Link Symposium Abstracts 2020最新文献

{"title":"Exploring embodied haptic design in XR from the epistemology of the Santiago school","authors":"C. Aguayo, James Smith-Harvey, M. Steagall","doi":"10.24135/link2021.v2i1.144","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.144","url":null,"abstract":"Mixed Reality (MR, and known also as XR) refers to the fusing of real and virtual worlds to create integrated environments that incorporate physical and digital elements, tools, and objects. These environments can be especially powerful within learning contexts as they can assist learners to partake in genuine investigations in the real world. They also allow for the creation of immersive hybrid environments, in which virtual and real objects and experiences are combined. Although immersive digital technologies provide many unique and powerful affordances within XR, the role of physical non-digital haptic elements within these contexts has often been dismissed. This is despite the non-digital and haptic showing vast potential for complementing and enhancing the meaningfulness of XR educational experiences. In this context, emerging research is beginning to establish how the biological concepts of autopoiesis, embodiment and enaction from the Santiago School of Cognition, can enhance embodied learning processes within XR education. Embedding principles from the epistemology of the Santiago school within the design of XR experiences encourages learners to interact with, while ‘becoming with the world’ in a circular experiential motion. Embodied and enactive approaches to designing haptic XR learning experiences can facilitate the creation of tangible, authentic, hands-on and self-determined (i.e. heutagogy) learning experiences with affordances operating as an expansive learning ecosystem. Here we explore how the Santiago school offers a way for educators and learning designers to better develop the haptic and sensory components of XR learning through the concepts of embodiment and enaction. Additionally, embodied cognition in the ‘experiencing’ process within XR environments can be related to and understood through indigenous worldviews, which are more grounded on a bodily and sensorial experiential relationship with the world. Within the global South, we see a need in bringing together indigenous perspectives, for example Māori cosmologies and worldviews in the case of Aotearoa New Zealand, with southern epistemologies such as the Santiago school. This is because from a western point of view, indigenous concepts can be hard to visualise or ground, but the Santiago school can potentially offer a bridge to understanding these indigenous perspectives within multi-cultural contexts such as Aotearoa. There is also a pressing need to establish new understandings of our critical relationships with nature in the anthropocene, and indigenous perspectives brought forth through the Santiago school can offer this within new forms of learning such as XR. This presentation offers a contribution to the field of XR education design through the introduction of some novel ways for Art+Science, sensory mapping, and haptic learning design to expand the scope and understanding of this emerging area of educational and practice based research. Engagement with embodied ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"59 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":"133834001","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":"Autopoiesis, enactivism and student learning: An ecological model","authors":"S. Frielick, M. Steagall","doi":"10.24135/link2021.v2i1.116","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.116","url":null,"abstract":"The paper is a contribution to the LINK 2021 Special Track: Informing design and practice-led research from the epistemology of the Santiago school of cognition. It presents a general ecological model of student learning in higher education, weaving together different threads from student learning research, Bateson’s work on the ecology of mind, and the concepts of autopoiesis and enactivism that emerge from the work of Maturana and Varela in the Santiago school. The paper takes as its starting point the seminal research on deep and surface approaches to student learning, developed inter alia by Marton, Biggs, Ramsden, Prosser & Trigwell during the 80s and 90s. While other neoliberal understandings of student learning as ‘engagement’ or ‘employability’ tend to dominate current discourse, the deep/surface literature is still widely cited and forms the basis of many courses in teaching in higher education. What is less explored are the ways in which the deep/surface learning research resonates with Bateson’s ecological views on mind and learning, and the idea of the embodied mind as developed from the pioneering work of Maturana and Varela. This research also emerged in the 80s and 90s. By tracing the patterns that connect these earlier ideas with current advances in 4E cognition and biosemiotics, the paper develops an ecological model of student learning based on concepts of non-linearity, emergence, complexity, embodiment, cognition as biological, learning as dialogical enquiry, communities of learning and practice, and the shaping influences of power circulating through information networks. The model visually depicts a process of learning informed by key principles: • Both the cognizing agent and everything with which it is associated are in constant flux, each adapting to the other in the same way that the environment evolves simultaneously with the species that inhabit it. • Learning (and similarly teaching) cannot be