Link Symposium Abstracts 2020最新文献

{"title":"Além da Torre de Marfim: questionamento conduzido pela prática e pesquisa pós-disciplinar","authors":"Welby Ings","doi":"10.24135/link2021.v2i1.171.g318","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.171.g318","url":null,"abstract":"Esta proposta considera as relações entre as práticas profissionais e pós-disciplinares na medida em que se relacionam com a pesquisa em design conduzida pela prática. Quando vistos através de lentes territoriais, os artefatos e sistemas que muitos designers desenvolvem em universidades podem ser considerados híbridos porque atraem para sua composição e contextos diversos campos disciplinares. Processualmente, o discurso parte de uma discussão sobre a maneira como as designações disciplinares, originadas na secularização das universidades alemãs no início do século XIX, tornaram-se o modelo de quanto conhecimento é processado atualmente na academia. Examina-se como essas demarcações de pensamento, que incluíam linguagens e literaturas não clássicas, ciências sociais e naturais e tecnologia, foram interrompidas nas décadas de 1970 e 1980, por disciplinas baseadas em identidades que cresceram dentro das universidades. Estas incluíram estudos de mulheres, lésbicas, gays e grupos étnicos. No entanto, de igual importância durante este período foi a chegada de disciplinas profissionais como design, jornalismo, enfermagem, gestão empresarial e hospitalidade. Significativamente, muitas dessas profissões trouxeram consigo valores e processos associados à pesquisa centrada no usuário. Moldados pela necessidade de responder de forma rápida e eficaz às oportunidades, os profissionais estavam acostumados a aproveitar e integrar o conhecimento livre de demarcações disciplinares ou profissionais. Por exemplo, se um estúdio de design exigisse a contribuição de um formulador de políticas do governo, um advogado de patentes e um engenheiro, este estúdio estaria acostumado a trabalhar de maneira flexível com diversos domínios do conhecimento na busca de um resultado eficaz. Além disso, essas profissões também empregaram diversas formas de investigação conduzida pela prática. Com base em altos níveis de experimentação, reflexão ativa e conhecimento profissional aplicado, essas abordagens desafiaram muitas pesquisas e convenções disciplinares dentro da academia. Embora a investigação conduzida pela prática, argumentada como uma forma de prática pós-disciplinaridade, seja um conceito relativamente novo (Ings, 2019), pode estar associado à observação de Wright, Embrick e Henke (2015, p. 271) de que “estudos pós-disciplinares emergem quando os acadêmicos se esquecem das disciplinas e as ideias podem ser identificadas com alguma em particular: eles se identificam com a aprendizagem e não com as disciplinas”. Darbellay vai mais longe, ao enxergar a pós-disciplina como um repensar essencial do conceito de disciplina. O autor sugere que quando os acadêmicos se posicionam fora da ideia de disciplinas, eles são capazes de “construir um novo espaço cognitivo, no qual não se trata mais apenas de abrir fronteiras disciplinares por meio de graus de interação / integração, mas de desafiar fundamentalmente o fato óbvio da disciplinaridade”(2016, p. 367). Esses autores argumentam qu","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116684744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Analysis of the production of transmedia content in the 'Sintonia' series","authors":"Guilherme Belarmino, João Massarolo, Marcos Mortensen Steagall","doi":"10.24135/link2021.v2i1.170","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.170","url":null,"abstract":"The project analyzes how funk, an Afro-Brazilian music style, has been portrayed by the Brazilian audiovisual. It makes a case study of Sintonia (2019), a Netflix/Kondzilla coproduction, focusing on two fundamental aspects: (1) the narrative construction of the series and its characters, an analysis of the plot using Robert Mckee (1997) and Christopher Vogler (1992) as guidelines and (2) the transmedia strategy, based on the concepts of participatory culture, media convergence and collective intelligence by Henry Jenkins (2009). The study uses Jenkins' definition of transmedia storytelling as a process in which the elements of fiction are systematically dispersed across multiple content platforms for the purpose of creating a unified and coordinated entertainment experience, in which each medium contributes in a unique way. The analysis also maps the distribution channels used by Sintonia and their contribution to the development of the narrative, of its characters and the fictional universe. The analysis lists strategic transmedia decisions by the producers based on the seven transmedia principles in Jenkins' work: Propagability vs. Depth; Continuity vs. Multiplicity; Immersion vs. Extraction Capacity; Construction of the Fictional Universe; Seriality; Subjectivity and Performance. The hypothesis is that, in narrative terms, Sintonia enshrines the Jornada do Funkeiro in streaming platform. Jornada do Funkeiro or Funker’s