https://dylanyamadarice.com Dylan Yamada-Rice Wed, 08 Jul 2026 09:37:48 +0000 https://dylanyamadarice.com en https://dylanyamadarice.com/Featured-Work Wed, 13 May 2020 20:40:10 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/Featured-Work STORYTELLING &amp; GRAPHIC NARRATIVES I specialise in narratives and storytelling. Most commonly in relation to children’s media, such as digital games, toys and TV shows. To do so I conduct research that crosses academia and the kids media industry. Often using a combination of methods from social sciences combined with those from art and design. I also use graphic narratives to analyse data, think through drawing and tell stories. <img width="800" height="736" width_o="800" height_o="736" data-src="https://freight.cargo.site/t/original/i/1552387fa3a714ada6bc58bcc2dbf51a0fc71fdaaf6d2396d4b737ffbc1a2d92/otherworlds-double-spread-copy.jpg" data-mid="75754087" border="0" src="https://freight.cargo.site/w/800/i/1552387fa3a714ada6bc58bcc2dbf51a0fc71fdaaf6d2396d4b737ffbc1a2d92/otherworlds-double-spread-copy.jpg" />CO-PRODUCTION RESEARCH ZINE<img width="675" height="900" width_o="675" height_o="900" data-src="https://freight.cargo.site/t/original/i/b452a0a875e2b561d36bb1902b080a65dc46b7346cc5369a5e6059f5d78a102f/E5snipNXIAQlKqN.jpeg" data-mid="113935979" border="0" src="https://freight.cargo.site/w/675/i/b452a0a875e2b561d36bb1902b080a65dc46b7346cc5369a5e6059f5d78a102f/E5snipNXIAQlKqN.jpeg" />Image by Richard Nash 2020-2021 This knowlege exchange project involved members of the UK-Japan Location-Based VR for Children Network working with artists’ book and zine practitioner Richard Nash to explore ways in which his expertise could be used for secondary analysis of the project data to generate new knowledge. The final creation of the zine was framed as a structured co-production methodology that was undertaken in three stages.&nbsp; Read more I SPY SENSORS <img width="916" height="718" width_o="916" height_o="718" data-src="https://freight.cargo.site/t/original/i/7e52c7165f18b489c879406c616b04fb04277f422d6a796043cad0d5e4df3258/Screenshot-2021-07-15-at-20.56.18.png" data-mid="113936216" border="0" src="https://freight.cargo.site/w/916/i/7e52c7165f18b489c879406c616b04fb04277f422d6a796043cad0d5e4df3258/Screenshot-2021-07-15-at-20.56.18.png" /> Image by Julliette Coquet 2021 This project aims to give children better control over how they are observed by digital sensors and in doing so addresses the core concerns of the HDI network around ‘surveillance and resistance’ by actively addressing issues of privacy and control arising from the increased use of sensors in digital devices to collect user data. It aims to inform and empower the users of devices, specifically children aged 8-12, by co-designing tools to understand, resist, and subvert the sensors embedded in common digital devices and smart objects. The tools will provide children with agency over how their lives are presented through data, and how this is used to inform a range of products aimed at making money from them. Read more&nbsp; MOON &amp; ME <img width="759" height="627" width_o="759" height_o="627" data-src="https://freight.cargo.site/t/original/i/94ff679db1de6382a1487662c45f06b171ec90c131a7b0eb230a7089a11164f7/1800.jpg" data-mid="71294148" border="0" src="https://freight.cargo.site/w/759/i/94ff679db1de6382a1487662c45f06b171ec90c131a7b0eb230a7089a11164f7/1800.jpg" /> 2014-2019 I worked as a researcher and advisor for the hit TV show Moon and Me. It is an example of the importance of research to good design.&nbsp; Read more&nbsp; <img width="2776" height="1976" width_o="2776" height_o="1976" data-src="https://freight.cargo.site/t/original/i/e64380664055f751a477050363b8af90dc5db77762b1da999a1add10ecd1f118/Scan-3-May-2020-4.png" data-mid="70907673" border="0" src="https://freight.cargo.site/w/1000/i/e64380664055f751a477050363b8af90dc5db77762b1da999a1add10ecd1f118/Scan-3-May-2020-4.png" />VR Other Worlds (2020) FIND OUT ABOUT MY RESEARCH &amp; GRAPHIC NARRATIVES https://dylanyamadarice.com/About-Me Wed, 13 May 2020 20:40:11 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/About-Me RESEARCH &amp; DESIGN FOR PLAY &amp; STORIESProfessor of Immersive Storytelling and Experience Design, I am a researcher and artist specialising in play and storytelling for children. Having a doctorate in Education and MA degrees in Research Methods, Early Childhood Education and Japanese Semiotics my work crosses academia and industry. I am the Co-Founder of a storytelling consultancy and studio called X||dinary Stories.&nbsp;My research sits at the intersection of experimental design and social sciences, focusing on digital storytelling, games and play on a range of platforms such as apps, augmented and virtual reality, as well as new content for television, all with an emphasis on media for children. As an artist I use drawing, emerging technologies and game engines to explore experimental visual and multimodal methods as part of the research process. In this way I take an Information Experience Design approach to including participants in the research process, also to connect data findings [the information] to design and production [the experience]. <img width="2776" height="1976" width_o="2776" height_o="1976" data-src="https://freight.cargo.site/t/original/i/e64380664055f751a477050363b8af90dc5db77762b1da999a1add10ecd1f118/Scan-3-May-2020-4.png" data-mid="71326035" border="0" src="https://freight.cargo.site/w/1000/i/e64380664055f751a477050363b8af90dc5db77762b1da999a1add10ecd1f118/Scan-3-May-2020-4.png" /> <img width="1400" height="989" width_o="1400" height_o="989" data-src="https://freight.cargo.site/t/original/i/50cbbe0f049b4d64d75067bc82bbb483120595ac747e2e23b8dd2eb713482c23/1_pHZwBO6D2cyFcRT5wZup4A.jpeg" data-mid="71327788" border="0" src="https://freight.cargo.site/w/1000/i/50cbbe0f049b4d64d75067bc82bbb483120595ac747e2e23b8dd2eb713482c23/1_pHZwBO6D2cyFcRT5wZup4A.jpeg" /><img width="2064" height="2992" width_o="2064" height_o="2992" data-src="https://freight.cargo.site/t/original/i/238ae4879c591a2105e2284d8a6bd4036ed7e80d2b1807cef6e38bb79f72d459/Scan-17-May-2020.jpg" data-mid="71329298" border="0" src="https://freight.cargo.site/w/1000/i/238ae4879c591a2105e2284d8a6bd4036ed7e80d2b1807cef6e38bb79f72d459/Scan-17-May-2020.jpg" /><img width="1704" height="2472" width_o="1704" height_o="2472" data-src="https://freight.cargo.site/t/original/i/f85d328a88639ba525f2add176a8c63133bedc99c571eca5146c06eb8f204195/Scan-17-May-2020-3.jpg" data-mid="71329292" border="0" src="https://freight.cargo.site/w/1000/i/f85d328a88639ba525f2add176a8c63133bedc99c571eca5146c06eb8f204195/Scan-17-May-2020-3.jpg" /> Funding2023 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Digital Voices of the Future: Children’s Visions of Future UK Treescapes Revealed Through Gaming. NERC, £100K ESRC, £50K.Co-Investigator. (PI) Simon Carr, University of Cumbria (Co-Is) Mersey Forest, MMU. 2023 &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Exploring Children’s Attitudes Towards Notions of Digital Good/Bad through Hybrid Arts Practice. ESRC, £50K. Principal-Investigator. (Co-Is) RCA, GSA, UCL and X||dinary Stories. 2023 &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Rear Window for Brick Moon Virtual Theatre. Arts Council of Northern Ireland, £10K. &nbsp; Principal Investigator with Eleanor Dare, X||dinary Stories in collaboration with Big Telly. 