Using Participatory Visualization of Soundscapes to compare Designers’ and Listeners’ Experiences of Sound Designs
(2018)
author(s): Iain McGregor
published in: Journal of Sonic Studies
There are numerous rules and well-established guidelines to help designers with the visual appearance of interactive technologies. In contrast, when it comes to the use of sound, there is a paucity of practical information regarding design for euphony, excepting musical composition. This paper addresses this hiatus by describing a theoretically based, practical method for evaluating the design of the auditory components of interactive technologies and media. Specifically, the method involves eliciting the auditory experiences of users of these technologies and media and comparing them with what the sound designers had intended. The method has been comprehensively tested in trials involving 100 users (listeners), and the results have been described as “useful” and “invaluable” by a group of 10 professional sound designers.
You Don't See What I See
(last edited: 2024)
author(s): Karlijn Karthaus
This exposition is in progress and its share status is: visible to all.
Research Paper of the Royal Academy of Art, The Hague, 2024
BA Photography
Summary:
You don’t see what I see.
I don’t see what you see.
Eyes as hatches passing through reflections of the world around.
Electromagnetic radiation translated into visuals.
Interpreted by mental processes in the brain.
As a woman who used to work in the corporate world, is a mother and an aspiring photographer, I am interested in the topics of gender equality and feminism, seen as inequality based on power relations that are culturally constructed in society. Regarding these topics, I find mostly written or text-based outings. The nature of the topic results in either stereotype or cliché imagery we see in the media, that are detrimental in acquiring an equal basis for everyone. Using case studies, I analyze photographic work related to the gender inequality and power structures. The theoretical framework applied is from Nicholas Mirzoeff (British-American, 1962), Professor of Media, Culture and Communication at the New York University and is derived from his book ‘An introduction to Visual Culture’ (2023). This theory distinct ‘visualizing’ (what is commonly seen, the ruling power) and ‘visibilizing’ (introducing different perspectives as response to the ruling power). Mirzoeff elaborates on this by comparing the Spanish word for power, ‘poder’, meaning “static, constituted power” with power as ‘potencia’ which according to him has a “dynamic constituent dimension… our power to do, to be affected and to be affected by others.”. To me he connects visualization with exposing what the systemic power wants us to see, while ‘visibilizing’ is exposing the views that are not dictated by that overarching power but that have the freedom to show different perspectives and views.
For the case studies I chose ‘The Table of Power I & II’ of Dutch Photographer Jacqueline Hassink (1966-2018) analyzing economic power and role of women in the higher echelons of companies. A work consisting of board rooms photos of the forty largest industrial multinational companies at the time (1994 & 2009, Table of Power I & II respectively). In ‘Female Power Stations: Queen Bees’ (1996-1998) she reflects upon board rooms of female leadership countered against their dining tables at home, all set up to receive guests. A diptych of power (work) vs. traditional qualities (home). I continue with the work ‘Performance Review’ (2020) of American photographer Endia Beal (1985). ‘Performance Review’ is about fitting into traditional corporate culture layered with outward signifiers of difference, navigating the corporate environment based on unconscious biases.
We are part of the system, whether we like it or not. Me aiming to trigger a change with photographs is what drives me to be a maker. By not taking things as truth or fixed, by challenging the status quo, and by knowing that there are always different perspectives to look at things. I feel I am challenging the visualization of things, and therefore affect people around me. It’s me creating a ‘potencia’, a dynamic constituent dimension, that fights the ‘poder’; it’s within my power to do and my photographs will enable that.
Mapa das Emoções
(last edited: 2021)
author(s): MAAR
This exposition is in progress and its share status is: visible to all.
Nesta proposta, estamos interessadas em observar quais são as emoções convocadas no contexto da pandemia de COVID-19. Buscamos articular poéticas digitais ao campo da pesquisa (auto)biográfica de forma a criar um Mapa das Emoções numa plataforma digital para visualização artística de dados , de forma interativa, com livre acesso, em que as pessoas poderão compartilhar relatos e imagens associados a emoções específicas. Para isso, partimos das emoções que figuram na Roda das Emoções proposta pelo psicólogo Robert Plutchik (2001).