Tag Archives: research

Pan. Puck. Beet. Love.

PanPuckBeetLove2This small hand drawn mystical creature is based on the Greek nymph God, Pan and the Midsummer Night’s Dream elf, Puck. It’s the center piece for an interactive bricolage. It’s a work about lust and mischief; and about the suffering it involves. The temptation is represented by a beet, a melancholic vegetable in Tom Robbins’ magical realism.

The wall hanging is next to a deformable figure, a material that visitors can shape and fold into itself, changing its very nature without changing its original mass. The figure is an experiential, yet abstract topology put in context with the viewers’ archetypal imaginaries elicited by the drawing. The associations that occur at the intersection of erotic mythology and mathematical constraint render love as a topological assemblage; a Möbius strip that gifts us the illusion of progress while keeping us firmly grounded in its endless loops.

Here is a more nuanced interpretation:

The red beet – heart shaped – is temptation. Pan pruriently sniffs the beet while Puck nears it with playful curiosity. Yet the beet’s dryness reminds of melancholy. Its brittle leaves recur in the lover’s hair, a wild growth symbolising the seeker’s pandemonium: impulsive insatiable desire, time and again mistaken for love. Flies surround the frazzled head – they are the totem of rapid change. The androgynous figure has a goatee and small breasts, a comment on confusions that come with gender bending lifestyles. Leaning out of shallow waters, the emaciated body seems both anchored and confined. The lake is bleeding. Unnoticed withers the lover’s foundation. Without it, the erotic traveller is exposed to both liberation and uprootedness.

topologyI drew the image without any meaning in mind. I just drew. Gradually I recognised the symbolism of my drawing. How Jungian. My revelations were deeply connected to my PhD research. I had used a mathematical theory to describe bricolage lifestyles: topology (see image).

The basic principle behind the topology is that a space can change its form without changing its mass. That means, the figure is at once changing and remaining the same. Thinking about society (or lovers) in terms of topology evokes interesting analogies. Imagine a spatial figure consisting of nodes and lines. There is no hierarchy, and no central control. All nodes have equal influence. And any movement of one node changes all other nodes. That means, everything happens in between. The focus lies on the path – think of these as relationships. Their ever-changing nature defies stabilization of the form. The figure is movement. Transferring the model to people means that we’re in movement. Inevitable is the surrender of the individual to the collective. Inevitable is embracing the unknown that rests in such emergence.

2015-11-25 15.40.05Pan/Puck’s torment is topological. Its heterogenous space offers liberation, because agency is granted. But its constant movement uproots the actor. With shifting external foundations, the actor needs a solid foundation within. It is hidden, like the Second Foundation in Asimov’s sci-fi novel. This hidden foundation is key to evolution.

In my bricolage, the plasticine is a topology. I wanted to connect the vast mythology of the drawing with the mathematical constraint, because together they render love and life as a topological assemblage; like a Möbius strip that gifts us the illusion of progress while keeping us firmly grounded in its endless loops.

This little installation can be observed and experienced at Art After Dark on November 13 (Melbourne) and November 20 (Sydney).

MOOC Sherlock and the Internet of Everything

MOOC_PosterI’m lecturing a rad MOOC! It’s called Sherlock Holmes and the Internet of Things (IoT) and because of its experimental setup we renamed MOOC a Massive Online Offline Collaboration. The MOOC itself is an ongoing prototype developed and run by Learn Do Share at Columbia University. With meet-ups in close to 20 cities, 1000+ collaborators from over 60 countries, the pilot MOOC creates a massive connected crime scene consisting of smart storytelling objects. Teams take on roles from the novel to create, design, build and test prototypes in local and global groups. They explore the ethical and political implications of IoT. By creating shared assets collaborators raise questions on shared authorship and ownership, which ultimately leads them to engage with new concepts.

Here‘s an overview of the program.

I have created two brief video lectures that I shared in two separated posts here and here . They’re super DIY, though.

PhD Creativity Unbound

TITLE
Creativity Unbound – An Analysis of Open Collaboration between Experience Design and Poietic Practice

ABSTRACT
This thesis concerns social engagement at the intersection of open design and media technology. The study reflects on the practice of a group of creative entrepreneurs, who seek new methods and contexts for collaboration both online and offline. My case is an international collective called Reboot. They co-produce games, narratives, and workshops that aim at engaging others to become activists for social innovation through experiential learning and applied creativity. I investigate what drives them, what they desire, how they learn, and how they co-create. The core problem is: how does a focus on innovating process shape the way individuals approach work and life? Ethnography forms the central research method. It tracks the exchange and performance values expressed by members of the Reboot collective. I use an experimental enactive research design, which enriches current academic practices in media and design ethnography.