Journey is an original term that defines a modern and contemporary story, told thousands of times and in different formats, ubiquitous in the work of Kondzilla, with mythical status in the Brazilian poor neighbourhood. The story is the saga of a poor young man who struggles against financial difficulties, prejudice, lack of support and other adversities to fulfil his dream of becoming a successful MC. Through his path, he earns fame and money and changes his life for the better, obeying a non-negotiable condition: never forget his social roots. The loyalty to this narrative guides the series' transmedia strategy and serves as a code of coherence to the producers while interacting with the public. Sintonia portrays the life and conflicts of three youngsters covering universal themes such as fame, crime, prejudice, inequality, work, family conflicts and faith. The protagonist of the story is MC Doni, a young man from a poor neighbourhood in the city of São Paulo, the largest in Brazil. MC Doni is an active protagonist, he conflicts the world and the people around him to achieve his goal of becoming a successful MC. His internal conflicts include low self-esteem, shyness, the stigma of being a slum dweller, the fear of disappointing his family and, above all, the fear of failing.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128717935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward","authors":"Marcos Mortensen Steagall, Sérgio Nesteriuk Gallo","doi":"10.24135/link2021.v2i1.174","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.174","url":null,"abstract":"The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundat","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123543509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beyond the Ivory Tower: Practice-led inquiry and post-disciplinary research","authors":"Welby Ings, Marcos Mortensen Steagall","doi":"10.24135/link2021.v2i1.171","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.171","url":null,"abstract":"This address considers relationships between professional and postdisciplinary practices as they relate to practice-led design research. When viewed through territorial lenses, the artefacts and systems that many designers in universities develop can be argued as hybrids because they draw into their composition and contexts, diverse disciplinary fields. Procedurally, the address moves outwards from a discussion of the manner in which disciplinary designations, that originated in the secularisation of German universities during the beginning of the nineteenth century, became the template for how much knowledge is currently processed inside the academy. The paper then examines how these demarcations of thought, that included non-classical languages and literatures, social and natural sciences and technology, were disrupted in the 1970s and 1980s, by identity-based disciplines that grew inside universities. These included women’s, lesbian and gay, and ethnic studies. However, of equal importance during this period was the arrival of professional disciplines like design, journalism, nursing, business management, and hospitality. Significantly, many of these professions brought with them values and processes associated with user-centred research. Shaped by the need to respond quickly and effectively to opportunity, practitioners were accustomed to drawing on and integrating knowledge unfettered by disciplinary or professional demarcation. For instance, if a design studio required the input of a government policymaker, a patent attorney and an engineer, it was accustomed to working flexibly with diverse realms of knowledge in the pursuit of an effective outcome. In addition, these professions also employed diverse forms of practice-led inquiry. Based on high levels of situated experimentation, active reflection, and applied professional knowing, these approaches challenged many research and disciplinary conventions within the academy. Although practice-led inquiry, argued as a form of postdisciplinarity practice, is a relatively new concept (Ings, 2019), it may be associated with Wright, Embrick and Henke’s (2015, p. 271) observation that “post-disciplinary studies emerge when scholars forget about disciplines and whether ideas can be identified with any particular one: they identify with learning rather than with disciplines”. Darbellay takes this further. He sees postdisciplinarity as an essential rethinking of the concept of a discipline. He suggests that when scholars position themselves outside of the idea of disciplines, they are able to “construct a new cognitive space, in which it is no longer merely a question of opening up disciplinary borders through degrees of interaction/integration, but of fundamentally challenging the obvious fact of disciplinarity” (2016, p. 367). These authors argue that, postdisciplinarity proposes a profound rethinking of not only knowledge, but also the structures that surround and support it in universities.  