2023 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Communication Design in the Context of Child Health. Impact Accelerator Funding, University of Sheffield, £16K. &nbsp;&nbsp; Co-Investigator. (PI) Jill Thompson, University of Sheffield (Co-I) LEGO. 2022&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Trials with MRI Playkit, TiTCH Network and University of Sheffield, £30K. Co-Investigator. (PI) Jill Thompson, University of Sheffield, Sheffield Children’s NHS Trust. 2022-2023 &nbsp; &nbsp;&nbsp;&nbsp;Future of Broadcast Media for 7-11-Year-olds, AHRC via XR Stories, £24K. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Principal-Investigator with Eleanor Dare X||dinary Stories. Read more here.&nbsp; <img width="1440" height="1479" width_o="1440" height_o="1479" data-src="https://freight.cargo.site/t/original/i/f40706c1338607bfbf2cb528137c135fed89f6b51639b9fd0b0ef5cc1ca6cae1/6054C027-6324-441C-9CE1-9FCFE74C73BA.JPG" data-mid="185056245" border="0" src="https://freight.cargo.site/w/1000/i/f40706c1338607bfbf2cb528137c135fed89f6b51639b9fd0b0ef5cc1ca6cae1/6054C027-6324-441C-9CE1-9FCFE74C73BA.JPG" /> 2019-2023 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;Promoting Disaster Resilience in Children: Developing a Network to Research Culturally Appropriate, Sustainable Public Health Interventions in Fiji and Samoa. GCRF, £25K.&nbsp;&nbsp;&nbsp;&nbsp; Co-Investigator. (PI) Jill Thompson, University of Sheffield, Universities of Fiji, Samoa and Auckland (Delayed by COVID). Read more here. <img width="2727" height="3779" width_o="2727" height_o="3779" data-src="https://freight.cargo.site/t/original/i/d918833409acb390602d027cbd120363af6ebe138e828fd8f200cfaeb312774c/IMG-4908.jpg" data-mid="185056309" border="0" src="https://freight.cargo.site/w/1000/i/d918833409acb390602d027cbd120363af6ebe138e828fd8f200cfaeb312774c/IMG-4908.jpg" /> 2019-2021 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; VR and Mixed-Realities Play Kit to Prepare Under 10s for an MRI. Innovate UK. £388K (including additional COVID-19 support) Principal Investigator. (Co-I) University of Sheffield, GSA, Sheffield Children’s Hospital NHS Trust. Read more here. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/053905af768a6ee8903ad9604b3e9156f63bec72171fad55a7a2fc1079514b50/IMG-4871.jpg" data-mid="185056352" border="0" src="https://freight.cargo.site/w/1000/i/053905af768a6ee8903ad9604b3e9156f63bec72171fad55a7a2fc1079514b50/IMG-4871.jpg" /> 2021 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Counter measures: Giving Children better control over how they're observed by digital sensors. EPSRC, £50K.&nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Co-Investigator. (PI) Angus Main, Royal College of Art. (Co-I) UCL. Read more here. <img width="2048" height="941" width_o="2048" height_o="941" data-src="https://freight.cargo.site/t/original/i/4c3335335914116079dc4c5bf8ec066918d64396f4025518acd536a15c188963/E6VQRpCWYAENu3q.jpeg" data-mid="185056609" border="0" src="https://freight.cargo.site/w/1000/i/4c3335335914116079dc4c5bf8ec066918d64396f4025518acd536a15c188963/E6VQRpCWYAENu3q.jpeg" /> 2019-2020 &nbsp; &nbsp; &nbsp; Location-Based Virtual Reality Experiences for Children: Japan-UK Knowledge Exchange Network.&nbsp;ESRC/AHRC, £50K. Principal Investigator. (Co-I) RCA, GSA, UCL, Hashilus, Japan, University of Tokyo, WEARVR. Read more here. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/0e1af07ae2674e23644c15e8f4d47983b7c8f947df16e0bb6d097882b758ed60/IMG_6311.jpeg" data-mid="185056739" border="0" src="https://freight.cargo.site/w/1000/i/0e1af07ae2674e23644c15e8f4d47983b7c8f947df16e0bb6d097882b758ed60/IMG_6311.jpeg" /> 2016-2018 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;The Potential Role of FabLabs and Maker Spaces in the Lives of Children. RISE, Marie Sklowska Curie Action, €531K. Co-Investigator. (PI) Jackie Marsh, University of Sheffield. Read more here. 2016-2018 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;VR and Children: Emerging Possibilities and Challenges. Commercially funded, £45K. Principal Investigator. Read more here.&nbsp; 2016 &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Investigating the Design and Use of a New Smart-Toy in Relation to Children’s Play. COST (European Cooperation in Science and Technology), €2484.&nbsp; Principal Investigator. (Co-I) Vai Kai Ltd, Berlin. Read more here. <img width="1300" height="1283" width_o="1300" height_o="1283" data-src="https://freight.cargo.site/t/original/i/5264ec6ddce6fbf9c76fa3c1156df871acf1da11fda57e05a5a1732e079779f0/screen-shot-2018-03-25-at-22-17-12.png" data-mid="185056707" border="0" src="https://freight.cargo.site/w/1000/i/5264ec6ddce6fbf9c76fa3c1156df871acf1da11fda57e05a5a1732e079779f0/screen-shot-2018-03-25-at-22-17-12.png" /> 2015 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Play and Creativity in Preschoolers use of Apps. ESRC, £54k. Co-Investigator. (PI) Jackie Marsh, University of Sheffield, Cbeebies, University of Edinburgh, Foundling Bird, Dubit, Monteany Primary School. Read more here.&nbsp; 2014 &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Developing Videogames &amp; Play for Hospitalised children. AHRC, £30K. Co-investigator. (PI) Wood, University of Sheffield. (Co-Is) Birmingham and Sheffield NHS Trusts, Stripey Designs and Distinctive Games. Read more here. <img width="1420" height="940" width_o="1420" height_o="940" data-src="https://freight.cargo.site/t/original/i/c18630f36480caf90274c40c2c5717e6dd5199d409f2129c56934623df667975/ahrc-may0814_22.png" data-mid="185056417" border="0" src="https://freight.cargo.site/w/1000/i/c18630f36480caf90274c40c2c5717e6dd5199d409f2129c56934623df667975/ahrc-may0814_22.png" /> Recent Conference&nbsp; Presentations &amp; Talks Yamada-Rice, D., Nash R., Dare, E.,Love, S., Main, A. &amp; Potter, J. (2025) What is a Digital Good Society and how do we get there: Exploring Children’s AttitudesTowards Digital Good and Bad through Hybrid Arts Practices. xmas25 cross media arts 2025, Lisbon Fine Arts Faculty (16-18/06/25).Yamada-Rice, D. (2025) Children Attitudes Towards Notions of Digital Good Bad.&nbsp;&nbsp;Webinar Series: Digital Good in Progress, Online, (21/5/25).&nbsp;Yamada-Rice, D. &amp; Lundtofte, T. E. (2025) What Kind of Digital Society Do We Want to Live In?&nbsp;Panel presentation and discussion as part of Thomas’ visiting scholarship, University of Plymouth (1/5/25). Yamada-Rice, D. &amp; Potter, J. (2025) Exploring Children’s Attitudes Towards Notions of Digital Good/Bad.6th International Conference on Machine Learning and Human-Computer Interaction, Meiji University Ikuta Campus, Kawasaki, Japan (6/3/25).Yamada-Rice, D. (2024) Immersive Storytelling. AATE/ALEA National Conference 2024, Adelaide. Invited Presenter (10-13/7/24). Dare, E. &amp; Yamada-Rice, D. (2024)&nbsp;Accidents, games and jokes : engaging [critically] with emerging and older technologies for entangled storytelling/playing.Entangled Futures, University of Cambridge, St John's College (7/6/24). Yamada-Rice, D. (2024)&nbsp;Participatory Research with Marginalised Communities: Ethics, Design and Co-Production. Webinar for the ESRC Digital Good Network (3/6/24). Yamada-Rice, D. (2024)&nbsp;Including Children in Research.University of Southern Denmark (29/5/24). Yamada-Rice, D., Thompson, J., Murray, L.,Thompson, S.and Taylor, M. (2024)&nbsp;Development and introduction of a mixed realities playkit: decreasing the incidence of general anaesthesia for paediatric MRI.