As a theoretical framework, I draw on cultural topology. More specifically, I focus on three characteristics of topology – contiguity, continuity, and poiesis. Headed by these three pillars, my chapters include theories on performativity, affect, and free labour. My data substantiates the workings of these three topological characteristics individually and across chapters. Firstly, in terms of contiguity, I investigate performativity as a theoretical possibility within a topological framework. Reboot offers physical spaces for collaborators to connect. Here, I argue, the group facilitates productive contiguity. I scrutinise their experience of interaction enabled by design in order to make an assessment about performative agency. Secondly, with respect to continuity, I examine affect as a driver of relationships and activity. Reboot facilitates remote collaboration through digital online technology. I show that affective interaction helps to re-establish connection and build relationships to foster further engagement, and that these practices corroborate continuity. Lastly, regarding poiesis, I discuss the notion of free labour against the backdrop of commons-based peer production. I show that collaborators frame their free labour in an emancipatory fashion that reflects high hopes for virtuous behaviour among collaborators and ignores worries of exploitation. I identify this practice as poiesis.

This matters, because these collaborative producers are found to act upon their hopes that they can co-create long term systemic change in society; they experiment with new tools to do so; and they spread their techniques by engaging others. This thesis thus locates itself amongst – and adds insights to – current debates on human passion that drives socio-technical innovation.

CONTENT

1. INTRODUCTION
1.1. A QUESTION OF DEVIANCE AND PASSION?
1.2. CASE OVERVIEW
1.3. APPROACH
1.4. CHAPTER OUTLINES

2. METHODOLOGY: EMERGENT ENACTIVE RESEARCH
2.1. INTRODUCTION
2.1.1. GAINING ACCESS
2.1.2. FROM STUDYING PRACTICE TO STUDYING DESIGN PRACTICE
2.2. ENACTIVE MULTI-SITED RESEARCH
2.2.1. MEETING THE TEAM ONLINE AND IN PERSON – WHAT CHANGED
2.2.2. IN(TER)VENTION AS DATA: LEARN DO SHARE BOOKSPRINTS
2.2.3. DESIGN AS DATA: WISH FOR THE FUTURE OPEN DESIGN GAME
2.2.4. USAGE OF DIGITAL PLATFORMS
2.3. EMERGENT RESEARCH FROM FIELD TO THESIS
2.4. TOPOLOGY: CONNECTING DATA, RESEARCH, AND OUTCOME

3. CONTIGUITY: PERFORMATIVITY IN NARRATIVE CO-DESIGN
3.1. INTRODUCTION
3.2. THEORETICAL FRAMEWORK
3.2.1. PERFORMANCE AND PERFORMATIVITY
3.2.2. NARRATIVE DESIGN AS PERFORMATIVE AGENT
3.3. EMPIRICAL INVESTIGATION
3.3.1. IMPERFECTION: INCOMPLETE BY DESIGN
3.3.2. INTERVENTION: HACKING AS METHOD
3.3.3. APPROPRIATION: CONTIGUITY AS CATALYST
3.4. DISPERSED PERFORMATIVITY: WHAT DRIVES TOPOLOGICAL CULTURE?
3.5. CONCLUSION

4. CONTINUITY: AFFECTIVE ENGAGEMENT
4.1. INTRODUCTION
4.2. METHOD: AUTO-ETHNOGRAPHIC ENACTIVE RESEARCH
4.3. THEORETICAL PLACEMENT
4.3.1. AFFECT AND EMOTIONS
4.3.2. REASONED AND EMOTIONAL VALUES
4.4. EMPIRICAL INVESTIGATION
4.4.1. PRINCIPLE 1 – HOW AFFECT ENGAGES: APPRECIATION
4.4.2. PRINCIPLE 2 – HOW AFFECT ENGAGES: PASSION
4.4.3. PRINCIPLE 3 – HOW AFFECT ENGAGES: PROMISE
4.5. DEEP, FLEETING, AND ALLURING AFFECT
4.6. CONCLUSION

