Link Symposium Abstracts 2020最新文献

{"title":"Data Firme: The Media Revolution in the Amazonian Outskirts","authors":"Acilon Cavalcante, M. Steagall","doi":"10.24135/link2021.v2i1.155","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.155","url":null,"abstract":"What positive social impacts can academic practices bring to people's social vulnerability? Here, we try to answer this question by presenting the Data Firme, a Community-Engage Research from the Universidade Federal do Pará (UFPA), aiming to achieve social innovation into the civic media movements in the Terra Firme district. The project considers social innovation as the recognition and support from public authorities for innovative citizen practices, the recognition of cultural diversity, and the empowerment of people formerly socially excluded. Therefore, the civic media movements happening in the district had all the necessary characteristics to achieve this concept. Furthermore, the Terra Firme is a popular suburb built by informal occupations in flooded areas during the 1980s and 1990s. It is a \"Near-Periphery\" because it has precarious characteristics. It is next door to up-standard districts within the metropolitan region's center. Since its beginning, Terra Firme's residents have learned to deal with all kinds of challenges. From the site's floods and occupation on stilts to conflicts with authorities and high crime rates. However, after years of an incremental landfill, the neighborhood was consolidated and connected to the city. It made it possible to access better public and private services than in the most distant outskirts. Civic media networks flourished after the more significant availability of mobile communication services and the action of young inhabitants who study at UFPA. The civic media movements started in 2014, after a series of murders that victimized eleven suburbs' residents. Slaughters such as this has been typical in Belém's poor suburbs since the 1990s, where police officers and former colleagues assemble militias to control the neighborhoods where the State lacks presence. However, after the 2014's events, the youth started to use digital media to promote protests to produce content exposing the violence and bringing attention to the outskirts. Although up to 2017 they had few achievements, their activities reached academics, deputies, and cultural professionals. It made it possible to start the Data Firme in 2018, which had created a partnership with the community for two years. The project used the Theory of Change to base its action plan and used Design Thinking strategies to interact with the community. Thus, after the project, there were outputs and outcomes. The outputs are material productions, such as the web series \"Nós na Tela,\" which rescue the district's history through its elders' memories and the district Social Cartography. The outcomes are the social impacts, like the \"increase in the visibility of low-income,\" which we have data to confirm. Additionally, empirically speaking, it is possible to notice other impacts in \"self-esteem\" and \"network construction.\" For instance, we notice a shift in the mainstream media framing for the neighborhood, using the community background to produce journalist ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"58 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":"128253491","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":"Wish Mango Tree: hybrid experimentation and creation","authors":"Valzeli Sampaio, M. Steagall","doi":"10.24135/link2021.v2i1.109","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.109","url":null,"abstract":"This essay presents the process of creating the artistic project at augmented reality “Wish Mango Tree” is configured as a specific site / public intervention for installing in the georeferenced mango trees of the city of Belém a technological device for electronic labeling and the creation of a hollow steel plate at mango tree. This process involves experimentation and creation related to Visual Arts, Design and programming, experienced through a mobile application, being a physical hybrid intervention. “Wish Mango Tree” is inspired by the work “Wish Tree” , a series of art installations in process, started in 1981, by the Japanese artist, and member of the Fluxus group, Yoko Ono. She chooses a tree native to a place, or plants one under her guidance. The public is invited to tie a wish in writing and hang it on the tree. Yoko has already installed this work in some cities in the world. “Wish Mango Tree” proposes an action similar to the public and passers-by of the mango trees in Belém. The project promotes interaction between individuals: humans and mango trees. Digital content can be viewed in the augmented reality app at the site specific where mango leaf wishes can be accessed by anyone. “Mangueira Desejo” seeks to fill a gap or lack identified: the invisibility of mango trees, seeking to use technology to give visibility to a social and ecological problem. The political dimension of the project is revealed in giving visibility to the mango trees, activating the collective memory and provoking questions and commitments from the individuals involved: trees, people, and institutions. This artistic project aimed at experimentation and creation related to Visual Arts and Design, experienced through a mobile application. And evokes the affective