&nbsp;APAGBI (Association of Paediatric Anaesthetists of Great Britain and Ireland) conference, Newcastle (20-21/5/24). Yamada-Rice, D. (2024)&nbsp;Creating Cultural Probes to Include Children in the Design of Health Interventions.Do Well, MMU (13/3/24)Yamada-Rice, D. &amp; Picinni, A. (2024) Bodies &amp; Machines.Bite sized talk&nbsp; to accompany the show ‘Resonating Bodies’ by Karen Abadie and Laura Rosser, Roland Levinsky Gallery, University of Plymouth, (7/2/24). Yamada-Rice, D. &amp; Potter, J. (2024)&nbsp;Kids Notions of Digital Good Bad. Digital Good Network - January Showcase 2024, The Wave, University of Sheffield (18- 19/1/24) Yamada-Rice, D. (2023) Evolve-it. Plymouth Undokai, University of Plymouth (24/11/23). Yamada-Rice, D. &amp; Dare, E. (2023) The Future of Broadcast Media according to Kids.International Conference on Technology, Innovation, Entrepreneaurship and Education (EAI) Conference Magdalene College, University of Cambridge.&nbsp; Yamada-Rice, D. &amp; Dare, E. (2023) The Future of Broadcast Media according to Kids. Children’s Media Conference 2023. Recorded talk disseminated online. Dare, E. &amp; Yamada-Rice, D. (2023) The Future of Broadcast Media according to Kid. The Future is Northern, The Studio, Leeds (28/3/23). Yamada-Rice, D. (2023) Storytelling in a Digital Age: how immersive entertainment can support childhood development. Invited talk for NESTA. (23/02/23).Yamada-Rice, D. (2023) A visionary look at how the metaverse could change research and insights practices in the near future.Insights from the Metaverse 2023, Market Research Society. (20/01/23). &nbsp; <img width="300" height="299" width_o="300" height_o="299" data-src="https://freight.cargo.site/t/original/i/21eddf956cea42fb8413592eff4fb8cc842b1bde6c461bef3837b053423e19c6/dylan_crop.width-300.jpg" data-mid="70911543" border="0" src="https://freight.cargo.site/w/300/i/21eddf956cea42fb8413592eff4fb8cc842b1bde6c461bef3837b053423e19c6/dylan_crop.width-300.jpg" /> On this site you can find details of my RESEARCH &amp; GRAPHIC NARRATIVES with links to related publications, reports, stories and games/&nbsp; There is also a BLOG which documents work and ideas as they are in progress interlinked with details of finished publications.&nbsp; <img width="580" height="585" width_o="580" height_o="585" data-src="https://freight.cargo.site/t/original/i/680481db52052c27a50de1f607b86ad677f61fa9e7a1bf82c106eedd2e2e3735/yonkome.original.2e16d0ba.fill-829x585.jpg" data-mid="105342447" border="0" src="https://freight.cargo.site/w/580/i/680481db52052c27a50de1f607b86ad677f61fa9e7a1bf82c106eedd2e2e3735/yonkome.original.2e16d0ba.fill-829x585.jpg" /> <img width="829" height="585" width_o="829" height_o="585" data-src="https://freight.cargo.site/t/original/i/5d969d6a24d7158e94e52569a2acee92c2d38ab0e350c846d63807bfad040631/comics_1.original.2e16d0ba.fill-829x585.jpg" data-mid="105342508" border="0" src="https://freight.cargo.site/w/829/i/5d969d6a24d7158e94e52569a2acee92c2d38ab0e350c846d63807bfad040631/comics_1.original.2e16d0ba.fill-829x585.jpg" /> Publications Yamada-Rice, D. (2026)Controlling the Art School: Ideologies of Materials and a Speculative Vision for Hybrid Arts Education. Arts, Vol. 15(4). Open access and available here. Yamada-Rice, D. &amp; Dare, E. (2025) Digital Eco Pedagogies: Producing videogames with children for playing and telling stories about future landscapes with trees. Global Studies of Childhood. Published online first 31/07/25. Yamada-Rice, D. (2025) Socially Distanced Games and Play to Engage Research Participants Remotely. In: Remote Sensing 2: Prompts, Papers and Participatory Practices from the 2022 Symposium. Available online at: &lt;UAL Research Online&gt;. Yamada-Rice, D., Dare, E., Love, S., Main, A., Nash, R. &amp; Potter, J. (2024) Exploring Children’s Attitudes towards Digital Good/Bad through hybrid arts practices. Published online at:&nbsp; &lt;https://digitalgood.net/&gt; Yamada-Rice, D. &amp; Dare, E. (2024)‘In the Future We Will Make Our Own Superheroes’: Reflections on the Future of Broadcast for Children Aged 7–11. In: Crawford, D., Foss, J., Lambert, N., Reed, M. &amp; Kriebel, J. (eds)Technology, Innovation, Entrepreneurship and Education. Springer. Scott, F., Parry, B., Marsh, J., Lahmar, J., Nutbrown, B.,&nbsp; Scholey, E., Baldi, P., Law, L., &amp; Yamada-Rice, D. (2023) Addressing the ‘whys’ of UK children’s YouTube use: a purposes approach. Journal Social Media and Society. Thompson, J., Yamada-Rice, D., Thompson, S., Murray, L. and Taylor, M. (2023) Development and introduction of a mixed realities playkit: decreasing the incidence of general anaesthesia for paediatric MRI. British Medical Journal, Early Innovation Report. Online first (09/11/23). doi:10.1136/ bmjinnov-2023-001083. Yamada-Rice, D. et al (2023) The Importance of Multimodal Play and Storytelling to a Mixed Realities Playkit for Preparing 4 to 10-year-olds for an MRI scan. Multimodality &amp; Society, Volume 3, Issue 2.&nbsp; Dare, E. &amp; Yamada-Rice, D. (2023) Queer Psycho and the HE Circus: Applying Queering, Magic and More-than-Human Theories to Immersive Visual Story Worlds as an Antidote to Late Capitalism. Presence, MIT. Yamada-Rice, D. &amp; Dare, E. (2023) The Future of Broadcast Media According to Kids: Final Project Report. Available online.&nbsp; <img width="839" height="1187" width_o="839" height_o="1187" data-src="https://freight.cargo.site/t/original/i/87eabf563ec6c7b78a0bc9fdff3e4e89401beaaff50dd60c4e6d985aad0154ca/Screenshot-2023-07-14-at-14.42.58.png" data-mid="185057001" border="0" src="https://freight.cargo.site/w/839/i/87eabf563ec6c7b78a0bc9fdff3e4e89401beaaff50dd60c4e6d985aad0154ca/Screenshot-2023-07-14-at-14.42.58.png" /> Main, A. &amp; Yamada-Rice, D. (2022) Evading Big Brother: using visual methods to understand children’s perception of sensors and interest in subverting digital surveillance. Visual Communication, Vol.20(3). Yamada-Rice, D., Thompson, J., Love, S., Thompson, S. &amp; McQuillian,H. (2022) Mixed Realities Playkit to Prepare Children for an MRI Scan: Findings for health, families and industry. Available online at: &lt;http://dubit.us/mri&gt;. Fass, J., Yamada-Rice, D., Shelley, J. , Lewis, M. &amp; Pappas, G. (2022). Information is Ugly.&nbsp;Visual Communication, Vol.20(3). Editorial. Main, A.&nbsp; Grierson, M., Yamada-Rice, D. &amp; Murr, J. (2022) Augmenting Personal Creativity with Artificial Intelligence.C&amp;C '22: Creativity and Cognition, June 2022 p.462-465. https://doi.org/10.1145/3527927.3531205. Published online at ACM Digital Library. Dare, E. &amp; Yamada-Rice, D. (2022) Reading the Cards: Critical Chatbots, Tarot and Drawing as an Epistemological Repositioning to Defend Against the Neoliberal Structures of Art Education. In: Filimowicz, M. (ed) Systematic Bias: Algorithms and Society. London: Routledge&nbsp; Nash, R., Yamada-Rice, D., Dare, E., Love, S., Main, A., Potter, D., Rodrigues, D. (2021) Using a collaborative zine to co-produce knowledge about location-based virtual reality experiences. Qualitative Research Journal, Vol.21(2). Yamada-Rice, D. (2021) Children’s interactive storytelling in Virtual Reality, Multimodality &amp; Society, Vol.1(1), p.48-67. Ikon, E., Wee, C., Dare, E., Lewis, M., Biderman, K.,&nbsp; Gordon, L., Pochodzaj, J., and Yamada-Rice, D,&nbsp;'Exercises in Exorcism, Ways of Healing (through) Art Education'. In:&nbsp;Baier, W., Canepa, E., Golemis, H. (eds) (2021) Capitalism's Deadly Threat: transform!