In th","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"10 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130179156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Transition Design: An approach to addressing wicked problems (and catalysing societal transitions toward more sustainable futures)","authors":"T. Irwin, Marcos Mortensen Steagall","doi":"10.24135/link2021.v2i1.172","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.172","url":null,"abstract":"Transition Design is a new area of transdisciplinary design focus aimed at addressing complex wicked problems and catalysing transitions toward sustainable, equitable and desirable long-term futures. Terry will discuss how change happens within our complex socio-technical systems and how addressing wicked problems can be a strategy for changing the trajectory of these transitions. Transition Design is a transdisciplinary approach aimed at addressing the many ‘wicked’ problems confronting 21st-century societies: climate change, forced migration, political and social polarization, global pandemics, lack of access to affordable housing/healthcare/education and countless others. These problems are considered systems problems because of their many challenging characteristics such as: every wicked problem is connected to other wicked problems; they are comprised of multiple stakeholder groups with conflicting agendas and no clear shared understanding of the problem; they are constantly changing and evolving; and wicked problems always manifest in place and culture-specific ways. Because of their high level of complexity, wicked problems cannot be solved by a single group of people or discipline. Addressing such problems requires radical collaboration among many fields and disciplines, but even more importantly it requires leveraging the knowledge and perspectives of the stakeholder groups connected to and affected by the problem. Transition Design argues that new transdisciplinary knowledge and skill-sets are required to address these problems, and that wicked problem resolution is a strategy for igniting positive, systems-level change and societal transitions toward more sustainable, equitable and desirable long-term futures. The Transition Design approach emphasises:• The need to frame problems within radically large, spatio-temporal contexts that include the past (how the problem evolved over long periods of time), present (how the problem manifests at different levels of scale) and future (visions of the long-term future in which the problem has been resolved).• The need for the stakeholders connected to and affected by the problem to be involved throughout the problem framing, visioning and solutioning process. This challenges many dominant processes in which professional or disciplinary experts from outside the system solve/design “for” the communities affected by the problem(s). Transition Design aspires to continually leverage the knowledge and wisdom from inside the system and build community capacity to self-organise, advocate and problem solve.• The need for stakeholders to co-create long-term visions of desirable futures, as a way to transcend their differences in the present and focus on a future space in which they are more likely to agree.• The need to develop “ecologies of synergistic interventions” (solutions) that are connected to each other and the long-term vision as a strategy for transitioning entire societies toward a desirable,e","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129325215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bio-sketches: an iterative process that allows recognizing, extraction, and adaptation of the essential characteristics of biological models","authors":"Camilo Angulo, Marcos Mortensen Steagall","doi":"10.24135/link2021.v2i1.76","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.76","url":null,"abstract":"One of the biggest challenges that first-year design studio students experience in a traditional ideation process is when they have to face the blank page to begin drawing ideas after reading the brief instructions. It was in 2020, that as a teacher I looked for pedagogical alternatives that will generate a lower sense of frustration in students, that's why I started experimenting with an induction approach based on the essential features of biological models (Gebehuber & Drack, 2008), an interdisciplinary approach that allows combining design and biology methods with the purpose that students acquire an ability to recognize and understand structures of nature that facilitate the drawing of concepts and forms for their first sketches. All starts from some already existing biological solutions, from which a useful principle is extracted at any of its scales (cell, tissue, organ, system) with which Nature has managed to complete a task (Wiltschnig et al. 2013), and subsequently, a search process for a design problem is carried out to which this principle can be applied with accuracy. This drawing exercise was a valuable option, especially for the moment of virtual education in design that we experienced last year, managing to improve the ideation process that we carried out in class through the