memory of its participants, seeking to enhance, strengthen and maintain the identity and cultural memory of Pará through digital media. The project fits into the artistic and cultural area: Visual Arts, with the creation of proposals in the Visual Arts area, through the areas: installation, intervention mechanisms, specific site, urban art, digital art, new media, photography , being a hybrid proposal between art and digital design. In addition to addressing the experience of the visual arts in their technical, formal and conceptual reflections, of creation, diffusion, training and memory. In this sense, the project promotes creation, experimentation and design associated with a historical, social, cultural, sustainable and / or technological context, which can be translated into propositional actions that address graphic design, interactive media, web design/applications, design of games. The mango trees themselves are objects of public interest, the app invites everyone to “hang” their desires on the “Wish Mango Trees ”, promoting the transformation of the mango trees into a receptacle for the aspirations of the people who cross it. The app will promote remotely a network experience that triggers a phy","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":"125190189","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":"Prenda da Mangueira","authors":"Raul Batista Nascimento, Valzeli Sampaio, Marcos Steagall","doi":"10.24135/link2021.v2i1.100","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.100","url":null,"abstract":"Prenda da Mangueira is an Alternate Reality Game (ARG) in the process of production in which uses the Mangueira Desejo project as a base to bring back a well known children’s game called Boca de Forno, that consists of one of the children being the leader which will be called mãe (mom), that will be in charge of giving errands to run by the other children as fast as they can right after singing a song together led by mãe. ARGs are transmedia analogic games that gather a community together to interact and play, solving puzzles, mysteries, quests and so on. They all have a strong narrative that extends our current reality and evolves as the players’ progress. The game is normally managed by their designers. The ARG’s definition is quite open, but some authors agree on the use of the term transmedia “the aggregate effect of multiple texts/media artifacts” as the defining attribute of ARGs. Even being a game, designers and players tend to bring a sentiment of that not being a real game but the reality itself. As adulthood comes we start to leave behind those games we used to play as children. Each generation has their own games and to those people who lived during the times with little or no internet, the trees still had some meaning and an importance, they were either a physical point of reference and a stage for children to gather and play around its shelter. Many of our already known children's games were born, taught and learned in scenarios like that, together with a handful of nostalgic memories that are getting harder and harder to bring back due to the decreasing social contact brought by many factors of our current way of life. As Mango Tree (Mangueira Desejo) project already brings us the observation of our current reality through an alternate digital one, bringing back and setting new meanings to the city’s mango trees, done over the idea of Yoko Ono’s project Wish Tree which encourages us to express ourselves through the written wishes hung up on any living tree. The project’s intent is to add a new expression to Mangueira Desejo project which is a new narrative that comprises the mãe (mom) played by the designers through the tree entity that brings errands for the players to run. As the base project uses trees, this project will stick to it and place physical markers on city’s trees in order to let anyone with an AR ready mobile device with the app installed to play the game.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"2 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":"125480624","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":"Long Distance Call","authors":"Raymundo Oliveira, M. Steagall","doi":"10.24135/link2021.v2i1.161","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.161","url":null,"abstract":"The paper covers three interactive installations carried out by the artist-authorresearcher in his artistic/poetic research project “Interurbano” (long distance call) at the Federal University of Pará. The objective is to understand the process of poetic use of embedded systems with a focus on the Arduino platform, analyzing and comparing some existing productions that use this technology to three interactive installations done by the author: an antique green analog telephone altered to simulate bird’s calls, a tap that emits people speech about water through a headphone connected to it on the gallery wall and an interactive umbrella equipped with speakers connected to an electronic carpet capable of telling where the user is standing holding the umbrella to play specific city’s soundscape. All three interactive sonic installations work with previously recorded sounds of different areas of the city of Belem, located at the entrance of the Amazon River, to reflect about the relationship between man, technology and nature. The birds singing on the phone were species usually found