A sedentary lifestyle is a contributing factor to chronic diseases, and it is often correlated with obesity. To promote an increase in physical activity, we created a social computer game, Fish'n'Steps, which links a player's daily foot step count to the growth and activity of an animated virtual character, a fish in a fish tank. As further encouragement, some of the players' fish tanks included other players' fish, thereby creating an environment of both cooperation and competition. In a fourteen-week study with nineteen participants, the game served as a catalyst for promoting exercise and for improving game players' attitudes towards physical activity. Furthermore, although most player's enthusiasm in the game decreased after the game's first two weeks, analyzing the results using Prochaska's Transtheoretical Model of Behavioral Change suggests that individuals had, by that time, established new routines that led to healthier patterns of physical activity in their daily lives. Lessons learned from this study underscore the value of such games to encourage rather than provide negative reinforcement, especially when individuals are not meeting their own expectations, to foster long-term behavioral change.
HCI research has both endorsed "making" for its innovation and democratization capacity and critiqued its underlying technosolutionism, i.e., the idea that technology provides solutions to complex social problems. This paper offers a reflexive-interventionist approach that simultaneously takes seriously the critiques of making's claims as technosolutionist while also embracing its utopian project as worth reconstituting in broader sociopolitical terms. It applies anthropological theory of the global and feministutopianism to the analysis of findings from research on making cultures in Taiwan and China. More specifically, the paper provides ethnographic snippets of utopian glimmers in order to speculatively imagine and explore alternative futures of making worth pursuing, and in so doing reconstitute the utopian vision of making.
We draw from long-term research in Shenzhen, a manufacturing hub in the South of China, to critically examine the role of participation in the contemporary discourse around maker culture. In lowering the barriers of technological production, "making" is being envisioned as a new site of entrepreneurship, economic growth and innovation. Our research shows how the city of Shenzhen is figuring as a key site in implementing this vision. In this paper, we explore the "making of Shenzhen" as the "Silicon Valley for hardware." We examine, in particular, how maker-entrepreneurs are drawn to processes of design and open sharing central to the manufacturing culture of Shenzhen, challenging conceptual binaries of design as a creative process versus manufacturing as its numb execution. Drawing from the legacy of participatory design and critical computing, the paper examines the social, material, and economic conditions that underlie the growing relationship between contemporary maker culture and the concomitant remake of Shenzhen.
This article discusses the visions and practices of DIY (do-it-yourself) maker culture in China. It analyses how the ideals held by DIY makers, such as openness, peer production, and individual empowerment, are formulated in relation to China’s project of building a creative society and economy. To demonstrate, this article draws from long-term ethnographic research, including the setting up of China’s first hackerspace, the proliferation of making, and partnerships between makers and manufacturers. China’s makers are driven to reinvent what creativity, innovation, industrial production and citizenship mean today, simultaneously exploiting and challenging political rhetoric. By setting up hackerspaces, designing open technologies and starting up businesses, they craft alternative subject positions, for themselves and others. The contribution of this article is threefold. First, it fills a gap in current research by providing an account of a culture of technology production. Second, it proposes the analytical lens of ‘making subjectivities’ to open up the concept of the netizen, illustrating the importance for Chinese Internet research to consider not only technology use, but also the culture and materials of its production. Third, it demonstrates that maker culture is better understood as a parasitic culture rather than a counterculture, altering the system from within, contributing to our understanding of the relationship between technology use, production, society, activism and the state.
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