Link Symposium Abstracts 2020最新文献

{"title":"Notions of Shock and Attention in Tik Tok videos.","authors":"Claudia Erthal","doi":"10.24135/link2021.v2i1.102","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.102","url":null,"abstract":"This work seeks to understand how and if the entertainment experience obtained by watching videos on the Tik Tok social platform that uses editing and design tools, such as distortion filters for physical appearance and voice, is also an immersive experience that causes a shock to the user as understood by Walter Benjamin (2010) when this communicational subject is crossed by a sensation of the modern and that has, as a consequence, the disintegration of the aura in the experience of shock. According to Rouanet (1990) \"the psychic instance in charge of capturing and absorbing the shock starts to dominate over the instances in charge of storing memory impressions”. In this case awareness has the function of \"serving as protection against stimuli, sublimating impacts, maturing the fright into anguish or fun, so as not to succumb to amazement\" (PEIXOTO, 1983) and can be linked to the production of content of fast circulation and absorption, made exclusively for social networks and platforms such as Tik Tok. Platforms that work with such design are also guided by the hands of users with content creation to shock an audience immersed in what is called Snack Culture (SCOLARI, 2020). As for a culture that develops a sensorial audiovisual content format, these contents provoke a sensory effect, a brief and ephemeral experience within a project that can be understood as artistic and created in a dynamic between playful and entertainment. The sensorial effect of these contents offers a unique and unprecedented experience, typical of an avant-garde work of art. In the 'contemporary arcades' of the Internet, videos from both Tik Tok and other platforms – with similar features - have similar tools created daily increasing the number of accesses, seeking to retain the media user and seem to attempt to lead the user to an immersive experience in an Attention Economy system as described by Jonathan Crary (2015) as something that “dissolve the separation between the personal and the professional, between entertainment and information, displaced by a compulsory functionality of communication inherently and inescapably 24/7.” Altogether with these ideas is the view of Simon Reynolds (2010) that popular culture has become a remix or rereading of something done before, based on any type of information available. Therefore, from this point of view, the reappropriation becomes infinite – something you see in Tik Tok videos. This text is built applied to the communicational practice of the use of platforms and is an attempt to understand the contemporary media paths that are outlined with the platform of culture. The platforms, a communication event in itself, raise questions about a new circulation of goods and gestures by communicational subjects who act on this frequency. It is a work that positions itself in the face of the contemporary urgency of the online life, its fast transformations and society's pursuits in a time that requires critical thinking about the mom","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"61 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":"131190948","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":"Realities Research Group: 10 years of studies in art-technology","authors":"Silvia Laurentiz, M. Steagall","doi":"10.24135/link2021.v2i1.130","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.130","url":null,"abstract":"The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is \"InMemoriam\". It is still online and can be accessed on its website.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"34 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":"128882987","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":"Atypical Reality: Exploring the narrative potentials of an immersive environment","authors":"Elena Panaita, M. Steagall","doi":"10.24135/link2021.v2i1.169","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.169","url":null,"abstract":"This research considers how a storyteller might employ virtual reality (VR) in the creation of an immersive narrative that communicates an experience of both conscious and atypical consciousness (near-death experience). The study emanates from a post-positivist paradigm and the research design employs autoethnography supported by heuristic inquiry. It explores personal experiences in connection with other people, using self-reflection as a means of understanding a wider range of social, historical, cultural, and political conditions. A near-death experience (NDE) is defined as a profound subjective experience that may occurs after severe health threat and can be described as an atypical state of consciousness in conditions that are usually defined as unconsciousness. People who report NDE may experience a bright light that permeates space; feeling happiness, peace, joy, and a sense of unconditional love; hearing unusual sound; being in a tunnel; seeing deceased relatives or friends; experiencing a life review; seeing their own body from above; and encountering a conscious return back into the body. NDEs are linked to profound and long-lasting changes that can dramatically alter a person’s attitude to life, their beliefs, and values. Not only people who have experienced NDE are affected by it, but also people who hear or read about it may experience similar, positive effects. Initially this project started as a traditional graphic novel and only later moved into VR. This happened as a response to my search for a better way to describe what it might feel like to have a near-death experience. This project uses VR’s inherent disadvantage as an advantage, allowing the viewer to be present in a scene and at the same time not have a physical body. In addition VR is currently changing the way we tell and ‘read’ stories, offering an opportunity for creating more impactful