In this article, we present a lifecycle study of We Dare You , a substitutional reality installation that combines visual and tactile stimuli. The installation is set up in a center for architecture, and invites visitors to explore its facade while playing with vertigo, in a visual virtual reality environment that replicates the surrounding physical space of the installation. Drawing on an ethnographic approach, including observations and interviews, we researched the exhibit from its opening, through the initial months plagued by technical problems, its subsequent success as a social and playful installation, on to its closure, due to COVID-19, and its subsequent reopening. Our findings explore the challenges caused by both the hybrid nature of the installation and the visitors’ playful use of the installation which made the experience social and performative—but also caused some problems. We also discuss the problems We Dare You faced in light of hygiene demands due to COVID-19. The analysis contrasts the design processes and expectations of stakeholders with the audience’s playful appropriation, which led the stakeholders to see the installation as both a success and a failure. Evaluating the design and redesign through use on behalf of visitors, we argue that an approach that further opens up the post-production experience to a process of continuous redesign based on the user input—what has been termed design-after-design —could facilitate the design of similar experiences in the museum and heritage sector, supporting a participatory agenda in the design process, and helping to resolve the tension between stakeholders’ expectations and visitors’ playful appropriations.
This paper investigates the concept and development of Bio-Sonic Sense, an artistic interpretation of bio sonars, as an attempt to create a cross-species experience. It examines the potential of sensory transformation through technology-specifically, transcoding visual to audio-with the purpose of communicating the mechanisms of ultrasonic communication employed by marine mammals. Bio-Sonic sense is the result of using artistic practice and critical play, in order to disseminate the effects of noise pollution on marine life. This paper proposes that those practices should be explored as methods that can design for the use of technics as tools that can expand the human senses, thus allowing the exploration of non-human "worlds".
Drawing on the theoretical framework of Grabe & Bucy (2009), this chapter presents the findings of an exploratory study concerning the visual self-presentation strategies that the political leaders of the two main political parties in Greece (Syriza and New Democracy) employed in their political adverts on YouTube during the campaign for the 2019 European Parliamentary elections. The findings illustrate that, despite the fact that both leaders made equal use of the two master framesof the ideal candidate and the populist campaigner, their visual strategies differed in the emphasis given to the various subdimensions of the visual framework. Both leaders attempted to project a public persona characterised by ordinariness and professionalism. Tsipras used a series of spots through which he sought to both 'renew' his relationship with the electorate, and reinforce perceptions of his statesmanship as a widely respected political leader. Mitsotakis' visual strategy was primarily based on building a more relatable image and strengthening his leadership profile, as well as the frequent use of patriotic symbols.
GLAM institutions have increasingly incorporated visitor experiences into their space as a way to position themselves in the "experience economy", and approach the ideals of "immersive heritage" and sensory museuology. The ludic turn-i.e. the introduction of play in the GLAM space-has been identified as one of the key turns that assists GLAM institutions to move towards those ideals. However, play, and the appropriation it bring in the space, can be disruptive. Following a research-through-design method, the focus of this Ph.D. research is to explore how to design experiences that use tangible interactions and digital technologies that facilitate play and appropriation in the GLAM space, along with providing insights on ways that this appropriation can be used to redesign the experience. To explore that topic, an empirical study along with four design experiments are conducted in the space of the Danish Architecture Centre.
Museums have increasingly focused on digital technologies and play as means to provide personalized, engaging experiences for their audience. Balancing educational and playful values is often conflicting. To address that conflict, museums often employ participatory design strategies. However, those strategies usually end after the deployment of those experiences, thus they do not accommodate for what occurs during actual use. In this article, we follow Light House, a research-through-design experiment of an installation that was developed using an iterative design approach which expands on actual use by deploying undetermined artefacts to support the discovery of novel interactions by visitors. Through our findings, we explore the "failure" of Light House to support the discovery of such interactions in relation to its educational character, but rather it inspired people to incorporate it in the activities supported by the surrounding space. Finally, we discuss the implications those discovered interactions in terms of potential re-design directions.CCS Concepts: • Human-centered computing → Empirical studies in HCI; Empirical studies in interaction design.
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