&nbsp; London: Merlin Press. Yamada-Rice, D., Dare, E. Main, A., Potter, J., Ando, A. Miyoshi, K., Narumi, T., Beshani, S., Clark, A., Duszenko, I. Love, S., Nash, R., Rodrigues, D., and Stearman, N. (2020) Location-Based Virtual Reality Experiences for Children: Japan-UK Knowledge Exchange Network: Final Project Report. Available online at: &lt;https://ukjapanvr.wordpress.com/2020/06/13/nalprojectreport/&gt; <img width="976" height="1368" width_o="976" height_o="1368" data-src="https://freight.cargo.site/t/original/i/f9c2847fda8ccc793cc14b799d9aa1fe85d9f9e2efd88733e5dd33dc4ba6b802/Screenshot-2020-06-24-at-09.24.54.png" data-mid="185056813" border="0" src="https://freight.cargo.site/w/976/i/f9c2847fda8ccc793cc14b799d9aa1fe85d9f9e2efd88733e5dd33dc4ba6b802/Screenshot-2020-06-24-at-09.24.54.png" /> Yamada-Rice, D. &amp; Love, S. (2019) Designing tech for health: Developing a mixed reality playkit to help children who need an MRI Scan. RIAS Quarterly, Vol.38, p.57. Yamada-Rice, D. (2019) Including Children in the Design of the Internet of Toys: In Mascheroni, G. &amp; Holloway, D. (Eds) The Internet of Toys: Practices, Affordances and the Political Economy of Children’s Smart play. Yamada-Rice, D., Rodrigues, D. &amp; Zubrycka, J. (2019) Makerspaces and Virtual Reality, Chapter 5. In: Blum-Ross, A., Kumpulainen, K. &amp; Marsh, J.(eds) Enhancing digital Literacy and Creativity: Makerspaces in the Early Years. Routledge. Yamada-Rice, D. (2018) Licking planets and Stomping on Buildings: children’s interactions with curated spaces in Virtual Reality. Children's Geographies, Vol.16(5). Yamada-Rice, D. and Marsh, J., (2018) Using Augmented and virtual Reality in the Early Childhood Curriculum. Printed Publication available online at: &lt;http://digilitey.eu/wpcontent/uploads/2018/06/DigiLitEY-Policy-VR.pdf &gt; Marsh, J. A., Plowman, L., Bishop, J, Lahmar, J and Scott, F, Yamada-Rice, D. (2018), Play and creativity in young children’s use of apps. British Journal of Educational&nbsp;Technology, Vol.49(4). Yamada-Rice, D. (2018) Designing Play: young children’s play and communication practices in relation to designers’ intentions for their toy. Global Studies of Childhood, Vol.8(1), p. 5-22. Yamada-Rice, D. (2017) Designing Play for Dark Times. Contemporary Issues in Early Childhood, Vol.18(2), p.196-212. Yamada-Rice, D. (2017) Using visual and digital research methods to capture young children’s interaction with and comprehension of images. In: Christensen, P. and James, A. (2017) Research with Children: Perspectives and practice, 3rd Edition, Routledge. Yamada-Rice, D. (2017) Designing connected play: Perspectives from combining industry and academic know-how. In: Chaudron S., Di Gioia R., Gemo M., Holloway D., Marsh J., Mascheroni G., Peter J., Yamada-Rice D. Kaleidoscope on the Internet of Toys - Safety, security,privacy and societal insights, EUR 28397 EN, doi:10.2788/05383Yamada-Rice, D., Mushtaq, F., Woodgate, A., Bosmans, D, Douthwaite, A, Douthwaite, I, Harris, W,&nbsp;Holt, R,&nbsp;Kleeman, D,&nbsp;Marsh, J,&nbsp;Milovidov, E,&nbsp;Mon Williams, M,&nbsp;Parry, B,&nbsp;Riddler, A,&nbsp;Robinson, P,&nbsp;Rodrigues, D,&nbsp;Thompson, S&nbsp;and&nbsp;Whitley, S,&nbsp;(2017), Children and Virtual Reality: Emerging Possibilities and Challenges. Available online at http://childrenvr.org. Yamada-Rice, D. &amp; Marsh, J. (2017) Working Together on Young Children’s Digital and Media Practices: Fostering Academic and Industry Partnerships. Published online and available for download here. Marsh, J., Plowman, L., Yamada-Rice, D., Bishop, J. &amp; Scott, F., (2016) Digital play: a new classication, Early Years an International Research Journal, Vol. 36(3). p. 242-253. Marsh, J. and Yamada-Rice, D. (2016) Bringing Pudsey to Life: Young Children’s Use of Augmented Reality Apps. In: Kucirkova, N. and Falloon, G. (eds) Apps, Technology and Younger Learners. Routledge. Nutbrown, C., Clough, P., Levy, R. Little, S., Yamada-Rice, D. Bishop, J., Lamb, T., (2016) Families’ roles in children’s literacy, Journal of Early Childhood Literacy, Vol.15(35). Marsh, J., Plowman, L., Yamada-Rice, D., Bishop, J.C., Lahmar, J., Scott, F., Davenport, A., Davis, S., French, K., Piras, M., Thornhill, S., Robinson, P. and Winter, P. (2015) Exploring Play and Creativity in Pre-Schoolers’ Use of Apps: Final Project Report.&nbsp;Available at: &lt;www.techandplay.org&gt;. <img width="596" height="842" width_o="596" height_o="842" data-src="https://freight.cargo.site/t/original/i/fcd6ce282c8c2be2b1fdabf18ef5d1824bde3481013a90ec61234f0f9bc721f4/TAP_Policy_Report_Page_1.png" data-mid="185056464" border="0" src="https://freight.cargo.site/w/596/i/fcd6ce282c8c2be2b1fdabf18ef5d1824bde3481013a90ec61234f0f9bc721f4/TAP_Policy_Report_Page_1.png" /> Yamada-Rice, D. (2015) Semiotic Landscapes: Cultural affordances of texts in and of Japanese landscapes. In: Pahl, K. &amp; Rowsell, J. (eds) (2015) Routledge Handbook of Literacy Studies. Routledge. Yamada-Rice, D. &amp; Stirling, E. (2015) (eds) Visual Methods with Children and Young People. Academics and Visual Industry in Dialogue. London: Palgrave. Stirling, E, Yamada-Rice, D with Walker, K. (2015) Introduction. IN:&nbsp;Yamada-Rice, D. &amp; Stirling, E. (2015) (eds) Visual Methods with Children and Young People. Academics and Visual Industry in Dialogue. London: Palgrave. Chapter 1, p.1-13. Hackett, A. &amp; Yamada-Rice, D. (2015) Producing Visual Records of Movement: Making Meaning of Young Children’s Interactions with Place. IN:&nbsp;Yamada-Rice, D. &amp; Stirling, E. (2015) (eds) Visual Methods with Children and Young People. Academics and Visual Industry in Dialogue. London: Palgrave. Chapter 3. p. 29-49. Yamada-Rice, D. (2015) Visual Industry Perspectives on Production and Meaning Making: in dialogue with Jo Peel (Artist), Andrew Davenport (Foundling BirdLtd),Wendy Harris (Tutti Frutti), and Matt Burtonwood (Toy Designer). IN: Yamada-Rice, D. &amp; Stirling, E. (2015) (eds) Visual Methods with Children and Young People. Academics and Visual Industry in Dialogue. London: Palgrave. Chapter 5 , p.73-85. Yamada-Rice, D., Procter, L., Stirling, E. &amp; Almansour M. (2015) Review: Margolis &amp; Pauwels (eds) (2011). The Sage Handbook of Visual Research Methods, Visual Communication, Vol.14(2). Yamada-Rice, D. (2014) The Semiotic Landscape and Three-Year-Olds’ EmergingUnderstanding of Multimodal Communication Practices, Journal of Early Childhood Research, Vol.12(2), p. 154-184. Yamada-Rice, D. (2014) Using Multimodal Social Semiotic Theory and Visual Methods to Consider Young Children’s Interaction with and Comprehension of Images. SAGE Research Methods Cases Collection. Hackett, A. &amp; Yamada-Rice, D. (2014) Special Issue on New Directions in Research on Emergent Literacy. Early Education Journal, Vol. 74.