Proceedings publication for the DRHA2014 conference showcase up to-date discussions, dynamic debates and innovative keynotes and aims to open a discussion on defining digital communication futures, as a theme that connects interdisciplinary practices, focusing particularly on issues of communication and its impact on creative industries

Diversity and inclusivity by design exhibitions: what is enabled when designers design with, and for others?

The d+iD Internatgional research outcomes exhibition was part of the design Festival in 2017 and trwaveled to City of Athens Serafeio Exhibition Centre in March 2019 . Approximately 120 people from various disciplines visited the exhibition in the successful private view in London and more than 100 in Athens. This international exhibition was featured as part of the London Design Festival and in particular highlighted as part of the SE London design district. LDF 2017 attracted more than 500,000 visitors over one week. The exhibition explores how designers empower individuals in a variety of contexts to improve our way of living in the world. The exhibition showcases 15 design and art works from around the globe with a common objective: What is enabled when designers design with, and for others? The research focuses on the selection of works taht demonstrate design thinking through multidisciplinary approaches that positively impact our social and interdisciplinary landscapes. The exhibition reflects on developments in diversity and inclusivity by design since the 1940s. These works focus on design as a holistic action with the capacity to simultaneously engage conceptual and practical shifts that make our society a place with no boundaries. To design inclusively is to engage people deeply throughout the design process, to share our practices and to amalgamate people’s unique knowledge into design interventions, where design acts inclusively regardless of disability, gender, ethnicity, vulnerability, language and age

Diversity and inclusivity in the age of wearables: A buzzword, a myth, an uncertain reality

‘Wearable Technology’ is a buzzword of our contemporary era. It could be argued there are few examples of aesthetically pleasing devices that are designed to meet our needs and/or our consumer desires. However, do we focus on design and aesthetics of technology as a holistic action with the capacity to simultaneously engage conceptual and practical shifts that make our society a place with no boundaries? To design inclusively is to engage the user deeply throughout the design process, sharing our practices and amalgamating people’s unique knowledge as technological interventions. Design diversity and inclusion seems to be used interchangeably with two other terminologies, a) Universal Design and b) Design for All. The terms have a parallel purpose but their origin and use is distinguished in various parts of the world. For example, Inclusive Design is used within Europe and goes beyond age, ethnicity, gender, sex, and disabilities to focus on other excluded groups to deliver mainstream solutions. Inspired by the limited understanding and choices around aesthetics and personalisation in wearables, this article discusses how we use technology to empower individuals in a variety of contexts; to improve our way of living in the world, through a number of contextual resources and practice-research, which were devised and conducted to address women’s concerns and preferences on wearable technologies

Digital Cultural Heritage in the 'land of the ancient': the case of Greece (panel discussion)

[extract from the 'Book of Abstracts'] The panel will bring together professionals coming from different areas of the cultural spectrum (Research and Creative Practices from the academia and museums) to discuss ways in which Greek institutions, designers and artists are currently handling the concept of digital cultural heritage. In a country famous for its glorious (ancient) past, how do creative professionals and museums enter into dialogue with the old and the analogue in order to create a present for themselves? Furthermore, the panel will discuss ways to improve and cultivate practice-based research that can inform, transform and elucidate current speculations of diverse and inclusive academic and non-academic environments in order to empower our society in a variety of contexts and improve our way of communicating the increasingly multicultural challenges to the world