on the city of Belem in the past but that are harder or impossible to find it today on the same area, the people interviewed for the tap installation were residents of Belém who live in different neighborhoods and for the umbrella installation were recorded three different soundscapes of the city for: the urban, the fluvial and the forest soundscape. The installations where financed by the Cultural Foundation of the State of Pará and were displayed in a exhibition called “Interurbano” (2018) for public interaction at the Kamara Kó Gallery. The paper addresses the main questions that started the creative process and the relation of the works with the city of Belém in the Amazon Rain Forest, the creative process of the author and collaboration with technicians using microcontrollers in artistic installations as well as the concepts of interactivity, interface, imagery, and augmented space within aesthetic proposals focused on art and technology. The creation of the work will be covered from the author’s first ideas, drawings, schematics, prototyping, wiring and coding with Arduino to the installation montage and public interaction at the gallery. All the process was recorded in video as well as photographs showing the nuances of the work in progress. Several artistic proposals are presented with poetic use of microcontrollers to alter objects and develop installations with interactive or responsive interfaces to the environment. All the code done in the project is shared with the public along with schematics of the works. The paper also approaches the works of other artists such as Robyn Farah, Gilberto Prado, Nils Volker and Daniel Rosin comparing different uses of microcontrollers in art installations.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"10 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":"127089616","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":"The Question Game: a learning through play experience","authors":"Ragnar Behncke, M. Steagall","doi":"10.24135/link2021.v2i1.149","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.149","url":null,"abstract":"The following work is informed by and exploration bridging biological anthropology with education. The design of this educational experience is grounded on Humberto Maturana’s ‘cultural-biology’. The panoramic perspective of “The evolution of learning” gave us a new vision about the importance of Teaching, as a tool for collaborative challenges. We realized that the main hurdle on “alternative education” is the final exams that the Ministry of Education of Chile asks at the end of the year. In order to prepare our students with the National Curriculum, all the ideas of play and creativity were subordinated to this aim. Our proposal is to understand \"the final exams\" as a collective challenge of the whole school, including the students, and use all \"learning through play\" strategies where older children could teach and facilitate learning to the younger children. Based on this, we designed \"The Question Game\", a board game which is run by several teams of 4 children of different ages each. They need to roll the dice and find the question that the dices show. Teachers give the questions that we collect directly from the \"final exams\" format. They take the question that needs to be solved in group, then if the answer is right, we give a sticker to the group, and they continue until they solve all the questions for that week. Then we have a moment to share the experience with the other teams and promote the concept that the school as a whole can solve all the challenges. For example, we give incentives for all the school like a day at the beach or in the forest. Our education design is based on transforming the logic of \"Individual\" \"year\" \"exams'' and transforming it into a \"Playful\" \"collective\" \"day to day\" activity. We embodied this concept using the enaction principles of learning with the body, then we design the space in order that children are moving continuously from their desk to the teachers’ place, interacting with other students. The economic cost to implement this game is very accessible, and easy to implement (the main inputs are paper, pencils and stickers). These ideas and educational design are deeply rooted in the Santiago School of Cognition. We boost what children learn with social interaction with their peers and also by moving their body with high frequency. Finally, using \"Teaching\" as a tool is critical, because it is an application that cognitive knowledge is a social coordination, and promoting children teach each other, is a way to give a practical relevance of the information in their lives, and then reinforce motivation to really learn.