storytelling. In this realm, a viewer can become a witness inside a story, and gain a subjective first-hand perspective, rather than a third-person view. It might be more challenging for creators to direct a viewer’s attention, however this also allows for more authentic interaction with a story as the viewer has a choice of what to focus on, noticing or ignoring certain details of the story, thus creating their own version of it. By using Oculus Quill to produce the visuals I have been able to illustrate and animate material inside virtual space. This approach differs from conventional 3D experiences because work is completely rendered inside VR. The Quill application allows for an organic, hand drawn feel, which was very important for me as stylistically it is closer to the traditional graphic novel medium. The Quill application felt the best choice for me, however with the rapid software development it is possible that a different platform will create even more advanced tools.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"20 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":"131273747","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":"Paradise is for everyone","authors":"Lynn Carone, Fernando Pericin, M. Steagall","doi":"10.24135/link2021.v2i1.151","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.151","url":null,"abstract":"\"Paradise is for everyone\" is a film produced by Lynn Carone and Fernando Pericin, as a result of the combination of three previous projects in dialogue, derived from the research of both and that contemplate themes like bodies, territories and urban occupations. The video performance \"It`s many layers\" by Lynn Carone and Sueli Vital was born from the observation of a place and the weirdness caused by it. They used a specific place to perform the work with focus on racism. The physical territory was a stimulus for reflections about structural racism and the search for reparation concerning taking an anti-racist position. For the video performance, the concept of site-specificity was considered, thought as site-oriented, in which, according to Miwon Kwon, the work would not be only \"a noun/object\", but a \"verb/process\", provoking the critical acuity, not only physical and phenomenological, of the spectator, but also, to the ideological conditions of this experience, in this case, the observation of the specificity of the name of the restaurant \"Senzala\", located in an upper-middle-class neighborhood of São Paulo, Brazil. The work \"The Contemporary Gay\" by Fernando Pericin was born from the indignation of the attacks on people deviating from the gender and sexuality standard in recent years, supported by reflections on the text \"What is contemporary?\" by Giorgio Agamben. According to the Gay Group of Bahia report, 174 gay men were victims of violent death in Brazil in 2019. In times of pandemic, claiming his right to protest, Fernando used the empty streets as a base and his body as a support to perform a solitary performance to express his indignation and provoke reflections about the decisions and statements made by the current government about the LGBTQIA+ population.In 2021, Lynn Carone and Fernando Pericin promoted the continuation of a work started in 2019, when they met, interviewed and photographed a transexual woman in her workplace, resulting in the video \"Transfly\", which provokes reflections about the artists' research, such as the place and its specificities, prejudice, oppression, reunions and reconnections. Reflections on the three works provided a (re)meeting between the artists and their poetics and resulted in the experimental video \"Paradise is for everyone\" as a form of expression and elaboration of a visual thought, which includes the experiences in the city territories, the specificities of the places as questioning propellants, the personal positions in micro politics assumed as a life posture and personal transformation, rethinking the ways of relationships. The records revisited as archives allowed re-readings in collages, and images and sounds overlays, placing the three productions in a scenario that transits between reality and nightmare, giving continuity to the discussions of the work in process. Priscila Arantes helps us understand this path when she says that an archive allows the artists to make new rearrangements ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"1 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":"131342899","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":"Exploring gaming as therapeutic care: a case study about the configuration of a game support for a pediatric hospital","authors":"Carolina Campagnollo, Alacoque Lorenzini Erdmann, M. Stein, M. Steagall","doi":"10.24135/link2021.v2i1.146","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.146","url":null,"abstract":"Given the need for the hospitalisation of children and adolescents, bringing playfulness and playing can be strategies that help understand, promote, prevent, treat, and recover health. Playing is a childhood activity related to their growth and development, both motor, emotional, mental, and social. Play and games help in personal training and enhance skills. Thus, as each generation has its specificity, the current generation, more specifically that of children, has technology as a present and vital element in their daily lives. How children, the so-called digital natives, play nowadays is directly associated with technological means, which share space among traditional plays. In this sense, evidence suggests that interaction with electronic games stimulates brain activity and facilitates acceptance of the proposed treatment in the case of hospitalisation. It is undeniable that the illness and hospitalisation process brings emotional consequences to patients. Because of this, the nurse is an essential professional in implementing humanisation in the hospital context. However, promoting hospital humanisation also includes innovation in nursing. There are several types of inventions, including