understood in monologic terms; there is no direct causal, linear, fixable relationship among the various components of any community. Rather, all the contributing factors in any teaching/learning situation are intricately, ecologically and complexly related. • Cognition is thus not the passive representation of a pre-existing world ‘out there’ but rather the ongoing bringing forth or enactment of a world through the biological processes of living. • Learning/teaching is a process of mutually enacting meaning—the student and teacher bringing forth a world together. • Cognition is not located within the abstractions of a decontextualised individual consciousness, but rather in the processes of shared action. • Knowledge is not separate from the world but embedded within it in a series of interrelated systems. • The individual self is thus constituted in a network of relationships. • Enactivism is an ecological epistemology where individual mind is an emergent property of interactions between organism and environment. • An enactivi","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"154 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":"133375882","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, Design and Technology in education: development of animatronics as learning objects for the study of robotics","authors":"Edson José Carpintero Rezende, Juliana Godin, Enderson Neves Cruz, Sérgio Antônio Silva, M. Steagall","doi":"10.24135/link2021.v2i1.94","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.94","url":null,"abstract":"This work presents the results of a transdisciplinary project between the areas of Art, Design, Electronics and Informatics, whose objective is to develop techniques for the construction of animatronics to apply them as learning objects in robotics teaching. The project was designed to integrate, in its team, teachers, researchers, social educators and students. The conceptual axis was proposed by researchers in the areas of Art, Design and Electronics, based on the concern of teachers and students regarding the high retention and dropout rates in the technical course in Electronics, in a technical and technological education institution in the city of Belo Horizonte, Brazil. It started from the hypothesis that concrete materials and playful tools can stimulate cognitive functions to promoting more dynamic and meaningful teaching and learning. The highlight is that the animatronics were built by the institution's own students, with low-cost materials, with a view to being used as Learning Objects also in other basic education schools and non-school spaces. The methodological procedures were characterized by an exploratory approach since the project was in the experimental phase of application. The actions were outlined by: (i) selection of students, bibliographic survey, document analysis, scheduling of meetings, application of preliminary questionnaires and observations, data collection through questionnaires; (ii) development of the electronic and mechanical structure of the prototype, records, and observations of implemented actions; (iii) reflection based on the analysis of the results obtained and dissemination. The materials chosen to compose the physical structure consisted of expanded polystyrene (EPS), paper, PVA glue, PVA putty, acrylic paint, and metallic paint, since they can be easily found in stationery stores or material stores for artistic or design projects. In the mechanical part, a servomotor was chosen, which consists of an electromechanical machine that presents movement proportional to a command, like closed-loop devices. The monitoring of the participants and the construction of the animatronic took place in weekly meetings with adjustments, revision and adaptation of work plans aiming at the co-production of knowledge and successive cycles of critical reflection. The first public presentations of the project took place at two academic events, with the target audience composed mainly of elementary and high school students. The results indicated that the dialogue between art, design, and electronics in the construction of Learning Objects stimulated the interest of children and adolescents around complex knowledge in a spontaneous and ludically way. The activities experienced around the project gave rise to the possibility of building knowledge under a new perspective. For the proposing team, the experience provided evidence that the popularization of scientific knowledge can be articulated with unofficial knowledge and prac","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":"131424138","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":"Through the eyes of the heart: My woven embodied learning of Jolobil and Lekil Kuxlejal","authors":"Diana Albarrán González, M. Steagall","doi":"10.24135/link2021.v2i1.141","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.141","url":null,"abstract":"Modern-colonial views from the Global North overemphasise the mind for knowledge production and sense-making over the different dimensions of the body. In the Global South, different onto-epistemologies recognise that understanding goes beyond the mind like sentipensar and corazonar. This presentation discusses the meaningful insights from learning backstrap loom weaving (jolobil) as a decolonising approach. During my research journey, a growing intuitive desire to learn jolobil became a transformative experience shifting the direction and contributing to the investigation in different ways. The embodied reflexivity of jolobil connecting body, mind, heart and vital energy (spirit) in relationship with people