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"18 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":"130461196","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":"The moon turns and we must turn with it: Te Maramataka as interactive art installation","authors":"J. Citizen, M. Steagall","doi":"10.24135/link2021.v2i1.162","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.162","url":null,"abstract":"[Intercultural collaborations between Te Ao Māori and Te Ao Pākehā are notoriously difficult for all concerned. What knowledge is and is not, who or what has agency in the world, how and when things happen, and the nature of relationships themselves, are situated within different culturally informed worldviews. Attempting to make a repository of knowledge about Te Maramataka (lunar calendar) through an immersive interactive artwork, means engaging with two distinctively different, but equally valid, knowledge frameworks and their attendant foundational metaphysics. Navigating between and through these knowledge frameworks is to participate in speculative and practice-led approaches that foster relationally emergent phenomena. It is through collaboration at the intercultural hyphen that we deliberately walk into the innovation space, whilst also attempting to be mindful of upholding the mana of existing experts. At present, we represent a partnership between Te Rūnanga o Kirikiriroa and Wintec rangahau and creative arts research practitioners, each with our own institutionally informed accountabilities. By acknowledging ourselves as a collective rōpū (group) embarking on a shared endeavour, we can place emphasis in the process of learning about our shared whanaungatanga (interconnected relationships) in order to seek mutually acceptable agreements grounded in the useful. This emphasis on process is critical and must take its own time, particularly when Te Maramataka emphasises the influences of the turning moon phases on our own selves, as well as on everything else that is also already going on. In practice, agreeing that that the knowledge of Maramataka experts is situated, embodied and relational within the life context is easy to say, but should the modes of the finished work and the approach itself be representational and/or epistemological? Or if we acknowledge the relationality between things, then we must also acknowledge that knowledge itself is experiential, embodied, and performative – in other words, how we ‘get there’ is part of the destination ‘there’ itself. In the context of deciding which digital technologies to employ in the making of an interactive art installation, contemporary understandings of what art is, how meaning is made and understood, and who or what has agency within the surrounding field of relations, are destabilised. In our practice-led undertaking, turning with the moon means acknowledging the dynamic tensions that exist between tradition with innovation, representation with experiential learning, and the knowable with the hidden, mysterious, and ultimately unknowable. Whether we are talking about rules-based claims of indexicality vis-à-vis digital twins informed by cognitivist frameworks of operational logics, or stateless open-ended AI/pattern recognition paradigms, these must be balanced against the existing knowledge of Maramataka Māori experts and their live, embodied knowledge.]","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"63 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":"117331134","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":"A Brief Survey on the Characteristics of Recent Virtual Exhibitions","authors":"Felipe Bortoluzo Mamone, Letícia Brasil Freitas, M. Steagall","doi":"10.24135/link2021.v2i1.127","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.127","url":null,"abstract":"The Covid-19 pandemic and the social restriction measures that ensued have had a decisive impact on museum activities over the past two years. Research by the International Council of Museums (ICOM) indicates that about 95% of worldwide museums were closed between April and May 2020, a figure that falls to 27% in the same period in 2021. Given this scenario, there has been a notable increase in digital communications and activities of these institutions, either by making collections and exhibitions available online, managing social media, holding live events and teaching programs or by producing newsletters and podcasts. While such surveys are essential, it is also necessary to complement them with qualitative research into the ways in which these activities are being carried out. This paper will examine how a specific kind of digital activity is being developed by the museum sector, namely, the virtual exhibitions. Characterized mainly by the three-dimensionality and the immersion of the interactor, these virtual exhibition spaces carry with them both the complexity that constitutes the idea of a virtual museum and the structural deficiencies that affect cultural institutions and, in particular, their sectors of Information and Communication Technology (ICTs). Thus, two criteria were chosen to characterize these exhibits, namely, the technologies commonly used in their conception and the relationship they establish or do not establish with a tangible space. To this end, recent cases of spaces built through the use of 360º photography and 3D modeling have been selected and analyzed as to highlight the distinctive features of these technologies and how they instantiate different relationships between elements of the digital and the tangible. This analysis bring into consideration specific elements of these exhibitions, such as their interfaces and the modes of displacement and visualization they allow, the quality of the reproduction of the artworks and the possibility of accessing complementary information and media about them, the multiplicity of the points of view, their compatibility with certain devices, among others. Finally, we will reflect on the way in which these virtual exhibitions replicate, augment or dismiss physical spaces for their