Category Archives: Events

On the move: Approaches to mobility

On the move: approaches to mobility is a short film made within the framework of the project EMIDEKS (Emotional Interaction design for knowledge sharing), developed by a transdisciplinary team of researchers from Roskilde University. On the move presents different approaches to mobility coming from the research team perspectives. The images were taken at the beginning of the project in the city of Copenhagen, trying to capture some of the mobility-related environments that unfold in this location. Each of the participants wrote a text and selected the music for each story, thus presenting their own narrative.

A showing and discussion of On the move will take place June 18th at 12-2 pm as part of the Experiences of Research seminars. You are welcome to join. For more information check out the programme: Experiences of Research – Making Knowledge Methodology Seminars 

On the move by Fernando Palacios

Fernando Palacios

Doctor in musicology, his research work focuses on music, culturally and socially contextualized. He works with creativity as the fundamental axis of his activities: musical performance, teaching and research.

https://forskning.ruc.dk/en/persons/palacios

Design Experiment: Artistic Installation

Emotional Interaction Design for Knowledge Sharing

Experience Lab Seminar May 28

As part of the Experiences of Research – Making Knowledge Methodology Seminars May 28 12-2 pm 2020 Experience Lab will host an online seminar with Christian Jacquemin (artist’s name Yukao Nagemi) about the research project Emotional Interaction Design for Knowledge Sharing (EMIDEKS), which is supported by Roskilde University’s Centre for Interdisciplinary Research and Education in Circular Economy and Sustainability and is a transdisciplinary research collaboration with researchers and practitioners from computer science, art, anthropology, communication, performance and design.

The goal of the project Emotional Interaction Design for Knowledge Sharing is to perform design experiments based on knowledge generated by social scientists from ISE and with the purpose of understanding how scientific knowledge can be disseminated in ways that touch audiences in new ways.

The project experiments with an innovative methodology for experiencing knowledge through interactive installations. The project aims at sharing scientific knowledge about migration through artistic installations evoking emotional responses from viewers and exploring the impact of these installations on audiences.

The main case study is about processes of stigmatization, discrimination, inclusion and exclusion in migration contexts and incorporates innovative content including interviews with migrants and recordings of their heart-beats during interviews. Several interviews of migrants were made by project leader, Associate Professor Eric Hahonou and Visiting Scholar Fernando Palacios to serve as a basis for scientific analysis and the design of artistic installations.

Design Experiment 

Installation by Computer Scientist / Artist

A design experiment for knowledge sharing is carried out by Christian Jacquemin, who was a computer scientist at University Paris Saclay until 2017. Jacquemin practices as an artist under the name Yukao Nagemi and continues to engage in and promote art-science collaborations.

Touching Sensors and Flickering Light

Christian Jacquemin/Yukao Nagemi: My contribution to this project started with a fine analysis of the 1 hour interview of one of the participants (C.), an African-born electrician who migrated to Denmark in his 30s as a political refugee. His interview was video-recorded together with a capture of his heartbeats.

After a careful listening to his interview and discussions with the scientific partners in the project, I have designed an artistic installation based on C.’s words with the purpose of making the audience aware of what C.’s migration and integration process represent as a personal and social experience.

The installation consists of lamps connected to sensors that flicker in the dark while unfinished sentences are pronounced at each flicker. By touching sensors, the visitors can progressively light up the lamps and listen to complete sentences about his life from Africa to Denmark.

Through this installation and the experience of it by the visitors, I hope to make visitors aware of the importance of social connection to a migrant’s integration (through the use of sensors and their possible simultaneous activation), highlight C.’s strong personal drive in life (through the use of a visible red thread connecting the lamps, and the uttering of the sentences), together with his pragmatism and adaptability (by using recycled lamps). By touching sensors made of C.’s personal objects, visitors cancel light flickering and fragmentary talk to access his story through longer sentences, unraveling some of C.’s thoughts on his personal life, a complex mixture of a foreign past, a migration process, and his current state of life.

