Zoekresultaten

Whitepaper : Smart sensors, the new senses of logistics

Controlling the stimulation of senses in design for dementia

Angels talking back and new organs of perception

This article focuses on the role of the artistic process in connecting to the natural environment. In my research I have explored what participants experience and learn when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups. I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with ‘a new organ of perception’ (Goethe), in order to perceive ‘the more than human’ with fresh new eyes. This tradition can be traced back (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world. The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and ‘emergent properties’. The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a ‘self-sufficient, spiritually breathing subject’ (Kandinsky). The artwork can be spontaneously generative and multilayered with meanings, some of which may even be ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise, overwhelm him or her as ‘coming from behind one’s back’. The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here. These two orientations, when practiced as part of AEE, have implications on how we relate to nature through art. In the closing of this article I address the question of whether it is possible to bridge the dualism between the two orientations.

Enactive Cinematic Perception

Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)

A sense of green

This booklet is a short reflection on the workshop activities by the research group, Popular culture Sustainability and Innovation (PSI), of the Hanze University in Groningen for the CCC Reloaded: CREALAB project over the last one and half years. Based on a series of explorative workshops this booklet includes reflections on art, design & sustainability. A broad range of different stakeholders share their views on bio based design, the value of waste and the artist as agent of sustainable change. The urgency of the topic and the innovative opportunities it generates are highlighted by contributors like creative entrepreneurs, scientists, teachers and art students that collaborated in the past workshop series. A Sense of Green includes contributions by Han Brezet, Nathalie Beekman, Klaas Pieter Lindeman, Aart van Bezooijen, Anouk Zeeuw van der Laan, Anne Nigten and others.

Immersive experience framework: a Delphi approach.

The concept of immersion has been widely used for the design and evaluation of user experiences. Augmented, virtual and mixed-reality environments have further sparked the discussion of immersive user experiences and underlying requirements. However, a clear definition and agreement on design criteria of immersive experiences remains debated, creating challenges to advancing our understanding of immersive experiences and how these can be designed. Based on a multidisciplinary Delphi approach, this study provides a uniform definition of immersive experiences and identifies key criteria for the design and staging thereof. Thematic analysis revealed five key themes – transition into/out of the environment, in-experience user control, environment design, user context relatedness, and user openness and motivation, that emphasise the coherency in the user-environment interaction in the immersive experience. The study proposes an immersive experience framework as a guideline for industry practitioners, outlining key design criteria for four distinct facilitators of immersive experiences–systems, spatial, empathic/social, and narrative/sequential immersion. Further research is proposed using the immersive experience framework to investigate the hierarchy of user senses to optimise experiences that blend physical and digital environments and to study triggered, desired and undesired effects on user attitude and behaviour.