&nbsp; Levy, R., Yamada-Rice, D. and Marsh, J. (2013) Digital literacies in the primary classroom. In: Hall, K., Cremin, T., Comber, B. and Moll, L. (eds) (2013) International Handbook of Research in Children's Literacy, Learning and Culture. Wiley-Blackwell. Yamada-Rice, D. (2011) New Media, evolving multimoda literacy practices and the potential impact of increased use of the visual mode in the urban environment on young children’s learning. Literacy, Vol.45(1), p.32-43. Yamada-Rice, D. (2011) A Comparative Study of Visuals in the Urban Landscapes of Tokyo and London, Visual Communication, Vol.10(2) p.175-186. Yamada-Rice, D. (2011) The Benefits of Sign Language in the International Preschool Curriculum. In: Murphy, E. (ed) (2011) Welcoming Linguistic Diversity in Early Childhood Classrooms. Multilingual Matters. p.112-124. Yamada-Rice, D. (2010) Beyond words: An enquiry into children’s home visual communication practices. Journal of Early Childhood Literacy, Vol.10(3), p.341–363. https://dylanyamadarice.com/Research-Graphic-Narratives Wed, 13 May 2020 20:40:11 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/Research-Graphic-Narratives RESEARCH &amp; GRAPHIC NARRATIVES https://dylanyamadarice.com/Blog Wed, 13 May 2020 20:40:12 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/Blog BLOG &amp; PUBLICATIONS&nbsp; Alongside undertaking research I also write about play, digital games and experimental research methods that combine art and design practices. I publish reports for industry, peer-reviewed journal articles, book chapters and blog posts.2026Controlling the Art School: Ideologies of Materials and a Speculative Vision for Hybrid Arts Education.April 2026 Yamada-Rice, D. (2026)Controlling the Art School: Ideologies of Materials and a Speculative Vision for Hybrid Arts Education. Arts, Vol. 15(4). Open access and available here.<img width="2104" height="1650" width_o="2104" height_o="1650" data-src="https://freight.cargo.site/t/original/i/0fbb423ad71322f8fb03a96129e72f8d22c2ca309e3cb730ee2f1b890b58c5c3/Screenshot-2026-04-08-at-14.28.50.png" data-mid="246968258" border="0" src="https://freight.cargo.site/w/1000/i/0fbb423ad71322f8fb03a96129e72f8d22c2ca309e3cb730ee2f1b890b58c5c3/Screenshot-2026-04-08-at-14.28.50.png" /> SHOULD AI GENERATED IMAGES BE USED IN TEXTS FOR CHILDREN? Jan 2026….and how to engage children themselves in exploring this. This blog post is the first in a series that will share my thoughts arising from the joint creation of a zine designed to enable teachers to use the hands-on art-based methods myself, Eleanor Dare, John Potter, Angus Main, Steve Love and Richard Nash designed to explore children’s notions of what makes a digital good and conversely a digital bad society. In this first post, I explore the development of an activity created to allow children to critique AI generated images and ask whether such imagery could be detrimental to children’s learning, for example when used in educational resources, picture books and textbooks. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/89ebe396356c21c7b1b155460429ad5499ef383dc9035fa0af3cf0f31550febe/IMG_1142.jpeg" data-mid="244036370" border="0" src="https://freight.cargo.site/w/1000/i/89ebe396356c21c7b1b155460429ad5499ef383dc9035fa0af3cf0f31550febe/IMG_1142.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b04385e3c95af0d1251c7536e0471cc7a31b063fae9c16004a5277402f517a65/IMG_1140.jpeg" data-mid="244036372" border="0" src="https://freight.cargo.site/w/1000/i/b04385e3c95af0d1251c7536e0471cc7a31b063fae9c16004a5277402f517a65/IMG_1140.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b129cd840266b9f466fd582a034fd3bb1def4d26ec3c89d5b7dc6b5b2c35193c/IMG_1141.jpeg" data-mid="244036371" border="0" src="https://freight.cargo.site/w/1000/i/b129cd840266b9f466fd582a034fd3bb1def4d26ec3c89d5b7dc6b5b2c35193c/IMG_1141.jpeg" /> Read more here. 2025DIGITAL ECO PEDAGOGIES: PRODUCING VIDEOGAMES WITH CHILDREN FOR PLAYING AND TELLING STORIES ABOUT FUTURE LANDSCAPES WITH TREESJuly 2025 Yamada-Rice, D. &amp; Dare, E. (2025) Digital eco pedagogies: Producing videogames with children for playing and telling stories about future landscapes with trees. Global Studies of Childhood. <img width="1477" height="1249" width_o="1477" height_o="1249" data-src="https://freight.cargo.site/t/original/i/690915d5a42546449310b3e116da67c4d429aa7c8c2f8f4fdbe3ed329523018a/blurb-.png" data-mid="236534576" border="0" src="https://freight.cargo.site/w/1000/i/690915d5a42546449310b3e116da67c4d429aa7c8c2f8f4fdbe3ed329523018a/blurb-.png" /> SOCIALLY DISTANCED GAMES AND PLAY TO ENGAGE RESESRCH PARTICIPANTS REMOTELYJune 2025Yamada-Rice, D. (2025) Socially Distanced Games and Play to Engage Research Participants Remotely. In: Remote Sensing 2: Prompts, Papers and Participatory Practices from the 2022 Symposium. Available online at: &lt;UAL Research Online&gt;. PLAY, TELL STORIES &amp; BREAK THE RULESMarch 2025The following are screen grabs from an interview with me by the University of Plymouth to promote my inaugural lecture. <img width="2679" height="1376" width_o="2679" height_o="1376" data-src="https://freight.cargo.site/t/original/i/500f07d34fa06a884ef3cce72b855f8e84a45bdb91558a3e1611589357fd5f1b/Screenshot-2025-08-01-at-12.29.26.png" data-mid="236534519" border="0" src="https://freight.cargo.site/w/1000/i/500f07d34fa06a884ef3cce72b855f8e84a45bdb91558a3e1611589357fd5f1b/Screenshot-2025-08-01-at-12.29.26.png" /> <img width="2679" height="675" width_o="2679" height_o="675" data-src="https://freight.cargo.site/t/original/i/af409445b5d67f4e0593209f4aea908ab456102c2ea356f3c604fc1def85f54f/1.png" data-mid="236534531" border="0" src="https://freight.cargo.site/w/1000/i/af409445b5d67f4e0593209f4aea908ab456102c2ea356f3c604fc1def85f54f/1.png" /><img width="2671" height="687" width_o="2671" height_o="687" data-src="https://freight.cargo.site/t/original/i/a54643eb77329430cd2640fcb7163ef314c65f87f8423d11ee3a681f6c47ca0a/2.png" data-mid="236534526" border="0" src="https://freight.cargo.site/w/1000/i/a54643eb77329430cd2640fcb7163ef314c65f87f8423d11ee3a681f6c47ca0a/2.png" /><img width="2677" height="794" width_o="2677" height_o="794" data-src="https://freight.cargo.site/t/original/i/aa14ee888f30ab131a6de55982e9ca28e1c5e53d76629acf47006c120bb70c0b/3.png" data-mid="236534535" border="0" src="https://freight.cargo.site/w/1000/i/aa14ee888f30ab131a6de55982e9ca28e1c5e53d76629acf47006c120bb70c0b/3.png" /><img width="2677" height="1408" width_o="2677" height_o="1408" data-src="https://freight.cargo.site/t/original/i/1d290263442f259728546d8786842fe04780acb5540022b0cafde97c81aa35bf/4.png" data-mid="236534533" border="0" src="https://freight.cargo.site/w/1000/i/1d290263442f259728546d8786842fe04780acb5540022b0cafde97c81aa35bf/4.png" /><img width="2678" height="716" width_o="2678" height_o="716" data-src="https://freight.cargo.site/t/original/i/a2fc812f86b13f03f9ba8591610ccf0264e64cbed30f8b0789a0aa4849af3c81/5.png" data-mid="236534538" border="0" src="https://freight.cargo.site/w/1000/i/a2fc812f86b13f03f9ba8591610ccf0264e64cbed30f8b0789a0aa4849af3c81/5.png" /> 2024 IDEAS FROM EDO &amp; THE FLOATING WORLD September &nbsp;2024 Eleanor Dare, my friend and colleague, has been working on the development of the videogame. Right before she began work on it one of the issues we discussed was how to deal with two seemingly disparate desires for the game that arose from the children’s ideas, and those of the major adult stakeholders. For example, the Mersey Forest and the tree scientists had an educational agenda and values they wanted to pass on to children about how to interact with and care for trees, as well as very specific lessons they wanted to share about tree types and their growth. On the other hand, the children’s ideas were more fantastical having created mythical creatures and magical trees with golden acorns, and special powers as they aged. Yet, as I discussed previously, these child-designed narratives were rarely superficial but rather created to illustrate their awareness of politics and concerns about and ideas connected to the climate crisis. I began thinking about ideas from when I had previously studied Japanese History and Japanese Art History. Specifically how Edo, the predecessor to Tokyo, had been controlled to such an extent that it necessitated the development of the Floating World (1615–1868). The two spaces lived in symbiosis with the Floating World acting as an escape for play and pleasure from the mundane and regimented life of Edo city. To me this reflects the differences between formal education and learning through free-play, as well as, the everyday structured school learning of the children we worked with, compared to the more chaotic workshops where children expressed their ideas and knowledge about trees through a range of analogue and digital making that was only loosely controlled. <img width="1439" height="2159" width_o="1439" height_o="2159" data-src="https://freight.cargo.site/t/original/i/fa18083e5664b6171175d51749c86213e302157f2094b460af99c8b85aedb23d/IMG_0645.JPG" data-mid="217395209" border="0" src="https://freight.cargo.site/w/1000/i/fa18083e5664b6171175d51749c86213e302157f2094b460af99c8b85aedb23d/IMG_0645.JPG" /> Read more here. CREATING CHARACTERS TO INHABIT TREESCAPES March &nbsp;2024 This is the second blog post about producing a videogame with children to allow them to play and tell stories about future landscapes with trees. The work that I will be reflecting on here is part of the Digital Voices of the Future project led by Dr Simon Carr (University of Cumbria) where the project team (see full list of members below) are exploring how children can be involved in the co-design and production of a videogame about treescapes. In order bring children into the design and production process, myself and Eleanor Dare devised workshops to be undertaken with late primary and early secondary school children to explore key elements involved in game development. Last time I wrote about my reflection on the worldbuilding workshops. This blog post is about the methods we created to bring children into the character design and gaming narratives processes and my reflections on those. <img width="700" height="491" src="https://miro.medium.com/v2/resize:fit:1400/1*LyZ-i2IKRf_CLoJzz9ERMQ.png" style="width: 700px; height: 491px;">Read more here. EXPLORING CHILDREN’S NOTIONS OF DIGITAL GOOD/BAD Feburary 2024 This blog relates to an ESRC-funded project that is exploring children’s attitudes towards notions of digital good/bad. The team is made up of an interdisciplinary group of researchers that combines the arts and social sciences (Myself, John Potter, Angus Main, Eleanor Dare, Steve Love and Richard Nash). Within this disciplinary mix I call myself an Experience Design Researcher, which essentially means that I like to use art and design-based methods as part of the research process to work with children in a way that might be more engaging and meaningful for them than traditional ones such as interviews or surveys, and thus in turn the research workshops, I hope, are a kind of “experience”. Particularly I believe quite strongly that play is a form of communication in its own right, one of the strongest in childhood, and thus the methods I use are designed with this at the core. <img width="700" height="527" src="https://miro.medium.com/v2/resize:fit:1400/0*PHN7GwjjFDImczth" style="width: 700px; height: 527px;"> Read more here. CO-DESIGNING DIGITAL TREESCAPES WITH CHILDREN Feburary 2024 Producing videogames with children to allow them to play and tell stories about future landscapes with trees. This is the first blog that reports on my involvement in the Digital Voices of the Future project led by Dr Simon Carr at the University of Cumbria with Dr Ian Davenport and partners from the Manchester Metropolitan University (Dr Khawla Badwan &amp; Dr Su Corcoran), Middlesex University (Prof Johan Siebers), the Mersey Forest (Dr Susannah Gill &amp; Dr Dave Armson), and X||dinary Stories (myself and Dr Eleanor Dare). <img width="700" height="513" src="https://miro.medium.com/v2/resize:fit:1400/1*HIbDAI92SSV2nuGv99yGuw.jpeg" style="width: 700px; height: 513px;">Read more here. PLAYFUL COMMUNICATION DESIGN IN THE CONTEXT OF CHILD HEALTH January 2024 At the end of 2023 I took part in a knowledge exchange trip to Copenhagen as part of a project exploring how playful communication could be used for on and off-boarding child-patients in using the MRI playkit we developed previously. For example, how do we get children to take up the playkit, how does it fit into other aspects of their lives, what happens after they have used it and had the MRI scan? The intention was to explore this in three stages: (1) packaging design, (2) an international knowledge exchange trip to the play design team at Mary Elizabeth’s Hospital in Copenhagen, and (3) user testing with child-patients. This blog post reports on some ideas that arose for me during the Denmark trip. <img width="700" height="525" src="https://miro.medium.com/v2/resize:fit:1400/0*lQVafR3OFWrFaZqI.jpeg" style="width: 700px; height: 525px;"> Read more here. 2023 DEVELOPMENT AND INTRODUCTION OF A MIXED REALITIES PLAYKIT: DECREASING THE INCIDENCE OF GENERAL ANAESTHESIA FOR PAEDIATRIC MRINovember 2023 Thompson, J., Yamada-Rice, D., Thompson, S., Murray, L. and Taylor, M. (2023) Development and introduction of a mixed realities playkit: decreasing the incidence of general anaesthesia for paediatric MRI. British Medical Journal, Early Innovation Report. Online first (09/11/23). doi:10.1136/ bmjinnov-2023-001083. <img width="1417" height="1205" width_o="1417" height_o="1205" data-src="https://freight.cargo.site/t/original/i/f6f4b6598859c3b1efdc3dfbe1c222153c24a26bd142660bea16ec31e5305bba/Screenshot-2024-04-16-at-18.50.10.png" data-mid="209084872" border="0" src="https://freight.cargo.site/w/1000/i/f6f4b6598859c3b1efdc3dfbe1c222153c24a26bd142660bea16ec31e5305bba/Screenshot-2024-04-16-at-18.50.10.png" /> ADDRESSING THE ‘WHYS’ OF UK CHILDREN’S YOUTUBE USE: A PURPOSES APPROACH October 2023 Scott, F., Parry, B., Marsh, J., Lahmar, J., Nutbrown, B.,&nbsp; Scholey, E., Baldi, P., Law, L., &amp; Yamada-Rice, D. (2023) Addressing the ‘whys’ of UK children’s YouTube use: a purposes approach. Journal Social Media and Society. Despite the widespread use of YouTube by children, there has been limited research undertaken on the “why” questions of their use. Past theoretical approaches have framed these questions in terms of broader individual needs and their relation to media use, though this work has mainly focused on adults and adolescents. This article presents relevant findings from a mixed methods study of children’s (aged 0–16) uses of social media in the United Kingdom to consider instead the “purposes” of children’s YouTube use, drawing on: (1) an online family survey; (2) family case studies; (3) child focus groups; and (4) child telephone interviews. “Purpose” is theorized in the article in relation to the ways children themselves make sense of and articulate the reasons they use YouTube or, in the case of parents and carers, for allowing, facilitating, or encouraging their children to use YouTube. Parents tended to frame the purposes of children’s YouTube use more instrumentally, focusing on perceived educational benefits and their own convenience needs. While sharing a focus on instrumental purposes, children sometimes emphasized broader dimensions of purpose, with an increased focus on humor, sensory, and hedonic dimensions. Children’s responses also emphasized the autotelic nature of play. The study foregrounded the extent to which the purposes of others (such as commercial entities) are served by children’s YouTube use. Seven child-centered, parent-centered, and “other” purposes for children’s YouTube use are discussed: cognitive, corporeal, cultural, collaborative, creative, commercial, and convenience.