and place allowed a holistic sense-making of Lekil Kuxlejal, a Mayan Tsotsil and Tseltal equivalent of Buen Vivir. Considering the importance of the different dimensions of the body for sense-making, and the presence of the heart in Mayan (and Mesoamerican) cultures, the documentation of my jolobil apprenticeship through “the eyes of the heart” served as a window to experience not only the labor intensive and complex process of backstrap loom weaving but also to enable the viewers to immerse themselves in jolobil, an understanding of my learning corazonando. Jolobil, a pre-colonial cultural practice taught by the goddess Ixchel, is currently a living practice directly related to the weaver’s well-being as part of a community, and is a medium to reconnect with Indigenous ancestry and heritage. It also has strong emotional-affective dimensions where weavers require patience and concentration for letting the heart flow through the threads, nurturing and guiding the process providing a sense of harmony, well-being and belonging. The practice of jolobil is frequently done around family or in groups allowing intergenerational integration and knowledge transmission. These elements, aligned with my cultural heritage, were integrated through the inclusion of my family members during the field research, a decolonial stance as a Native Latin American woman. Another contribution from my embodied experience was using jolobil as a research metaphor weaving theories, methods and tools from different disciplines like anthropology, sociology and design alongside Indigenous knowledges. Using decolonisation as a transversal frame, this methodological approach intertwines visual-digital-sensorial ethnography, co-design, Mayan cosmovisión (worldview), textiles as resistance and Zapatismo for the exploration of what constitutes a fair-dignified life, Lekil Kuxlejal, for Mayan Tsotsil and Tseltal weavers in collective and horizontal collaboration. Echoing the weaver’s support of the loom with her lower back, jolobil includes the knowledge through our bodies and creative practices through embodiment, sentipensar and corazonar as the integration of ourselves with the whole, a ser uno con el todo.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"10 7 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":"123649257","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":"Extentio: Artistic Human-Machine Collaboration","authors":"Sergio José Venancio Júnior, M. Steagall","doi":"10.24135/link2021.v2i1.143","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.143","url":null,"abstract":"The present work reports on the development of the custom Artificial Intelligence software Extentio, a digital extension of an artistic intelligence. The research considered the historical debates of machine intelligence and creativity, as proposed at different moments by names like René Descartes, Ada Lovelace, Alan Turing, John Searle, and Margaret Boden. It also observed the state-of-the-art developments of Machine Learning with Deep Neural Networks, including Generative Adversarial Networks, one of the most rewarding techniques to explore latent spaces of image datasets and generate high quality, unpredictable output. Since the beginning of the Artificial Intelligence field, artists have been experimenting with these technologies, proposing deviant states, and redefining their regular usage and meaning, creating new ways to conceive and perceive art. Whether a machine can replace the artist or not, this question led many artists to pose important discussions around the possibilities and limits of translating artistic knowledge to machine language, amplifying the comprehension of human creativity itself. Although machine creativity is still a controverse topic nowadays, we believe that creativity is simply an attribution that characterizes what humans subjectively judge as new, surprising, and valuable. In this sense, Artificial Intelligence might generate unpredictable results in the context of art production, but it is always a human task to judge these as valuable or not, while redirecting the technology according to human intentions. In the hands of artists, Artificial Intelligence models can propose new ways of creation, new aesthetics, new concepts, and questions. Extentio is being developed as practice-oriented research. The software generates automated portrait drawings through simulations of observation, tracing, and composition analysis. It uses a particular array of Computer Vision, Machine Learning and Artificial Intelligence techniques, such as Face Detection, Image Segmentation, Color Quantization, Edge Detection, Stochastic Cellular Automata among others. All these algorithms are continually adjusted to reflect the artist’s evolving intentions and to adapt to different environments and result expectations. Extentio is a digital machine that, while not creative by itself, can interfere in a creative process in many propositive ways, leading the artist to discover poetic values and new designs. The artist then directs the behavior of such system through experimental practice with code and data, in a relationship of mutual evolution. Extentio reflects the delicate wish of translating ambiguous, vague, and sensible notions from art to the imperative, deterministic and probabilistic languages of computing. As with any translation process, there are losses and gains, but the new meanings can reveal a particular path of artistic collaboration between humans and machines.