conception. Instead of the usual opposition between virtual and actual, such spaces express the possibility of complementation between elements restricted to the tangible or the digital - complementation, needless to say, that does not always take place. Thus, virtual exhibitions are important vectors to reflect on the advantages and difficulties that digital technologies pose for the museum sector.","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":"126530552","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":"Trying to read: the \"In Memorian\" artwork","authors":"M. Alonso, B. Costa, L. Ribeiro, M. Steagall","doi":"10.24135/link2021.v2i1.124","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.124","url":null,"abstract":"In this presentation we will analyze the multimedia artwork In Memorian, 2021, from the Research Group Realidades (School of Communication and Arts of University of São Paulo, ECA-USP, Brazil). The artwork is a web art that deals with the visualization of data from the coronavirus pandemic in Brazil. These data are appropriated from online databases and it works as the rule of loss of information from 1988’s Brazilian Federal Constitution, Title II - Of Fundamental Rights and Guarantees. The text is fragmented proportionally to Brazilian population and, then, loses its information, pixel by pixel, according to the daily number of deaths by covid-19 in the country. The authors of this presentation are members of the Realidades Group, thus, this analysis will be filled with our creative processes, poetic motivations and the development phases of the artwork. In Memorian exposes the precarious situation of the democratic rights guaranteed by the mentioned article of the Brazilian constitution. Brazil couldn't control covid-19 pandemic. Researches pointed out that it was due to a series of omissions and failures by public managers, mainly the federal government. However, the democratic rights have been under attack for longer. Brazil’s political scene has become dominated by openly conservative, \"anti-politics\" and \"anti-science\" wills, quite driven by desinformation and fake news. And all these relationships are fundamental to the development of the work. It seeks to materialize and illustrate hundreds of thousands of deaths in order to make visible the colossal size of human loss. The amount of deaths shatter the black words over the white background, damaging the text and making the reading more difficult. On the work’s website, the text is exhibited in perspective and can be vertically scrolled. It also contains an interactive ruler that shows the Brazilian daily and total number of deaths, enabling the interactor to move across the timeline. The visual character of a ‘monument for the dead’ complaints the governmental negligence that causes this amount of suffering, actions that must not be simply forgotten. In addition, it points out the need for more transparency of covid’s diagnosis and deaths registration and comments on the alarming political scenario that surrounds the sanitary crisis. Furthermore, this artwork is a data visualization piece, which is a very much explored technique used by multimedia artists. We will address its usage to enhances the visibility of things that are often hard to see. We will show another similar artwork in theme, 'Inumeráveis”, 2020, created by a collective of volunteer artists and journalists. Claiming that \"alive or dead, we will never be [just] a number\", the site is an online monument that features shared stories about the victims, giving individuality to each of them. In Memorian was in the online exhibition EmMeio#13 associated with the Panoramas 2021 event. Additionally, we point out its interaction in","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"71 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":"124234569","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":"Intentional pedagogical interventions to re-enforce empathy as part of project-based learning at Design Factory New Zealand","authors":"E. Fourie, R. Harman, M. Steagall","doi":"10.24135/link2021.v2i1.156","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.156","url":null,"abstract":"This paper focuses on pedagogical interventions that emphasise and deepen learner understanding of empathy within human-centered design processes, in the context of multidisciplinary project-based learning at Design Factory New Zealand Te Tumu Herenga Whakaaro o Aotearoa. Empathy, a component of emotional intelligence, is considered a soft skill. While there is no universal definition for soft skills, they include a range of social and people skills, personal attributes, and even self-management skills. These behaviours, attitudes, or personal qualities, often set apart from ‘hard skills’ that are more cognitive or technical in nature, are increasingly seen as important in the future world of work. Soft skills like empathy are not easily replicated by machines, and are thus desirable for gaining employment, both in Aotearoa New Zealand and internationally. Moreover, in a world of work where collaboration and communication are important, recent studies also show that a focus on skills such as empathy can improve team performance. Given this future-focused view, embedding soft skills, like empathy, within teaching and learning in tertiary education is valuable. Design Factory New Zealand Te Tumu Herenga