Physical Education (PE) is beneficial for students’ mental and physical health, however, teenagers are increasingly becoming less motivated to actively participate in the current form of PE. Motivational studies show that collective physical activity augmented by playful interactions could encourage more participation and social engagement in physical activities (PA). In this paper, we present a within-subject field study with 20 teenagers formed into five groups sized equally. The study is conducted using Shuttlezap, a prototype that provides realtime playful audio augmentation to the process of the activity. Results show that the teenagers enjoyed playful audio augmentation and were socially engaged with an enhancement of their perception of competence. By further comparing the conditions between with and without the audio augmentation, we found that the playful audio augmentation positively contributed to the playfulness in terms of perceived relaxation and expression. We conclude with design implications for social play in the context of PE for teenagers.
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In this paper we explore the influence of the physical and social environment (the design space) son the formation of shared understanding in multidisciplinary design teams. We concentrate on the creative design meeting as a microenvironment for studying processes of design communication. Our applied research context entails the design of mixed physical–digital interactive systems supporting design meetings. Informed by theories of embodiment that have recently gained interest in cognitive science, we focus on the role of interactive “traces,” representational artifacts both created and used by participants as scaffolds for creating shared understanding. Our research through design approach resulted in two prototypes that form two concrete proposals of how the environment may scaffold shared understanding in design meetings. In several user studies we observed users working with our systems in natural contexts. Our analysis reveals how an ensemble of ongoing social as well as physical interactions, scaffolded by the interactive environment, grounds the formation of shared understanding in teams. We discuss implications for designing collaborative tools and for design communication theory in general.
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This investigation explores relations between 1) a theory of human cognition, called Embodied Cognition, 2) the design of interactive systems and 3) the practice of ‘creative group meetings’ (of which the so-called ‘brainstorm’ is perhaps the best-known example). The investigation is one of Research-through-Design (Overbeeke et al., 2006). This means that, together with students and external stakeholders, I designed two interactive prototypes. Both systems contain a ‘mix’ of both physical and digital forms. Both are designed to be tools in creative meeting sessions, or brainstorms. The tools are meant to form a natural, element in the physical meeting space. The function of these devices is to support the formation of shared insight: that is, the tools should support the process by which participants together, during the activity, get a better grip on the design challenge that they are faced with. Over a series of iterations I reflected on the design process and outcome, and investigated how users interacted with the prototypes.
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Mensen die moeite hebben met lezen en schrijven (laaggeletterden) zijn ondervertegenwoordigd in onderzoek, waardoor een belangrijke onderzoekspopulatie ontbreekt. Dit is een probleem, omdat zorgbeleid dan onvoldoende op hun behoeften wordt aangepast. Laaggeletterden hebben vaak een lage sociaal economische positie (SEP). Mensen met een lage SEP leven gemiddeld 4 jaar korter en 15 jaar in minder goed ervaren gezondheid vergeleken met mensen met een hoge SEP. Om laaggeletterden te betrekken in onderzoek, is het o.a. nodig om onderzoek toegankelijker te maken. Dit project draagt hieraan bij door de ontwikkeling van een toolbox voor toegankelijke (proefpersonen)informatie (pif) en toestemmingsverklaringen. We ontwikkelen in co-creatie met de doelgroep toegankelijke audiovisuele materialen die breed ingezet kunnen worden door (gezondheids)onderzoekers van (zorggerelateerde) instanties/bedrijven én kennisinstellingen voor de werving voor en informatieverstrekking over onderzoek. In de multidisciplinaire samenwerking met onze partners YURR.studio, Pharos, Stichting ABC, Stichting Crowdience, de HAN-Sterkplaats en de Academische Werkplaats Sterker op eigen benen (AW-SOEB) van Radboudumc stellen we de behoeften van de doelgroep centraal. Middels creatieve sessies en gebruikerservaringen wordt in een iteratief ontwerpende onderzoeksaanpak toegewerkt naar diverse ontwerpen van informatiebrieven en toestemmingsverklaringen, waarbij de visuele communicatie dragend is. Het ontwikkelproces biedt kennisontwikkeling en hands-on praktijkvoorbeelden voor designers en grafisch vormgevers in het toegankelijk maken van informatie. Als laaggeletterden beter bereikt worden d.m.v. de pif-toolbox, kunnen de inzichten van deze groep worden meegenomen. Dit zorgt voor een minder scheef beeld in onderzoek, waardoor (gezondheids)beleid zich beter kan richten op kwetsbare doelgroepen. Hiermee wordt een bijdrage geleverd aan het verkleinen van gezondheidsverschillen.
This PD project aims to gather new knowledge through artistic and participatory design research within neighbourhoods for possible ways of addressing and understanding the avoidance and numbness caused by feelings of vulnerability, discomfort and pain associated with eco-anxiety and chronic fear of environmental doom. The project will include artistic production and suitable forms of fieldwork. The objectives of the PD are to find answers to the practice problem of society which call for art that sensitises, makes aware and helps initiate behavioural change around the consequences of climate change. Rather than visualize future sea levels directly, it will seek to engage with climate change in a metaphorical and poetic way. Neither a doom nor an overly techno-optimistic scenario seem useful to understand the complexity of flood risk management or the dangers of flooding. By challenging both perspectives with artistic means, this research hopes to counter eco-anxiety and create a sense of open thought and susceptibility to new ideas, feelings and chains of thought. Animation and humour, are possible ingredients. The objective is to find and create multiple Dutch water stories, not just one. To achieve this, it is necessary to develop new methods for selecting and repurposing existing impactful stories and strong images. Citizens and students will be included to do so via fieldwork. In addition, archival materials will be used. Archives serve as a repository for memory recollection and reuse, selecting material from the audiovisual archive of the Institute of Sound & Vision will be a crucial part of the creative work which will include two films and accompanying music.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