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"69 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":"115846378","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":"Between absence and presence: Augmented Reality as a self-fiction poetic","authors":"Rafaelle Ribeiro Rabello, M. Steagall","doi":"10.24135/link2021.v2i1.105","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.105","url":null,"abstract":"This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memo","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"42 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":"131749933","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-Neuroscience: poetic-artistic investigations on the impacts of Hostile Architecture on the homeostasis of users in the central region of the Sao Paulo city, in the context of COVID-19 pandemic","authors":"Clarice Delllape, Rachel Zuanon, M. Steagall","doi":"10.24135/link2021.v2i1.132","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.132","url":null,"abstract":"This research is based on the theoretical and poetic-artistic production on the theme \"Hostile Architecture\", which comprises urban elements and practices that restrict the permanence of individuals in public space, such as metal spikes on walls or boulders under viaducts. The reason why these elements are placed in the public space is related to security and they serve to inhibit undesirable social behavior, although they promote fear and, as consequence, leave abandoned spaces in the city which become susceptible to violence. It mainly affects the homeless population, but also affects delivery men, people with low mobility, families with children, among others urban dynamics. By limiting urban shelter, these hostile urban elements and practices act as aggressive stimuli, which disturb the balance of the human organism and are intensified with the socio-economic aggravations intensely triggered by the COVID-19 pandemic. The initial focus of this study is the central region of Sao Paulo (the biggest city in Brazil and the most affected by the pandemic, with the highest number of cases and deaths) and a critical bias of such practices is proposed, especially regarding its impacts on the biological homeostasis of users in this region. Therefore, the research is based on cooperation between the fields of Architecture and Cognitive and Behavioral Neurosciences, especially in the concept of Homeodynamic Environments and Products. The research methodology comprises a transdisciplinary approach and involves four main stages of development: [a] literature review under the Hostile Architecture theme; [b] theoretical articulation between the proposed theme and the concepts of Cognitive and Behavioral Neurosciences, especially from the perspective of biological homeostasis concept; [c] field research aimed at the observation, recording, analysis and interpretation of users behavior in face of the stimuli caused by hostile urban elements/practices, as well as the application of unstructured interviews with the referred public, to find out how such elements affect their physical and mental states during the pandemic context. The material resulting from these analyzes is the basis for the concept and development of the artworks produced by the artist-author; and [d] conception and development of a physical-digital poetic-artistic proposal. The poetic-artistic proposal is produced from two articulated approaches: the first is a digital platform for collective mapping of hostile architecture elements in Brazil territory as well as for discussion and scientific dissemination about the hostile architecture theme, through texts and posts on social networks. In this way, all collected material is organized in an interactive map with photos and their locations. The platform broadens critical perspectives and encourages reflections about the hostile architecture through drift and photographic action. The second one comprises the author-artist's poetic practice, elabor","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"47 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":"133658875","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":"Digital Ontophany - The digital as a structure of perception","authors":"Cristian Rodriguez, M. Steagall","doi":"10.24135/link2021.v2i1.96","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.96","url":null,"abstract":"[Few people would contest Negroponte’s argument that the digital revolution is over. This is not because the revolution has in any way failed, but because it has already touched everyone. However, in this postdigital landscape, a number of different camps are still arguing how this ubiquitous presence of digital technologies can be conceptually framed. Some theorists align with ideas that resemble Milgram and Kishino’s (1994) mixed reality model, where the virtual and the real are depicted as a continuum encompassing the virtual environment at one end and the real one at the other. Others, still prefer what Jurgenson (2011) calls digital dualism, where the digital world is seen as virtual, and the material world as real; as separate, differentiated realms. Digital Ontophany’s (Vial, 2018) central concept is that technologies over the centuries generate cyclic changes in the way we perceive things (ontophanic shifts) that shake the dominant structures of perception. These shifts are closely related to historical technological capabilities to bring things into existence, and have the power to change our idea of what reality is. Technological devices, therefore, become conditions of possibility for reality (Vial, 2019), organising the history of humanity into a series of Technological Systems, which create not only their