<img width="1656" height="1105" width_o="1656" height_o="1105" data-src="https://freight.cargo.site/t/original/i/37a2b587517cbb333c7d1c5aa40897d9a7da4d556831ff5e295ec8303d49fe4a/Screenshot-2024-04-16-at-18.42.52.png" data-mid="209084699" border="0" src="https://freight.cargo.site/w/1000/i/37a2b587517cbb333c7d1c5aa40897d9a7da4d556831ff5e295ec8303d49fe4a/Screenshot-2024-04-16-at-18.42.52.png" /> THE FUTURE OF BROADCAST MEDIA ACCORDING TO KIDS: FINAL PROJECT REPORT Yamada-Rice, D. &amp; Dare, E. (2023) The Future of Broadcast Media According to Kids: Final Project Report. Available online.&nbsp; GIPTON SPACE AGENCYJune 2023 Using the Arts to Explore Tech Determinism History shows us that it takes many different approaches to make change happen. The tactics that each group chooses are not a matter of personal taste but solutions to a particular problem. Too many years spent failing to make radical change happen can turn energies to smaller, achievable, single-issue campaigns. Conversely, the limits of reform push people and movements to revolt (Robinson, 2019, n.p). This blog post reports on a workshop called “Gipton Space Agency” led by myself and Eleanor Dare (as part of our work for X||dinary Stories) that used art to critique tech determinism with a specific focus on space tourism. In a way turning energies to smaller, achievable, single-issue campaigns like others that have gone before. <img width="599" height="533" width_o="599" height_o="533" data-src="https://freight.cargo.site/t/original/i/fa733274a5977e0b90e191f89c5cb572ee1ca325d9c2daf11a6be96d3bef6387/not-welcome.jpg" data-mid="183481357" border="0" src="https://freight.cargo.site/w/599/i/fa733274a5977e0b90e191f89c5cb572ee1ca325d9c2daf11a6be96d3bef6387/not-welcome.jpg" />Read more here THE IMPORTANCE OF MULTIMODAL PLAY AND STORYTELLING TO A MIXED REALITIES PLAYKIT FOR PREPARING CHILDREN FOR AN MRI SCANMAY 2023 Yamada-Rice, D. et al (2023) The Importance of Multimodal Play and Storytelling to a Mixed Realities Playkit for Preparing 4 to 10-year-olds for an MRI scan. Multimodality &amp; Society,&nbsp;Volume 3, Issue 2. This article examines the research and development of a mixed realities play-kit to prepare children for an MRI scan to be undertaken without the need for a General Anaesthetic. The kit uses three different types of play; augmented, virtual reality and physical to help children become familiar with the look of an MRI scanner, the noises it makes, the role of the radiographer, what to expect when they go to hospital and to practise staying still. We reflect on the initial multimodal research methods that were used to bring children into the first stages of the design and development process. These included, model making, drawing, play and informal conversations. From which, data were analysed with visual and thematic means to make an original contribution to the field of medtech design for children, in that we found young children (aged six and under) prefer to receive medical information through opportunities for multimodal play and storytelling. As a direct result of this finding, we matched different play types to the various areas of preparation outlined above. In doing so, paying attention to the specific affordances of the different ways in which modes are combined depending on if physical, augmented or virtual reality play are used. Such findings are likely to be useful to other researchers and developers creating medtech products for young children. For those interested in multimodality specifically, this article also provides insight into the connection between information, modes of communication and play and the application of these to research design. <img width="1125" height="1682" width_o="1125" height_o="1682" data-src="https://freight.cargo.site/t/original/i/7a535aedd8577bd5414b445510424da5595e0d654168116edb438eac420fee81/IMG_9098.jpg" data-mid="179162666" border="0" src="https://freight.cargo.site/w/1000/i/7a535aedd8577bd5414b445510424da5595e0d654168116edb438eac420fee81/IMG_9098.jpg" /> CAN IMMERSIVE STORYTELLING WITH VR STAND UP TO THE EXPERIENCE OF VISITING ANTARCTICAApril 2023Lessons learnt from a unique setting and a fanatical audience that can guide immersive storytelling development more widely. Working with the UK Antarctica Heritage Trust (UKAHT) I undertook research to look at their initial development of a Virtual Reality (VR) experience of Antarctica. On a personal level, I had never previously dreamed of visiting Antarctica, but as I came to learn through this project, it attracts a lot of fanatical people with a desire to do just that. These “fans” who became the research participants brought this project to life and highlighted insights that can be useful for those making immersive storytelling experiences more widely. <img width="1573" height="1573" width_o="1573" height_o="1573" data-src="https://freight.cargo.site/t/original/i/da325dc2f7f9bc9725607ff494bc50b789922c374be11d28fab07bb1427c8d76/Screenshot-2023-03-31-at-21.01.12.png" data-mid="176233513" border="0" src="https://freight.cargo.site/w/1000/i/da325dc2f7f9bc9725607ff494bc50b789922c374be11d28fab07bb1427c8d76/Screenshot-2023-03-31-at-21.01.12.png" /> <img width="1582" height="1571" width_o="1582" height_o="1571" data-src="https://freight.cargo.site/t/original/i/4f55137b7290ee29f9fc0149c643d2278302abe103c26c6f66d2c2218b5cb85c/Screenshot-2023-03-31-at-21.00.40.png" data-mid="176233512" border="0" src="https://freight.cargo.site/w/1000/i/4f55137b7290ee29f9fc0149c643d2278302abe103c26c6f66d2c2218b5cb85c/Screenshot-2023-03-31-at-21.00.40.png" /> Images by UKAHT Read the full blog here. KIDS INTEREST IN IMMERSIVE AND INTERACTIVE FUTURE BROADCASTING POSSIBILITIES&nbsp;Feburary 2023This is the second of two posts about the future of broadcast media according to kids, and forms part of a project myself and Eleanor Dare have been undertaking through a commission by the University of York’s XR Stories. The first post focused on the methodology we created for children to show us directly how they think the dissemination of heritage brand story characters might be altered by emerging technologies. Here, I extend on the last post to highlight the methodology used to allow children to engage with world-building a heritage brand using emerging technologies, and their thoughts on immersive and interactive possibilities for future broadcasting. <img width="1310" height="646" width_o="1310" height_o="646" data-src="https://freight.cargo.site/t/original/i/8f0332e95b163fb5021d1e29392c52c7f0bd88be949b415a73f465285f199335/1_6gs0JMrt9SAlVSiOlUMgrw-copy.jpg" data-mid="168174418" border="0" src="https://freight.cargo.site/w/1000/i/8f0332e95b163fb5021d1e29392c52c7f0bd88be949b415a73f465285f199335/1_6gs0JMrt9SAlVSiOlUMgrw-copy.jpg" /> Read the full blog here. THE FUTURE OF BROADCAST MEDIA ACCORDING TO KIDS&nbsp;January 2023Myself and Eleanor Dare have been commissioned by the University of York’s XR Stories to explore what kids want from broadcast media in the future. This is the first out of three blog posts that I will share on the project, and focuses on the methodology we created for children to show us directly how they think heritage-brand story characters might be altered by emerging technologies. The remaining two blog posts will focus on their ideas in relation to world building and kids thoughts on immersive and interactive future broadcasting prototypes. The project is framed within the decline of