After briefly presenting the design of the installation, the main purpose of this seminar is to have an exchange wit the participants about several open questions, some of them were raised after discussions with Eric Hahonou due to his scientific experience of artistic mediation, and his personal knowledge of C. who is also a friend of him.

  • how can we evaluate the experience of the visitors inside the installation?
  • what are my aims as a designer about user’s experience? 
    what will they perceive from my staging of C.’s interview? I wish to suggest empathy by connecting the visitors’ interaction with C.’s expression, is it relevant? will their experience and their understanding be different from mine? am I trying to “force” visitors to experience the same emotional reaction as I had by listening to his interview? what is lost and what is gained from turning an interview into an installation?
  •  how could we use C.’s heartbeat recording during the interview?
  • does it make sense to involve C. in the design of the installation? will I loose some freedom by trying to respect his own feeling about my design? similarly, what kind of bias introduce my interactions with Eric Hahonou who knows C. personally?

About Christian Jacquemin / Yukao Nagemi

Christian Jacquemin was a computer scientist at University Paris Saclay until 2017. He was a teacher in computers graphics, and a researcher in virtual and augmented reality. He also collaborated regularly with artists, and promoted the art science festival Curiositas.

In parallel to his scientific work, Jacquemin developed his own artistic work on augmented performative drawing under the artist name Yukao Nagemi. He focuses on gestural response and the link between visual and sonic rendering.  It is through the collaboration with singer, musician and composer Lola Ajima, in the audiovisual duo Lola and Yukao Meet, that he developed a unique practice where the drawing performance is closely linked to the temporal dynamics of music.  He also collaborates with dancers, composers and musicians of contemporary music.  Digital technology is an instrument for the amplification and the expressivity of the graphical gesture which interweaves manual graphic traces and generative effects.

 Yukao Nagemi’s three main graphic expression techniques are ink drawings, digital drawing performances and, recently, vector videos.

https://yukaonagemi.com

Instagram @yukao.nagemi

Lola and Yukao Meet: https://lolaandyukaomeet.com

Revised online programme: Experiences of Research

Making Knowledge Methodology Seminars

Join us online for the Experiences of Research: Making Knowledge Methodology Seminars. 

Everyone is welcome. Join via zoom at the allocated time: https://deic.zoom.us/j/3492049221

Prepare for the seminar by reading the linked text and conceiving a response. Your response may be exploratory: creative, intellectual, discursive – whatever makes your heart tick!

This is a revised online version of the seminar programme. For more background information about the seminar series see the original programme.

Date Time & Theme 
April 16



12 – 2.15
[5] Sonic advances and retreats: artistic research, leaky acoustics,
and a note on how care killed the cat
 Artistic Research / Curiosity / Sonic Strategies / Aesthetics/Ethics
EDUARDO ABRANTES		 
April 30



12 – 2.15
[2] Drifting in Research: Homo Explorens and Open Inquiry
Design Studies / Interaction Design / Designs for Learning
MADS HØBYE
 
May 14




12 – 2.15
[8] Performative Schizoid Method: Performance as Research
[9] Knowledge Catcher: On the performative agency of scholarly forms
STS / Art-based Research / Performance Studies / Working With Materials
CONNIE SVABO
 
May 28



12 – 2.15
[7]  Exploring emotional Journeys: Migrant Knowledge Giving
Emotional Interaction Design / Knowledge Sharing 
CHRISTIAN JACQUEMIN (artist name yukao nagemi)
 
June 18


12 – 2.15
Exploring emotional Journeys: Migrant Knowledge Giving
Emotional Interaction Design / Knowledge Sharing 
FERNANDO PALACIOS (EMIDEKS)		 




 



 You are welcome
Join us online for the Experiences of Research: Making Knowledge Methodology Seminars.

 
 








 

Virtual Reality, Learning and Experience Seminar

Experience Lab and Centre for Virtual Learning Technologies together have organised a seminar on Virtual Reality, Learning and Experience. 120 participants will hear 7 state of the art presentations and engage hands-and headsets- on with some amazing examples of how VR is used across education, industry, culture and research.

