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Browsing Faculty of Information and Communication Studies by Subject "Research Subject Categories::HUMANITIES and RELIGION::History and philosophy subjects::History subjects::Technology and culture"
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ItemDesigning for One's Own: Towards Technology Design Education for Home and Family Care( 2024-04-24) Maranan, Diego S.Participatory design is a well-known methodology that involves end-users in the design process to create products and services that better meet their needs [1]. However, this approach is often applied to public or shared spaces rather than (one’s own) personal or family spaces. Even in family-centered design practices, designers’ attention are on the families of others, not their own [2], [3]. In this presentation, I describe the early stages of development of an educational approach as part of art and design research education, where students intentionally collaborate with their own family members, relatives, and friends as research participants and co-designers, and not merely for convenience. The approach draws inspiration from Hiroshi Ishii's "Weather Forecast Bottle," a tangible interface he developed specifically for his mother in the early 2000s [4], and has since fundamentally contributed to the field of tangible and embodied interface research [5]. The presentation will also discuss artistic and design projects I have undertaken with the intent to develop technologies and design propositions that benefit and provide care for my own family [6]. The framework borrows approaches from design fiction [3], [7], somatic practices [8], user experience and human-computer interaction (HCI) research [9], and visual and performance arts, and could be used to apply digital and frontier technologies such as wearable technology, IoT, and artificial intelligence in developing interventions for facilitating care within one’s home and family. I suggest that such an approach contributes to design education even as it addresses the need to care for one's own loved ones through targeted and context-appropriate applications of conventional participatory design and family-centered design. [1] C. Ten Holter, “Participatory design: lessons and directions for responsible research and innovation,” J. Responsible Innov., vol. 9, no. 2, pp. 275–290, May 2022, doi: 10.1080/23299460.2022.2041801. [2] K. Cheong and A. Mitchell, “Kwento: Using a Participatory Approach to Design a Family Storytelling Application for Domestic Helpers,” Lect. Notes Comput. Sci., pp. 493–500, 2015. [3] L. V. Nägele, M. Ryöppy, and D. Wilde, “PDFi: participatory design fiction with vulnerable users,” in Proceedings of the 10th Nordic Conference on Human-Computer Interaction, in NordiCHI ’18. New York, NY, USA: Association for Computing Machinery, Sep. 2018, pp. 819–831. doi: 10.1145/3240167.3240272. [4] H. Ishii, “Bottles: A transparent interface as a tribute to Mark Weiser,” IEICE Trans. Inf. Syst., vol. E87D, pp. 1299–1311, Jun. 2004. [5] B. Ullmer, O. Shaer, A. Mazalek, and C. Hummels, Weaving Fire into Form: Aspirations for Tangible and Embodied Interaction, 1st ed. New York, NY, USA: ACM, 2022. doi: 10.1145/3544564. [6] D. S. Maranan, J. Grant, J. Matthias, M. Phillips, and S. L. Denham, “Haplós: Vibrotactile Somaesthetic Technology for Body Awareness,” in Proceedings of the Fourteenth International Conference on Tangible, Embedded, and Embodied Interaction, in TEI ’20. Sydney NSW, Australia: Association for Computing Machinery, Feb. 2020, pp. 539–543. doi: 10.1145/3374920.3374984. [7] D. Oogjes, W. Odom, and P. Fung, “Designing for an other Home: Expanding and Speculating on Different Forms of Domestic Life,” in Proceedings of the 2018 Designing Interactive Systems Conference, in DIS ’18. New York, NY, USA: Association for Computing Machinery, Jun. 2018, pp. 313–326. doi: 10.1145/3196709.3196810. [8] R. Berland, E. Marques-Sule, J. L. Marín-Mateo, N. Moreno-Segura, A. López-Ridaura, and T. Sentandreu-Mañó, “Effects of the Feldenkrais Method as a Physiotherapy Tool: A Systematic Review and Meta-Analysis of Randomized Controlled Trials,” Int. J. Environ. Res. Public. Health, vol. 19, no. 21, p. 13734, Oct. 2022, doi: 10.3390/ijerph192113734. [9] T. Almeida, R. Comber, and M. Balaam, “HCI and Intimate Care as an Agenda for Change in Women’s Health,” in Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems, San Jose California USA: ACM, May 2016, pp. 2599–2611. doi: 10.1145/2858036.2858187.