screen. I name this exercise bio-sketches, and it has the goal that students can refine structural patterns of nature through a cyclical process of drawing sketches. Later in 2021, already with greater experience and knowledge of the methodology, I wanted to enhance that purpose by developing an incremental iteration model with three stages where different levels of thought are developed, getting students to draw sketches with high levels of innovation. Based on some reference texts (Benyus, 1997; Arciszewski & Cornell, 2006; Nagel et al., 2018), the iterative abstraction process proposal is characterized in the following way: The first loop of iteration of bio-sketches has a low level of abstraction, where the drawings are elementary and are reduced to imitating the shape directly and superficially using reference images. In nature, it is found as an evolutionary strategy known as mimicry, which by copying some characteristics increases the chances of survival. It includes the study of categories from morphology in terms of the shape and geometry of living organisms. The second loop of iteration of bio-sketches has a medium level of abstraction, it studies the processes in context, as a state of changes in the physical environment in which a series of interrelating elements, in nature it is found as the biological principle of adaptation. It includes the study of categories of behavior in terms of response processes to stimuli. The third loop of iteration of bio-sketches has a high level of abstraction that seeks new knowledge from a deep understanding, to imitate the systems, principles, and strategies or patterns, which in nature is found as the biologica","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114415881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"uMzantsi (South): Exploration and Wave Motion Through Generative Art","authors":"Tristan Bunn, M. Steagall","doi":"10.24135/link2021.v2i1.167","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.167","url":null,"abstract":"\"uMzantsi\" (South) is a series of artworks created using a combination programming code, various ink pens, different papers, and a 2-axis plotter. Specifically, the artist employed a combination of Python code, his bespoke generative code editor project (thonny-py5mode), and vector graphics software (Inkscape). Running each Python script produces unexpected results based on variants of mathematical formulas for wave/ripple-like motion. Creatively, the project examines exploration and wave motion through generative art; technically, it showcases what py5—a new creative coding library—can produce. The presentation provides an introduction to the artworks and the novel software environment for generating them.Technology enables us to travel the world remotely, from our sofas immersed in realities streamed into VR headsets. Digitally-teleport yourself to a tourist hotspot you've never visited, and you can likely identify the location by the landmarks (architecture, nature, and vistas) you observe; what you cannot explore are the regions beyond what is captured and curated for the VR traveller. The most remarkable, rewarding travel experiences require seeking out the uncertain. Backpackers travel without a plan, lugging no more than fits in a backpack; adventurous surfers travel days to remote locations to discover that special, unridden wave. In the spirit of the explorer-traveller, the artist—Covid-denied his journey to faraway, warm, seaside locations—spent time programming generative artwork inspired by the ocean (mathematical formulas for wave/ripple-like motion). His code incorporates randomness to produce unpredictable results, to capture the anticipation and thrill of exploration in adventurous travel. Plotting the creations introduces characteristic imperfections of the pen and paper medium.Processing's Python Mode combines the Python programming language and Processing, a development environment for interactive and graphics programming. Python is one of the most popular programming languages in use today. There are many good reasons for this: it is a beginner-friendly language, more approachable than languages like Java or C++; it is a general-purpose language suitable for programming artificial intelligence (AI), games, simulations, and web apps, among other applications. Processing is composed of a programming language and an editor for writing and compiling code; it provides a collection of special commands that allow users to draw, animate, and handle user input with code. Processing makes programming more accessible for designers and artists, and its thriving user base has grown to include researchers, hobbyists, and educators. Java is the basis for the original Processing programming language, but other variants have since appeared, including JavaScript (p5.js) and Ruby (JRubyArt) versions. In 2010, Jonathan Feinberg created Processing Python Mode, an extension for Processing that allows users to write Python instead of Java-esque code","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121356700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ako