Our sense of sight is often privileged over touch in the presentation of artworks in museums and galleries. As viewers, we are given many opportunities not to touch. Our technical lecture asks questions that challenge this notion. How might foundry cast objects become more inclusive of all the senses? Could experiencing the tactile qualities of cast metals break down traditional physical boundaries between art object and viewer?
We will focus on the various methods and design challenges involved in incorporating touch sensors and equipment into cast objects. This will require an explanation of four basic components: microcontrollers, basic coding, sensor inputs, and output devices.
Sensory inputs will encompass variations in touch such as pressure and motion, while the outputs covered will include light and sound. Through this lecture, we aim to demystify the technical aspects of creating an interactive system and highlight the plethora of self-teaching resources available throughout the Internet.
The ubiquitous and pervasive nature of computing fosters intimate relationships between humans and computers as the digital objects being entangled with “non” digital objects: biological, tangible, and cultural. We present the framework of the human-magical interaction, which defines the emerging interfaces as forms of “Magic” emphasizing the seamless interaction between humans and different technological mediums. To explore the framework of Human-Magic Interaction, we re-imagine the ecology of interactive systems and present three speculative technologies that demonstrate different aspects of the framework.
Full paper will be published with HCII Springer Notes in Fall 2018.
A Mobile Curriculum | FATE
2017 Incorporating Experiences Outside the Foundations Classroom
Abstract: Through a fluke in the registration system, my first time teaching a foundations course was for an audience of one. Class critiques, group projects, and PowerPoint presentations were rendered futile. Not tethered to the traditional structures of a fully enrolled arts classroom, we were free to explore new forms. The result – our curriculum sprouted wheels. The two of us fused into out of area courses to gain new perspectives on art making, attended visiting artist talks to foster successful professional habits, and incorporated observations of the surrounding environment into unit projects.
Escaping the confines of the foundations classroom encouraged spontaneous learning, deeper engagement with the real world, and helped dissolve hierarchical barriers between student and teacher. How can these out of classroom experiences remain purposeful for larger class sizes? What steps can we take to infuse these excursions with meaning? Does intentionally bumping students into reality help ease their transition into and out of the academic world? How can we make sure that graduate student instructors feel supported and encouraged in being innovative with their instruction?