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ItemExpressing technological metaphors in dance using structural illusion from embodied motion(ACM, 2013-06) Maranan, Diego S. ; Schiphorst, Thecla ; Hwang, Albert ; Hwang, AlbertWe illustrate how technology has influenced creative, embodied practices in urban dance styles by analyzing how technological metaphors underlie conceptual representations of the body, space, and movement in three related styles of urban dance: liquid, digitz, and finger tutting. The creative and technical embodied practices of urban dancers are not well understood in either the ethnographic or creative movement scholarly literature. Following an exploratory netnography of movement practitioners, we claim that unlike most dancers of traditional genres or other urban dance styles, dancers of these three styles frequently employ representations of the body and of space that are geometrical, mathematical, mechanical, or digital. To explain how viewers perceive and understand these metaphors, we extend the perceptual theory of structure from motion in order to apply dance performance reception theory to a model we call 'Structural Illusion from Embodied Motion' (SIEM). Our analysis of performance techniques of these styles suggests that during performance, dancers leverage SIEM to represent two types of 'illusions' to viewers: a) the dancer's body has a reconfigurable structure; and b) the dancer is immersed in a virtual environment that contains invisible, mutable objects and structures that are revealed only through the dancer's movement. The three dance styles exemplify a trend in popular dance in which body, space, and time are understood in the language of technology.
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ItemImagining and Prototyping the Future from the Margins( 2023-11-22) Maranan, Diego S.Exploring past visions of the future reveals two key insights: First, we are not always great at predicting the future, but we are good (and unavoidably so) at shaping it. How the future unfolds is shaped by our present imaginings. Second, what the future looks like depends on where you’re looking at it from. Mainstream media, particularly Hollywood, often hands us meticulously crafted visions of the future. Rarely does the wider public get a chance to participate in crafting these images. In this talk, I share some of the creative projects—spanning dance, installation art, AI-generated imagery, and wearable technology design—that my colleagues and I have undertaken. These projects point towards anticipatory approaches to the future that ask, what happens when our images of the future emerge from the fringes rather than conventional centers of power, influence, and imagination?
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ItemSEA: A Game-Based Approach in Promoting Southeast Asian Cultural Awareness Through Southeast Asian Folktales( 2024) Dema-ala, Joshua Albert C.As stated in the Socio-Cultural pillar of the Association of Southeast Asian Nations (ASEAN), the regional organization aims to promote and foster a regional identity that acknowledges the cultural heritage of the Southeast Asian people and the importance of the region. A regional Southeast Asian identity is essential for the member states and their people because it offers a non-nation-centric perspective on Southeast Asian decolonization. It fosters a stronger form of regional solidarity, benefiting member states’ developing economies through reduced conflicts, increased social acceptance for people's mobility, and enhanced information sharing and exchange (Fabrian, 2016; Noor, 2020; Prana, 2017). As mentioned by ASEAN (2020), Farid (2020), and Fabrian (2016), one avenue that can help foster this identity is through cultural awareness facilitated by the creative and digital media. In this special project, the researcher developed SEA, a digital media designed to promote cultural awareness by creating mini-games based on Southeast Asian folktales. The methodological framework Agile-Extreme Programming was used in developing the video game because it allows for continuous testing and iteration. Based on the user feedback survey, it was found that SEA is an effective platform enabling users to enhance their awareness and knowledge of the diverse cultures across Southeast Asia.
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ItemThe Value of the Arts and Humanities to Science in the Philippines( 2022-06-01) Maranan, Diego S.This report discusses interim findings from the Creative Turn in the Sciences project, in which we explore and describe the state of art and science activities and collaborations—what has been variously referred to as “sciart” or “artscience”—in the Philippines. We argue that creative, transformative science can be supported along multiple fronts by engagement with the arts and humanities. As such, our view of creative industries need not be limited to currently identified ranges of cultural products and services. Artists can access new sources of not only funding and support, but also knowledge and inspiration, through engaging artscience in their work. If one of the value propositions of the arts is that it can provide a service, we propose that the arts and humanities could productively offer their services to the science R&D community in novel and underexplored ways. Our main contribution is the SHARES framework for enabling arts and humanities contribution to science research and translation (section 4). Based on our interviews, the arts only minimally influences science and tech R&D in the Philippines, but only because it is usually not usually afforded the opportunity to do it more regularly or more deeply, if at all. However, the arts and humanities can lead to transformative and creative science processes and outcomes, and there is a nascent artscience community of practice in the Philippines that could benefit from support. To this end, funders, professional research organizations, and educational institutions can contribute to enabling shares through a number of ways: # Keep (or include) the Arts in the ST(R)EAM acronym # Retrofit existing programs to include discussion on and practice in artscience # Create opportunities for internships and real-world alternative learning activities # Ringfence funding for artscience collaborations # Provide mechanisms for long-term monitoring and evaluation # Consider new forms of cultural work and new models for patronage # Take the lead as coordinators and mentors # Provide opportunities for both formal disciplinal dialogue and serendipitous interactions # Strike while the iron is hot