for Niños: An animated children’s series bridging migrant participation and intercultural co-design to bring meaningful Tikanga to Tauiwi","authors":"V. Smith, James Smith-Harvey, Sebastian Vidal Bustamante, M. Steagall","doi":"10.24135/link2021.v2i1.142","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.142","url":null,"abstract":"This presentation advances a case study for an ongoing intercultural animation project which seeks to meaningfully educate New Zealand Tauiwi (the country's diverse groups, including migrants and refugees) on the values, customs and protocols (Tikanga) of Māori (the indigenous people of Aotearoa New Zealand). Ako For Niños (‘education for children’), implemented by a migrant social services organisation and media-design team, introduces Latin American Tauiwi to Tikanga through an animated children’s series, developed with a community short story writing competition and co-design with a kaitiaki (Māori guardian/advisor). Māori are recognised in Te Tiriti o Waitangi (the founding document of New Zealand) as partners with Pākeha (European New Zealanders), and Māori knowledge and Tikanga are important to society and culture in Aotearoa. Notwithstanding, there has been a historic lack of attention paid to developing meaningful understandings of Māori perspectives for New Zealand Tauiwi. Ako For Niños endeavours to address current shortages of engaging resources on Māori worldviews for Tauiwi communities, create opportunities for Tauiwi to benefit from Māori epistemologies, and foster healthy community relationships between Māori and Latin American Tauiwi. Through the project’s short story competition, Tauiwi were given definitions of Tikanga through a social media campaign, then prompted to write a children’s tale based on one of these in their native language. This encouraged Tauiwi to gain deeper comprehension of Māori values, and interpret Tikanga into their own expressions. Three winning entries were selected, then adapted into stop-motion and 2D animations. By converting the stories into aesthetically pleasing animated episodes, the Tikanga and narratives could be made more captivating for young audiences and families, appealing to the senses and emotions through visual storytelling, sound-design, and music. The media-design team worked closely with a kaitiaki during this process to better understand and communicate the Tikanga, adapting and co-designing the narratives in a culturally safe process. This ensured Māori knowledge, values, and interests were disseminated in correct and respectful ways. We argue for the importance of creative participation of Tauiwi, alongside co-design with Māori to produce educational intercultural design projects on Māori worldviews. Creative participation encourages new cultural knowledge to be imaginatively transliterated into personal interpretations and expressions of Tauiwi, allowing indigenous perspectives to be made more meaningful. This meaningful engagement with Māori values, which are more grounded in relational and human-centred concepts, can empower Tauiwi to feel more cared for and interconnected with their new home and culture. Additionally, co-design with Māori can help to honour Te Tiriti, and create spaces where Tauiwi, Pākeha and Māori interface in genuine partnership with agency (rangatiratanga),","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127144795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Crunch: Analysis of the phenomenon in the independent game development scene","authors":"Daniel Prieto, Sérgio Nesteriuk","doi":"10.24135/link2021.v2i1.168","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.168","url":null,"abstract":"This paper presents arguments to explain the complexity of developing and producing a digital game (SCHREIER, 2018), which can culminate in unhealthy labor practices known as \"crunch time\" or simply \"crunch\". During crunch time, employees often work up to 90 hours a week, often as the release date approaches or there is a marketing event ahead – E.g., the Electronic Entertainment Expo. However, it is not uncommon for studios to run for years on a crunch schedule. A recent well-known example was Cyberpunk 2077 (CD Projekt Red, 2020), which had employees coming out to report abusive years’ worth of abusive management. Another prominent example is Sony’s Naughty Dog, LLC, famous for its excessive work culture. The phenomenon is not recent either, it received public attention for the first time in 2004 when the spouse of an EA employee reported the damage caused in her household by the work culture in the company (HOFFMAN, 2006). We identified a direct connection between incidences of “crunch” to specific sociocultural factors present in the games industry and the dependency relations - creative, financial, and publishing (GARDA & GRABARCZYK, 2016). We state that the business and labor culture in the videogames industry culminates in negative effects on the personal lives and mental health of its employees. Woodcock (2020) also links the crunch culture to a sexist