own production processes but also particular sets of social practices.The irruption of the digital revolution in the 1970-90s brought about a new system: The Digital Technological System. Digital technologies, characterised by the introduction of simulations, avatars and Internet-mediated relationships, caused a phenomenological shock to our (industrial) being-in-the-world. In order to survive this ontophanic trauma, we created the distinction between virtual and real worlds, governed by their own phenomenological rules.Rejecting this dualism, Digital Ontophany defines being as an antropo-technical construction, where material objects mediate beliefs, habits, and agencies. In this way, the digital revolution becomes a philosophical event, in the sense that it affects our phenomenological experience of the world. The emergence of the digital is not just a matter of ontology, but one of ontophany, since it defines how beings (ontos) appear (phaino).Digital Technologies, therefore, are structures of perception that both create ontophanic matrices and the material conditions that determine phenomenal manifestations that are exclusive and particular to it. It is not only a change of materials and devices, but a transformation of the act of perception itself and its phenomenological dynamic.From the perspective of the Santiago Theory of Cognition, Digital Ontophany offers a unique sensibility to analyse the dynamics of structural coupling between the organism (the learner) and the environment. Digital ontophany impacts not only our perception of the world but also (and because of it) our cognitive processes by extending, transforming and ","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"14 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":"129225937","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":"Marlene's house","authors":"S. Nascimento, M. Steagall","doi":"10.24135/link2021.v2i1.106","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.106","url":null,"abstract":"As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know.\" I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"168 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":"127505279","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":"Participatory Futures Imaginations","authors":"Juliana Valentim, M. Steagall","doi":"10.24135/link2021.v2i1.111","DOIUrl":"https://doi.org/10.24135/link2021.v2i1.111","url":null,"abstract":"The contemporary conjuncture of widespread ecological and social crises summons critical thinking about significant cultural changes in digital media design. The selection and classification practices that marked the history of slavery and colonization now rely on all types of nanotechnologies. On behalf of the future, bodies became expanded territory to sovereign intervention, where the role of contemporary powers enable extraction and mining of material, plumbed from the most intimate sphere of the self. This logic requires the state of exception to become the norm, so that the crisis is the digital media’s critical difference: they cut through the constant stream of information, differentiating the temporally valuable from the mundane, offering users a taste of real-time responsibility and empowerment. Thereby, this research aims to explore the dynamic transformations of the mediatic environment and their impacts on the fundamental relationships of human beings with the world, the self, and objects. It unfolds concerns around neocolonial assaults on human agency and autonomy that resonate from structuring patterns emerging from the digital infrastructure of neoliberalism and the relationships of human beings with the world. It disputes the imaginaries, representational regimes, and the possibilities of reality perceptions with universal, patriarchal, and extractive representations. This research also seeks alternative forms of media education and political resistance through its collaborative practice, pursuing an attentive and open-ended inquiry into the possibilities latent for designing new communication and information tools within lived material contexts: How might we represent invisible media infrastructures? How to produce knowledge about this space and present it publicly? How can these representations be politically mobilized as ecological and social arguments to establish a public debate? How can artistic sensibilities, aesthetics and the visual field influence what is thought of this frontier space? Finally, how can art, play and research intervene and participate? For this, the project involves participatory methods to create spaces for dialogue between different epistemologies, questioning the forms of ethical and creative reasoning in the planetary media and communication systems; for fostering the techno-politics imagination through playful, participatory futures and transition design frameworks as an ethical praxis of world-making; and for a reconceptualization of autonomy as an expression of radical interdependence between body, spaces, and materiality. The research aims to provide a framework for designing media tools, which incorporates core design principles and guidelines of agency and collective autonomy. It also engages with the transnational conversation on design, a contribution that stems from recent Latin American epistemic and political experiences and struggles, and the wider debate around alternative forms of rest","PeriodicalId":238231,"journal":{"name":"Link Symposium Abstracts 2020","volume":"206 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":"133303407","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}