5. POIESIS: FREE LABOUR AS EMANCIPATORY ACTUALISATION
5.1. INTRODUCTION
5.2. THEORETICAL FRAMEWORK
5.2.1. CAPITALISM CRITIQUE
5.2.2. COMMONS-BASED PEER PRODUCTION
5.2.3. CONSIDERING POIESIS
5.3. EMPIRICAL INVESTIGATION
5.3.1. FREE LABOUR AS ENTREPRENEURIAL AGENCY
5.3.2. FREE LABOUR AS ALTRUISM
5.3.3. FREE LABOUR TO BUILD SOMETHING BIGGER
5.3.4. FREE LABOUR AS ENTREPRENEURIAL TRAINING
5.4. A POIETIC NON-LABOUR SYSTEM?
5.4.1. BELONGING TO SOMETHING LARGER THAN YOURSELF – REVOLUTION
5.4.2. KINDNESS AND ALTRUISM – SELF-EXPLOITATION
5.4.3. GIVING LEARNING EXPERIENCES – VIRTUE
5.4.4. EMANCIPATORY AGENCY – ENTREPRENEURSHIP
5.5. THE DO GOODERS
5.5.1. GAINS
5.5.2. LOSSES
5.5.3. TOPOLOGICAL ACTIVATION
5.6. CONCLUSION

6. CONCLUSION
7. BIBLIOGRAPHY

#Monsterproud
Download a copy here
And see a rawer wilder transdisciplinary version here.

The Unorthodox PhD

This is the raw version of my thesis, which I changed quite a bit after I got the feedback that it’s a bit too creative and wild. Both versions are fully written. This one is more eclectic and transdisciplinary, the other is more orthodox and less complex (see other version here).

TITLE
Creativity Unbound: Parables of Co-Creative Process Under The Premise to Open Everything

ABSTRACT
This thesis examines the intersection of social technology and open storytelling. At its core is what drives experimental co-creation among creative entrepreneurs. Open storytelling is a field of interactive arts that seeks new methods and contexts for co-creation. Opening access raises questions around promises and discomforts of such seemingly unplannable co-production. A central theme is self-organization through performance and exchange. The core problem is: How does a focus on innovating process shape the way individuals approach life and work? Answers can be found in this ethnographic case on the design and performance values expressed by members of the Reboot collective. Reboot attracts collaborators, who come to learn, imagine, do and share.

Each chapter indicates a field of tension in which principles of co-creation are discussed and evidenced by practice and design examples. Chapter B takes [play/labour] as a framework and looks at civic engagement and project organization (learn). In chapter C, the bracket [discipline/affect] offers a view on aesthetic reasoning through the principles passion and empathy (imagine). In chapter D, the bracket [story design/performativity] highlights principles of incompleteness and synaesthetic mimesis, poiesis and kinesis (do). In chapter E, the bracket [potential space/affordance] delineates community cultivation and project-based co-entrepreneurship (share). At a meta-level, five axioms can be derived: (a) practices corroborate synaesthetic reasoning to make sense of the digitized world; (b) activities are situational and ephemeral, defying systemic stabilization; (c) online and offline practices open up an omnidextrous third space through which techniques flow across from one domain to the other; (d) if constraints are not outside the body they come from inside (self-discipline) and in-between (empathy); (e) incomplete designs invite engagement.

As a theoretic framework, the author develops a dyad concept drawing on Kress and Leeuwen’s multimodality and Lury et al. and Lash’s notion of topology. Her methodology uses a rigorous and multi-layered activity research design, which adds new perspectives to current academic practices in media and design ethnography. Spanning media, arts, design, social sciences, cultural studies and anthropology, the thesis is placed amongst – and adds rich insights – to current debates on human activity in socio-technical environments.

CONTENT

Screenshot 2014-02-16 15.23.03

// INTRODUCTION
1. A QUESTION OF DEVIANCE AND PASSION?
2. WHAT’S AT STAKE: CO-CREATION
2.1 Reboot Creativity
2.2 Creativity as Play
2.3 Creativity as Remix
2.4 A Taxonomy of Co-Creativity
2.5 Co-creativity is Emergent
3. CONCEPTUAL FRAMEWORK: THE 3RD SPACE OF CULTURAL TOPOLOGY
3.1 Considering Design and Process
3.2 Cultural Topology
3.3 Topology as Abstract Language
3.4 A Fledgling Pattern Language
3.5 Style and Reflexivity in a Topological Approach
4. PLACEMENT AND SIGNIFICANCE OF STUDY