With the seminar, we focus on learning and experience as integral parts of any Virtual Reality- activity. The background for the seminar is that the Danish Ministry of Higher Education and Science in 2018 awarded Roskilde University a DKK 20 million extraordinary grant for developing virtual learning technologies, more specifically for exploring the use of virtual reality simulations in science education. The seminar aims to open up this research and development to a larger audience.

With the grant, Roskilde University is implementing, developing and researching VR- and 3D-simulations at the Bachelor in Natural Sciences programme within a timeframe from 2018 to 2021. Virtual Reality laboratory simulations are being integrated into undergraduate natural sciences curricula. This ties in with there being a broad political interest in creating and maintaining interest in the natural and technical sciences. Which isn’t easy:  there are substantial problems in persuading young people to choose the science, technology, engineering and math areas of education – and it is equally difficult to retain the students who actually do choose to study natural or technical sciences.

STEM promotion through VR

This attention to STEM is part of the background for the political investment in virtual technologies for learning. The idea is that innovative learning experiences can help create interest in the natural and technical sciences – and help maintain this interest. One of the ideas in marrying STEM education with new information and communication technologies is the belief that such technologies have the capacity to create stimulating learning experiences.

However, there are intriguing experience design challenges to this.

Even though VR hardware, simulations, and content applications become more and more accessible it seems that the users’ VR experience varies considerably. This is due to the varying quality of content, and it is also due to the scattered knowledge of the actual challenges of VR experience in real-world situations and in different fields of application. Designing for good virtual reality experiences involves substantial design complexity.

VR Experience Design Challenges: Embodiment, Sociality and Physical Environment

One obvious and important design issue, of course, is the design of the actual application – the content with which the user engages. This is challenging in itself. To design good content. Add on top of this all of the stuff that goes on beyond the VR headset. From an experience-design research perspective, this means for example addressing the body – what happens to the body in Virtual Reality experiences? And the social situation. What kinds of social situation do virtual reality learning experiences create? Furthermore: What role does the exterior physical infrastructure play?

And in relation to the goal and ambition of using virtual reality in higher education in designs for learning – what role does the organizational infrastructure play? Which demands does teaching through virtual reality place on professors, on students and on the institution in terms of technical setup, maintenance and support?

Transdisciplinary Approaches

With the seminar on Virtual Reality, Learning and Experience, we share and develop knowledge on these important dimensions of experience designs for learning through virtual reality.

The organizing committee consists of researchers and educators from across the natural, technical, human and social sciences – iterating transdisciplinarity – one of the founding principles of Roskilde University and the conviction that ‘no major problems are resolved on the basis of any single academic discipline alone’. It is our contention that the inclusion of multiple perspectives on the subject matter helps steer clear of too simplistic assumptions – for example about how learning emerges or about the relationship between experience and technology.

Organizing committee

Connie Svabo, Performance Design, ExperienceLab

Søren Larsen, Virtual Learning Technologies

Ates Gürsimsek, Designer, ExperienceLab

Eduardo Abrantes, Artistic Researcher, ExperienceLab

John Gallagher, Computer Science, ExperienceLab

Per Meyer Jepsen, Biology, Virtual Learning Technologies

Prajakt Pande, Learning Sciences, Virtual Learning Technologies

Sisse Siggaard Jensen, CommunicationStudies, ExperienceLab

Troels Andreasen, Computer Science, ExperienceLab

Virtual Reality, Learning and Experience Seminar

Showtime HUMTEK with the Viking Ship Museum, November 3, 2017

So many funny and inspiring ideas were shown when students from Roskilde University (RUC) presented their ideas and prototypes about interaction with installations to communicate knowledge and experience about maritime archeology and the viking age. It all took place in the Viking Ship Museum maritime archeology experimentarium in close collaboration with Troels Andresen, computer scientist and active member of Experience Lab RUC, and Mads Rosendahl, also computer scientist from the People and Technology department at the university.