introducing new products or changes to some that are already on the market or even the approach of new methodological approaches to the search for design solutions, such as the use of Design Thinking. This approach aims to solve problems centred on the user, often through co-creation, in a collective and collaborative work of those involved with the problem to be solved. Considering that hospital facilities often do not include the socialisation of all age groups, this thesis project aims to develop hospital support for video games, assessing the effectiveness of playful interventions, ergonomics, comfort, and patient accessibility. For the development of the product, one of the Design Thinking methodologies is being used: the Double Diamond, which is composed of the stages of discovery, definition, development, and implementation. In the discovery stage, the insight occurred through the follow-up of pediatric hospitalisation and was premised on speculations about \"how to make the child's hospitalisation process smoother\"? \"Would it be possible to develop a hospital support for video games?\". In the definition, a briefing was created to develop an efficient solution for the specific public, verifying the feasibility and available resources to carry out these actions. With the idea to be prototyped defined, a prototype of the support was designed based on the assumptions of feasibility, practicality, and functionality. The product under development was classified as an industrial design and deposited with the National Institute of Industrial Property for patent purposes. The developed support will be available for use by children in the hospital unit containing a monitor and video game to produce impacts as therapeutic care. The levels of entertainment and p","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"81 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":"122620733","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":"Decolonizing Picture Recitation","authors":"Priyanka Jain, M. Steagall","doi":"10.24135/link2021.v2i1.150","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.150","url":null,"abstract":"Picture recitation is the art of storytelling in verse accompanied with a visual prop like a scroll painting or a tapestry. Numerous picture recitation practices were active in India but suffered during colonization by the British in many ways. The subtle Victorian censorship of the theme of erotic expressed in the religious narratives (which formed the bulk of the picture recitation genre), the erasure of orature as primitive, the relegation of picture recitation practices as folk art and the split between picture (object and props that can be displayed in museums) and recitation (performative aspects that could not be easily museumized) while stuffing European museums with colonial artifacts, have inflicted huge damage to the living traditions of picture recitation in India. My practice-led research seeks to decolonize picture recitation to undo these damages. Following Walter Mignolo’s call to delink oneself from western hegemony, I seek to highlight (instead of European notions of beauty and aesthetics) classical Indian theories of affect (from circa 300 CE) that can produce aesthetic pleasure in the viewer. Thus using classical Indian Rasa theory as well as subversion, I create contemporary narratives for picture recitation using empirical facts from scientific research (Neuroscience, Microbiology, Phytochemistry and Meteorology) which are aided with visual props made by amalgamating aesthetics of medieval Indian miniature painting as well as contemporary medical Illustration. A practice-led research is the only method to redeem the practice of picture recitation, just as the contemporary practice of neo-miniatures has rescued the genre of miniature paintings from the classification of oriental kitsch. By investing in erotic subject matter and orature as well as by reuniting picture and recitation, I hope to remove the adverse effects of colonization from some genres of Indian arts. Concretely my practice looks at contemporizing classical erotic Sanskrit poetry which has existed since 1000 BC by composing erotic poetry incorporating scientific research and creating compositions of image and text as was once found in medieval Indian miniatures. The second approach looks at reviving picture recitation using a classical Indian archetype of a female heroine who goes out to meet her lover braving grave dangers and contemporizing it with reading through neuroscientific lenses. Via the practice of picture recitation, I discover my bodily memories surfacing during the performance, the role of breath in voice, how image, text, voice and performance influence each other iteratively and how affect is transfered via the performance to the viewer. Through practice, I establish a wider field for newcomers with greater vigour and validity than simply echoing a theoretical call for decolonization.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"24 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":"124114855","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":"Creating a Shapes Shifting System","authors":"Daniel Seda, M. Steagall","doi":"10.24135/link2021.v2i1.140","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.140","url":null,"abstract":"My research focuses on the creation of shapes capable of changing partially or completely their own configuration. Modular structures are specially suited for this purpose because individual modules can be connected with each other in a variety of ways. After noticing a similarity between the origami technique and certain automatic shape-shifting structures, my research efforts shifted from modular origami to the field of digital manufacturing, specifically 3D modeling and printing. The research methodology and design were developed based on free software, open source production systems, GPL and Creative Commons licenses: Linux, Blender software and 3D printing using open hardware systems such as Arduino.The