employability condition, claiming that the industry avoids hiring women who are more likely to have household obligations and thus are unable to cope with crunch. We seek to understand if there is a correlation between a high incidence of crunch, pressure from the financing agencies, and inflexible deadlines. We speculate, based on the work of Schreier (2018) and analyzing the stories behind the development of the acclaimed “Stardew Valley” (BARONE, 2016) that even without external pressure, crunch might still happen. Han’s work (2017) states the \"achievement-subject\" as one who does not distinguish work from its personal life, we position the independent videogame developer as one who is always competing against themselves, exploiting themselves to exhaustion. This is made worse, since, according to Edholm and Lindström (2016), crunch time is already considered as a \"necessary evil\" by the industry workers and is taught to aspiring game developers in universities (ANTHROPY, 2012). In 2019, the International Game Developers Association released that 42% of the game industries’ employees were submitted to crunch and only 8% of these were compensated for the overtime. Cote and Harris (2020) also state that most of the game industries’ professionals are expected to leave their jobs between 3 and 9 years of labor. Through reviewing the literature and analyzing post-mortem documents, this paper lays out aspects that influence this behavior and show examples of how it can affect a worker's life and mental health. This paper attributes the high incidence of burnout syndrome among videogames indust","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133131440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"New demands on design education: from the research to practice","authors":"Lauro Arthur Farias Paiva Cohen, Nubia Suely Silva Santos, M. Steagall","doi":"10.24135/link2021.v2i1.123","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.123","url":null,"abstract":"One of the contemporary challenges for research and practice in design and materials is the ability to associate technical information on properties and processing of materials with creative activities and applications. Currently, there is a return to artisanal practices and processes, in which there is a continuous dialogue between the designer, the material, and the project. This study demonstrates the relevance of practice-oriented design processes in the construction of knowledge. In an experience facilitated through post-consumer paper recycling workshops with students from the Bachelor of Design course at the State University of Pará (Brazil), ways of producing recycled paper tiles were investigated and the effects of this activity were discussed. The context of the activity is based on theoretical studies in materials and design, with a methodological approach focused on practical experiments in a research and teaching scenario.The research is classified as exploratory. The methodology adopted is based on the experimental method, considering the testing of new compositions and the response of materials to the processes. The recycling process consists of preparing post-consumer paper waste, producing cellulose pulp, and making paper tiles for subsequent painting. The tile alternative was inspired by the architecture of Belém (Pará - Brazil), bringing affective memories and a reinterpretation. In the methodological approach, the residue has its sensory and physical characteristics experienced after paper shredding. The homogeneity of the pulp is crucial for a good surface finish after drying. In the pulp molding step, after tests and research in the literature, silicone was selected as the most suitable material for the mold, also the possibility to form reliefs on the tile surface. During the workshops, each participant had the opportunity to interact with the material, from which the sensory analyzes are verbalized and discussed in the group, looking for alternatives for applications. In the course of the creation of the tiles, the participants expressed their feelings, references, and interests through painting. Different colors and textures worked during the activity give the artifact the characteristic of those who manipulate it. The activity provided a network of contacts and meetings in which students had the opportunity to reflect on waste disposal. One of the contributions to education in materials design is the possibility of dealing with awareness and critical concepts. Participants shared their experiences and stories related to the themes presented, as well as perspectives on sustainability. The workshop enabled the construction of new meanings and experiences with the production of products through the playful aspects of handcrafting, in addition to exemplifying the need to involve the understanding of sensory qualities in the design process. At the end of the activity, pieces with potential for indoor environments were obtaine","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127073751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}