Tag Archives: Christian Jacquemin

Co-created Knowledge Sharing

The Experiences of Research – Making Knowledge Methodology Seminars explore interaction formats for knowledge sharing and collective knowledge creation.

The presentation of the two research articles Performative Schizoid Method & Knowledge Catcher, happened in the form of a co-performed, poly-phonic introduction, voiced by Mads Høbye, Eduardo Abrantes, Christian Jacquemin and Connie Svabo. The co-created knowledge sharing was based on the manuscript found below.

For an alternative reading of the manuscript, spell your way through the text while listening to Surfin’ Bird. (Thank you Eduardo!). For more researcherly enactments of birdiness, see the article on the Performative Schizoid Method.

A co-performed (schizoid?) introduction

For the discussion of the articles Performative Schizoid Method: Performance as Research & Knowledge Catcher: On the Performative Agency of Scholarly Forms. May 14th 2020, Experiences of Research, Making Knowledge Methodology Seminars – 

By Connie Svabo

As a short introduction, I would like to mention how I see these two pieces relate to our overall theme of ‘experiences of research’ and the subtitle of the seminars of methodologies of ‘making knowledge’:

The performative schizoid method works with a dimension of experiences of research – namely that of identity and whether it is possible to both do research and art; to both be a researcher and an artist.

The performative schizoid method does this by exploring sensory engagements – and processes of making, which have a kind of ‘doodling’ approach – that is, they are framed as non-goal-directed processes – processes of trying out things and playing with purposelessness, trying to let random materials and findings have a say.

The article focuses on art and research – and the identity positions of the researcher and the artist, but I find that this issue is of much broader relevance for researcher identity and knowledge making: more generally in relation to the relationship between research and practice – and how, for example, people who have a practice-background might include this practice-based knowing in their academic work. 

This is relevant for arts-perspectives, but also for designers, teachers, nurses, administrators, journalists, communication professionals etc.

With the performative schizoid method, I seek to disturb the idea that one person has one identity, one role, one way of engaging in knowledge production, and I try to develop a methodological position, from which

partial identities 

and knowledges 

can come into play 

in research.

Both of these pieces – the performative schizoid method and the knowledge catcher – relate to experiences of research in the sense that they seek to include sensory and emotional engagements in knowledge making. 

The knowledge catcher piece engages with the notion that emotionality can be given space in the making of research and in the experiencing of research. The article takes an idea from design studies which is called ‘emotionalize design’ and suggests that how researchers feel about their work might be relevant to include in assessments of quality. 

The article furthermore extends the importance of emotions into the reading situation – by providing the Knowledge Catcher as a device for creating an emotional choreography of knowledge co-creation – where it is suggested that the readers feelings may guide the reading experience: represented in the feelings of being bored, annoyed, skeptical or intrigued.

The knowledge catcher seeks to foreground the performativity and relationality of knowledge creation – wanting to connect readers and writers in collaborative performances.

Collaborative Performances 

of  Making Knowledge – exploring 

experiences of research.

Photos from our visit to the research lab “Limsi”, Paris

Christian Jacquemin is one of the researchers working at Le Limsi. He arranged our visit to Limsi and set up everything for us to see and experience the cutting-edge Limsi Lab. Christian is working together with Experience Lab and we look forward to his visit to ExLab by the turn of 2012/2013.

Limsi (Laboratoire d’Informatique pour la Mécanique et les Sciences de l’Ingénieur) is a research laboratory with a personnel of 120 permanent researchers and 60 ph.d students. The Lab covers  a wide disciplinary spectrum and research themes: from thermodynamics to cognition, encompassing fluid mechanics, energetics, acoustics and voice synthesis, spoken language and text processing, vision, virtual reality…

We visited the team working with Augmented and Virtual Reality and Audio Interfaces. Three research projects are undertaken 1) The NAVIG project: This project aims at providing an augmented audio rendering to blind people to help them in their daily life but without preventing them from perceiving their normal audio environment. 2) The SMART-I² is a spatialized audio-visual rendering system of high-quality. This project aims at increasing  intelligibility and immersion sensation in audio-visual interfaces for virtual reality and 3) Audio-visual Renderings for Multimedia Navigation: This axe is looking for ways to increase big database exploration interfaces by adding them 3D sound and by transposing to them metaphors coming from the visualization field.

A 3D holographic audio lab.

A studio aimed at 3D audio and sound design and studies is located In one of the corners of the huge laboratory with a virtual reality space at the centre. Brian Katz is one of the researchers affiliated with this studio and he joined us on our tour around the Lab.

Marc Rébillat showed us around the virtual reality lab.

Marc showed us and he explained the construction of the many facilities of the Lab. In the virtual reality space, he introduced a virtual and visual installation to teach students about relativity theory by showing and experiencing the changes that time and space undergo when traveling by the speed of light.

Relativity theory installation.


Virtual humans and emotions.

With a board game we played against a humanoid avatar with feelings – or at least so it seemed. Whenever the avatar was successful his expression gradually changed to show happiness and success awareness and, of course, also the sadness and acidity when the human player appeared successful. Matthieu is the post.doc who introduced his work with this integration of an emotional model and the humanoid avatar.

Finally, in the virtual reality space I sensed what it is like when huge humanoid avatars stare at you wherever you go. It was a scary sensation.

Thanks to Christian, Marc, Michelle, Brian, and Matthieu for a great experience.