conceptual and philosophical literature that has informed this research is diverse. Faced with such a diversity of sources, I realized that many of them, if not all, have influenced an intense research process, and that it was no longer possible to define a single research axis. Working and thinking within the territory of creation and the field of Art, based on Spinoza's concept of immanence, the rhizomatic approach of Deleuze and Guattari and also on Simondon’s technical objects and metastability, I started to incorporate into my research and dialogue with an immense repertoire of physical possibilities derived from a theoretical framework that pointed precisely to the uncertain and indistinct realm where forms themselves originate.Exploring both an open source approach and a truly rhizomatic approach, in which every element of a system is interconnected, and addressing the contemporary issues of programmable matter and cybermatics, but also strongly influenced by modular structures and biochemical mechanisms of connection and disconnection, the research has produced quite satisfactory results. I have developed a modular system in which individual pieces not only can fit together in various ways but also maintain a certain freedom of movement, allowing them to change their shape. This modular system was a result of an educational project aimed at creating modular model insects. Since September 2020, my research took an unexpected direction with the creation of an articulated doll whose shape can be transformed with the addition of other interconnectable modules. The creation of this articulated doll, in turn, led me to shift my research to the shape-shifting ability itself, with the creation of a system in which any set of connected parts has the property to rotate at their connection points. The system’s plastic result materialized the whole research process, which is still ongoing.The project adopts an open source approach and is already published under a General Public License (GPL) that allows it to be accessed and altered as long as the project's open source approach is maintained. In its current form it is already a consistent system for building transformable forms, establishing a connection between the realm of interactive art and t","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"24 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":"125668965","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":"Logical Coding & Emotional Poetry: An exploration of poetic expression in the digital","authors":"Cassandra Loh, M. Steagall, T. Tavares","doi":"10.24135/link2021.v2i1.164","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.164","url":null,"abstract":"This practice-oriented design research investigates opportunities for meaningful poetic expression within a digital medium. It aims to create born-digital poems that tightly tie content to its form, prioritising the presentation and textual content of the poem. It hypothesises that the digital medium offers more opportunities for personal expression than in traditional print. Digital poems can be dynamic with animation, interactivity, and discovery. They can allow a poet to draw readers deeper into their world, where actions are reacted to and become part of the expression. However, these come with added complexities. This space can be intimidating for creatives as practitioners must learn coding languages to create interactive experiences. This project sits within digital poetry but borrows ideas from other realms of knowledge and practice, such as aesthetic expressivism and hypertext. The practice focuses on testing, reflecting, and articulating the poetic expression present in three distinct characteristics of the digital environment: ephemerality, hidden content, and non-linearity. These were initially derived from obsolescence of digital poetry, lack of orientation within hypertextual media, and definitions of hypertext. These characteristics are further investigated through prototypes, where the research tests techniques that reflect their qualities to create poetic experiences. Within this project, the researcher navigates differing worldviews: the poet and the technician. The former brings expressive and subjective lenses, while the latter introduces objectivity and attention to technical skills. Both are integral, and their relationship is at the heart of this research. At times, these voices were dissonant, yet there have been glimpses of symbiosis during the process. Arguably, finding ways to encourage the symbiosis between these two voices can ensure greater synergy and meaningful connections between the poem and its form. The research explores when poetic writing occurs in the process, and whether poetry or its form are prioritised. However, a design perspective can serve as a bridge between these two worlds. It is a role that already deals with both functionality and creativity. For this reason, prototypes are evaluated against a framework of paired communication design principles: movement and rhythm, emphasis and hierarchy, unity and contrast, and balance and space. This framework provides a basis to determine the suitability of techniques towards expressing a poetic idea or message. As a result, the research will map a range of workflows used for approaching digital poetry through the outlined characteristics of the medium. It is believed that without a clear understanding of what the digital space could offer, a poem could have no difference in its reading experience from its written print form, or practitioners could create a jarring and meaningless experience. The final design outcome of this research is an interactive digital","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"11 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":"132070435","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":"Art, Audiovisual and Design: an experience","authors":"A. Victorio, Teresinha Vilela, M. Steagall","doi":"10.24135/link2021.v2i1.128","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.128","url":null,"abstract":"This