A group of students highlighted a silhouette of a war ship on the ceiling of the Maritime Archeology Exhibition.

A very dramatic installation was created by a group of students who used many different senses to communicate a sense of the viking age, for instance, sound, light, music, artefacts. Below: the magic sword.

The water has risen steadily since the Stone Ages; much archeological evidence of the Stone Ages is therefore “hidden” below sea level. To gain knowledge about sunken villages the students created a prototype of an installation to show how sea level and topology have changed over the past 20.000 years.

Maritime archeology: Inauguration 28/4 2017 at the Viking Ship museum Roskilde

Experience Lab researchers, our research assistant, and students from the HUM-TEK education have been actively involved with the design and development of a new exhibition about maritime archeology at the Viking Ship museum Roskilde. Not least, Steffens and Troel’s efforts have helped to realize the exhibition.

The exhibition soon opens to the public, and the coming opening is celebrated with an invitation to participants who have been actively involved with the development:  April 28, 2017. We look forward to take part in the celebration 😉

Honorary doctoral lecture by Prof. Fabrizio Crisafulli, Sept. 21, 2015.

Fabrizio Crisafulli, Professor at the Academy of Fine Arts in Rome, is conferred doctor honoris causa at Roskilde University’s annual celebration Sept. 18th 2015. In Experience Lab we look forward to further develop our collaboration with Fabrizio Crisafulli.
***
Professor Fabrizio Crisafulli delivers his inaugural lecture on Sept. 21st at 1.00 PM in Aud. 25 (25-2.035), Roskilde University. Following the lecture, the CBIT department hosts a reception at 2:00 PM in room 42-3.29.
***
Public evening lecture by  Fabrizio Crisafulli at Roskilde Library, September 21, at 6:30 PM
Dronning Margrethes Vej 14, 4000 Roskilde.

***

Theatre of Places (abstract, doctoral lecture):

Theatre of places’ is a project centred on taking an actual site as the ‘script’ for the performance, as a starting point from which the work takes shape, as the ‘world’ (made up of people, shapes, memories, spaces, objects, noises) the theatre company takes as the initial relational context. It recognises that locations are imbued with memories and peoples’ lives, as well physical raw material, that are embraced and involved into the process. Therefore, location is considered not merely as a setting for performance, but something integral to the total experience, and a way of informing work’s constituents: body, word, movement, sound, light, technology. The collective identity of place is at the core of the work. The performance is rooted in site and the latter is transformed into a new place of visions which tries to arouse desires and projects related to the site itself. At present when physical spaces, and the relations that take place within them, have been weakened by the advent of new, immaterial forms of relations, such as the Internet and the social networks, this kind of artistic work which focuses on reality becomes more necessary, in order to search for new forms of belonging and a new balance between the real and the virtual.
Fabrizio Crisafulli will talk about his “Theatre of Places” project, which he carries on for over twenty years, describing his works with the help of pictures and films.

Organic light (abstract, public lecture):

About his way of conceiving stage lighting design, Fabrizio Crisafulli wrote: “A guideline for my theatre work is that on stage light should take on a role which is similar to that of natural light in the world. The issue isn’t imitating natural light, but rather the ability of light to become a vital substance in theatre, even in its most abstract interpretation. An essential, primary and generative element. Light could free itself from the effect-producing and illustrative role, and the layout function, prepared in the final days of rehearsals, where standard practice often relegates it, and which hardly work with theatre’s ability to echo reality. Another conviction I have, which has been reinforced with experience, concerns the need to overcome two quite common misconceptions about lighting practices in the theatre. The first is that stage lighting belongs to an eminently technical sphere, the second is that it belongs to an eminently visual sphere. I think that the fundamental qualities of light in terms of the theatre lie in its ability to mould space and time, action and dramatic construction”. Fabrizio Crisafulli will talk about these issues, describing his works with the help of pictures and films.