// LEARN – Subversive Play: Free Labour as Civic Engagement
1. INTRODUCTION
2. THEORETICAL FRAMEWORK
2.1 Pervasive Play and Free Labour
2.2 Serious Play and Experiential Learning
3. SUBVERTING NORMS THROUGH INFINITE PLAY
3.1 Principle 1 – Deviate: Disruption and Intervention
3.1.1 Trad-Schooling
3.1.2 Alt-schooling
3.2 Principle 2 – Improvise: Speculation and Grit
3.2.1 Contingency
3.2.2 Complexity
3.3 Principle 3 – Augment: Iterate and Transform
3.3.1 Prototypes
3.3.2 Dehabituation
4. PLAYING REALITY
5. CONCLUSION

// IMAGINE – Affective Reasoning: Heuristic Sense- And Decision-Making Through Empathy And Passion
1. INTRODUCTION
2. THEORETICAL FRAMEWORK
2.1 Affect
2.2 Self-Discipline
2.3. Between Affect and Discipline
3. SENSE-MAKING: NAVIGATING THE SOCIAL IMAGINARY THROUGH EMPATHY
3.1 From Meme to Theme
3.2 Conceptual Language
3.3 Balancing Literal And Associative
3.4 Empathy As Compass
4. DECISION-MAKING: HARNESSING PASSION
4.1 “Choosing” Intensive Engagement
4.2 Hurdling the Arduousness of Self-Discipline
4.2.1 Deep Affect: The Personally Meaningful
4.2.2 Fleeting Affect: Collective Momentum
4.3 The Power of Oscillating Discipline and Affect
5. CONCLUSION

// DO – Performative Storytelling: Narrative Design As A Purposeful Utility
1. INTRODUCTION.
2. THEORETICAL FRAMEWORK
2.1 Performativity
2.2 Purposeful Storytelling
2.3 Design
2.4 Narrative Design as Performative Agency
3. APPLIED PRINCIPLES: USING STORY TO “DESIGN WITH AND FOR”
3.1 Focus on Poiesis: Incomplete By Design
3.1.1 Science-Fiction, Otherness and Imagination
3.1.2 Story Beats
3.2 Focus on Kinesis: Intervention by Design
3.2.1 Messiness
3.2.2 Hacking
3.3 Focus on Mimesis: Appropriation
3.3.1 Transportation and Transformation
3.3.2 Declining Performativity?
4. CONCLUSION: OPEN STORIES AS PERFORMATIVE INTERVENTIONS

// SHARE – Community Cultivation: Co-Entrepreneurship By Affording Project-based Micro-Businesses
1. INTRODUCTION
2. THEORETICAL FRAMEWORK
2.1 Potential Space
2.2 Commons-Based Peer Production
2.3 Affording A Common Potential Space
3. PRIMARY PRINCIPLES: FRANCHISING AND INCUBATING
3.1 Franchise: Network and Change over Income
3.2 Incubation: Social Good over Monetization
4. SECONDARY PRINCIPLES: SHARING AS CO-ENTREPREUNEURS
4.1 Power Share: Letting Go of Control (Individual)
4.2 Goal Share: Balancing Self-interest & Commonality (Collaborative)
4.3 Skill Share: Lending Talent (Collaborative)
4.4 Knowledge Share: Circulating Assets (Public)
5. SCALING AND BRANDING POTENTIAL: A TRIPLE BIND
6. CONCLUSION

// CONCLUSION – Learn, Do, Imagine, Share: Towards A Collaboration Methodology
1. INTRODUCTION
1.1 Recap Cardinal Principle 1: Learning
1.2 Recap Cardinal Principle 2: Imagining
1.3 Recap Cardinal Principle 3: Doing
1.4 Recap Cardinal Principle 4: Sharing
2. ON DESIGN, AESTHETICS AND ROMANTICISM
3. OPPORTUNITIES FOR FUTURE RESEARCH

Tags: outside the box, design fiction, purposeful play, participatory storytelling, design thinking, media ethnography, new media, new commons, indie punks, share culture, networked economy, collaboration, co-creation, experiential learning, liminal threshold, activity based learning, DIY, peer production, social innovation, artistic research, digital boheme, crowdsourcing, crowdsharing, social experiences, agile management, social entrepreneurship, collaborative entrepreneurship, Gen Flux, creative entrepreneurship, media commons, labeling, digital humanities, human-centered design, storification, avant-garde