Whakaaro o Aotearoa is a co-creation space where multidisciplinary groups of learners work with industry or community partners to solve complex problems. Design Factory papers are available to many undergraduate students across the Waikato Institute of Technology, meaning learners often do not know each other before enrolling, and come from diverse fields of study. Learning outcomes focus on students using human-centered approaches (including empathy) to research, investigate and produce reasoned and critical responses to problems, as well as students improving soft skills like empathy to support their multidisciplinary team, and improve their ability to work alongside industry partners. To help students investigate problems, Design Factory teaches a human-centered approach to problem-solving; in particular, introducing design thinking as an approach, and using a five-step model, where Empathy is the first step (followed by Define, Ideate, Prototype, Test). A variety of tools and techniques are used to develop a deeper awareness of the complex problem and of the impact on people connected to the challenge. To support students’ development of empathy as a soft skill to use within their multidisciplinary group, various strategies are used in teaching and coaching to scaffold learning and awareness of empathy. This research reports on four specific pedagogical interventions focused on deepening learners’ understanding of empathy within a design practice context. These strategies include: empathy interviewing as a tool for understanding the users or stakeholders central to their challenge; emotional intelligence workshops with external guest speakers to help develop self-awareness; personal development planning to support individual learning and future-","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"17 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":"115247652","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":"Contributions of textile design to the regional identity of the Sierras de Córdoba, Argentina","authors":"Mariana Esther Accornero, Marcela Catalina Mambrini, C. Rossetti, M. Steagall","doi":"10.24135/link2021.v2i1.122","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.122","url":null,"abstract":"Based on a survey of the textile production of textile makers from the Sierras de Córdoba and attempting to reconstruct a regional aesthetic from the records of clothing in archaeological pieces of the indigenous Comechingonas cultures and ethnographic production, this research work is proposed as a contribution to the contemporary textile design and identity. The project was developed from the concept of “Disruptive Design”, that is to say: produce-create and consume-create in a different way than usual (Gardetti, 2017) and Strategic Design focused on more environmentally friendly production processes, reversing current methods, generating innovation strategies approach that provide added value to the product from the following guidelines: a) Raw materials based on natural fibers. b) Reuse of dyeing properties, artisanal processes of native natural dyes. c) Innovative pattern based on textile typologies focused on the reuse of fibers, zero waste. d) Consumer awareness in relation to the use and maintenance of clothing, environmental problems in the life cycle of the product. e) Optimization of sequences and processes of creation-production of clothing in which cleaner production is involved under controlled processes (Salcedo, 2014). Another important aspect that was taken into account is the ethics of the designer in the search for innovative and transformative processes, and in promoting the impulse of regional economies through employment, use of natural fibers and collaborationism in the production of designs co-producing jointly with the artisan textile. The methodology used was participant observation, data collection and primary sources; for this, archaeological statuettes and ethnographic textile typologies were taken that are conceptualized in the creative process of each clothing-accessory-complement. In the clothing design process, typologies were created in which the user can interact and transform the clothing from disassembly and / or assembly in alternation of \"pattern-texture-color designs\" according to tastes and preferences, producing co- design between the designer and the user, including different body types, ages. The collections developed by two designer researchers: “Chasca Arqueológica”, a project by Carola Rossetti and “Chasca Etnográfica”, a project by Marcela Catalina Mambrini, highlight the archaeological-ethnographic textile, producing the recovery and revaluation of the textile heritage of our province with the enhancement and safeguarding textile techniques in danger of extinction due to lack of transmission. The term Chasca refers to the dawn star, the one that enables the new day. This concept was taken as a metaphor for design a new starting point for the artisan textile production of Córdoba. The results of this research work have been made available to the cooperatives of mountain textile makers, in order to begin to manage the mechanisms of self-sustaining production for vulnerable regions in the interior of ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"30 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":"124683217","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}