work aims to share part of a research carried out in a public school that brought art, school and university closer together. The research aimed to understand the interests of students in the Final Stages of Youth and Adult Education (EJA) and was carried out at the Municipal Expeditionary Aquino de Araújo School, in Duque de Caxias, state of Rio de Janeiro. The audiovisual production comes from the school's partnership with the Audiovisual Resources Laboratory of the State University of Rio de Janeiro, Campus Duque de Caxias, Faculty of Education of Baixada Fluminense (LABORAV-UERJ/FEBF). Students, collaborators, go from protagonists to directors and editors of their own productions. In this way, we try to enhance the interests of students who are often invisible. The research gave us the opportunity to get to know in more detail various interests of the students who, along the way, converged mainly on the culture of Skate and Hip Hop. At school, not only skateboarding was present in the classroom, but also skateboarding images, on shirt prints, on the covers of some notebooks. In the pre-investigative period of the project, Mauricio Silva had drawn the letters “R” and “C” on a project for a shirt, an activity that we propose, as an art teacher at the school. Then I met Mauricio Silva with his skater friends, exposing the “Ratarius” brand, that “R” that he drew in his shirt project. This meeting took place at the Meeting of Favelas (MOF) which was recorded in Video 1-MoF2014 Cultura e Imagem Fora das Paredes da Escola https://youtu.be/JdmRNjYygMs?t=7. Ana Mae Barbosa (2015) presents the image as a research narrative. Video 1 was a moment in the research, in which image/writing overflowed beyond paper and videos began to be part of the research methodology as well. We rely on Arts Based Research (PBA) with a/r/tography. Prior to any public presentation of Video 1, students and former students, Mauricio Silva, Thiago Marques, Anthony Oliveira and Raphael Santos were invited to watch Video 1 together on LABORAV, resulting in Video 6 (https://youtu.be/b6E94LzTpxY) with their reactions and comments to the event. see -. Afterwards, from this moment on, the other seven videos were produced with their direct collaboration, getting the invitation to watch. And we are celebrating the approval (October/2021) of the Licentiate Course in Cinema and Audiovisual for the Baixada Fluminense Education Faculty Unit of the State University of Rio de Janeiro, the place that made our research possible.","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":"130150180","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":"Stretch the possible: Embodied ideation during a global pandemic with BeWeDō","authors":"Mark Bradford, M. Steagall","doi":"10.24135/link2021.v2i1.95","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.95","url":null,"abstract":"Since 2016, I have been applying the ‘BeWeDō® framework’ as a new method within the broad rubric of Design Thinking. The unique design practice-orientated research is inspired by the Japanese martial art of Aikidō, and literally creates space to get people moving – physically, mentally and socially – to explore an issue and then take the first steps to move conversation to action with embodied ideation. In structuring co-creative possibilities for embodied ideation, BeWeDō adapts the Aikidō movement exercise of ‘tai no henko’ to get people working in pairs, connecting with each other by the wrist in order to move their bodies (communicating in both the physical and mental sense with the movement of their partner) to more desirable positions. The approach involves communication as a co-operative activity transcending the individual: rather, it is a collective capacity generated in the relationships and interactions among people. Offering your hand, and your partner touching your wrist using tai no henko, is one of the most effective aspects of the BeWeDō experience, providing a compelling multi-sensory experience by which people can dynamically connect and co-create possibilities with movement. This connection and light, non-intrusive physical touch amplifies the communication of ideas, facilitates trust, and creates bonds between people. BeWeDō had garnered international recognition prior to the global pandemic COVID-19 turning the world upside down in January 2020 when, all of a sudden ‘human touch’ could put another person’s health in jeopardy! COVID-19 blurred the line between the physical and virtual spaces forever. While video-calling interfaces such as Zoom have enabled people to positively connect and foster some sense of togetherness during the pandemic in ways that would have been impossible just a few years ago, the downside is that the current experience can also negatively impact on attention, collaboration and creativity. Within this context how could I continue to offer people a psychologically safe physical experience as a practice-orientated process for structuring embodied ideation? In response to the pandemic, I have used a visual ethnography approach to connect my practical, personal, and participatory field experiences. My research employed all the senses to create, perform, and represent knowledge as part of the process of reflecting critically on how the existing BeWeDō experience could evolve and navigate the sensory interdependence of the body-mind-environment in a pandemic context. The findings confirmed that the BeWeDō approach could quickly adapt to offer (1) ‘non-touch’ and (2) 'socially distanced' practices. In addition, one of the more significant findings to emerge from this study is the development of an experimental (3) ‘virtual’ practice launched during the DRS2020 conference. Virtual BeWeDō is a gestural and motion-based interface prototype that coordinate dynamic virtual movement using the BeWeDō approach as a ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"49 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":"114907233","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}