children watching linear TV and the planned closure of traditional broadcasting of CBBC in 2025/6. <img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/77b4e52162abfc93430697b991dde2b0f795eb6f6aa21158bf19acdd4c24e1e9/021928D8-6EAE-4FE3-ABEB-486513827516-copy.JPG" data-mid="164474596" border="0" src="https://freight.cargo.site/w/1000/i/77b4e52162abfc93430697b991dde2b0f795eb6f6aa21158bf19acdd4c24e1e9/021928D8-6EAE-4FE3-ABEB-486513827516-copy.JPG" /> Read more here. 2022FINAL PROJECT REPORT The final project report for the MRI playkit is available for download at the link below. It was given away, along with copies of the kit, at a dissemination event for health and kids media professionals held at the University of Sheffield, 13th October 2022. <img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/9d9c3ec13a636bd2c18e00a87458bc553af03524cf3f015a0b35f42c3be1c4be/Fe-PZDmX0AMfPQt.jpeg" data-mid="168699770" border="0" src="https://freight.cargo.site/w/1000/i/9d9c3ec13a636bd2c18e00a87458bc553af03524cf3f015a0b35f42c3be1c4be/Fe-PZDmX0AMfPQt.jpeg" /> Yamada-Rice, D., Thompson, J., Love, S., Thompson, S. &amp; McQuillian,H. (2022) Mixed Realities Playkit to Prepare Children for an MRI Scan: Findings for health, families and industry. Available online at: &lt;http://dubit.us/mri&gt;. <img width="1440" height="1440" width_o="1440" height_o="1440" data-src="https://freight.cargo.site/t/original/i/2913f0d7fcc29c394a487feb6f31cba131542d92c5ab32c2fba4aa792ae56a88/Fe-PZDmWIAMWZUI.jpeg" data-mid="168699769" border="0" src="https://freight.cargo.site/w/1000/i/2913f0d7fcc29c394a487feb6f31cba131542d92c5ab32c2fba4aa792ae56a88/Fe-PZDmWIAMWZUI.jpeg" /> INFORMATION IS UGLYJuly 2022 Back when I was on the brink of leaving the Royal College of Art, I was part of a heated discussion on whether all information should be made to look beautiful. The discussion was in the context of my teaching on the MA in Information Experience Design, which was about turning data in o an experience for a particular audience. In order to explore the topic further, myself and colleagues; John Fass, Matt Lewis, Grace Pappas and Shelley James began to put together a special issue for Visual Communication journal entitled Information is Ugly. Today it was published: Vol. 20 (3) August 2022, ISSN 1470-3572. <img width="680" height="476" width_o="680" height_o="476" data-src="https://freight.cargo.site/t/original/i/b7bd9a89bfbba00efdfddbd789cf32b242dde0e66f9fbc1f8942fc771a3897d6/FXnUpGsXwAIqqLq.jpeg" data-mid="147885362" border="0" src="https://freight.cargo.site/w/680/i/b7bd9a89bfbba00efdfddbd789cf32b242dde0e66f9fbc1f8942fc771a3897d6/FXnUpGsXwAIqqLq.jpeg" />JOURNAL ARTICLE Main, A. &amp; Yamada-Rice, D. (2022) Evading Big Brother: using visual methods to understand children’s perception of sensors and interest in subverting digital surveillance. Visual Communication, Vol. 20 (3).&nbsp; A REVIEW: LEMARCHAND, R. (2021) A PLAYFUL PRODUCTION PROCESS: FOR GAME DESIGNNERS (AND EVERYONE): MASSACHUSETTS: MIT PRESS. If you are new to the processes of game design this book could serve as a useful introduction. The language is accessible and it is easy to dip in and out of the chapters, which broadly link to different parts of the design and development process. There are also a number of activities to try that might be helpful for someone starting out. However, my work sits across the games industry and academia and for a number of years I have been experimenting with ideas that offer additional perspectives that expand beyond those in this book. Thus, for the remainder of this review I critique Lemarchand’s work in relation to my own in the hope that others will experiment too.&nbsp; To begin with I was struck by the masculine tone of some of the terminology in the book: ‘blue sky thinking’, ‘a metastructure of the creative process: how to manage our time and plan our projects’ (p. 1). In recent work with Eleanor Dare (Dare &amp; Yamada-Rice, 2022), we asked the audience to question the extent to which the terminology and structures of gaming software build on those from capitalism (Keogh and Nicoll, 2019) and suggested alternative systems drawn from magic (e.g., Kuhn, 2019) and queering (e.g. Ahmed, 2006) could be used to disrupt these. Considering how alternative systems can be used within game design is not only acting responsibly to the creative process, but is also a form of ‘design justice’ (Costanza-Chock, 2020) that widens the audience being designed for/with. This also questions Lemarchand’s narrow frameing of gaming audiences, which does not match the wide range of people that play games. Such language also reflects the gender imbalance in the industry so should be questioned from this perspective too.&nbsp; As universities become more closely intertwined with industry; creating curricula that feeds their future needs, giving honoury degrees or taking sponsorship for infrastructure etc it becomes ever more important for students to be told that it is OK to see their studies as a platform for experimentation. I encourage students to explore each stage of the design and production process as widely as possible. For example, on page 13 Lemarchand advocates for mind mapping as a way in which ‘blue sky thinking’ can occur and the game design process can begin. Later he mentions storyboarding, ‘Wikipedia: random, or your favourite divination technique’ (p.15). In my research and practice I situate my earliest ideas around the narrative/story/information at the heart of the gaming experience, and then draw on notions of multimodal social semiotics (Kress, 2010) to explore how the gaming narrative is altered by the modes and ultimately the platforms included in the game design. A focus on multimodality links well with Lemarchand ideas that:&nbsp; Game designers are communicators. The games that we make communicate ideas and feelings to our audience of players. Games are highly conceptual, built of logic, number, space, and language. These are conveyed in image, sound, touch, and the other modalities of our senses. (p. 43)&nbsp; However, Lemarchand continues to states that the key to ‘effective communication is clarity, brevity, and active listening’ (p.45). Given the focus on modes and senses I believe that effective communication through games is more complicated and involves deep exploration of the match between mode and materials, and how these are used by the communicator and received by the player.&nbsp; Much of this relates to Gibson’s idea of affordances, which in turn connects to the player experience. In chapter 7, Lemarchand also talks about experience as a goal of good game design and likewise introduces Gibson’s theory of affordance (p.105). However, it also needs to be remembered that with XR gaming technologies traditional affordances need not be applied because VR makes it possible to mess with scale and immersion etc.&nbsp; Chapter 3 is focused on research, but the methods offered are more search than research. I believe research is fundamental to good design and production processes and should extend across all stages. Thus, research could have been discussed within each of the chapters to illustrate this. In any case a deeper discussion of research would allow readers to understand how it can have a direct or indirect correlation with the gaming narrative and mechanics. For example, when working on a train themed app for my employer Dubit, I observed children playing with physical train toys to understand movements, sounds and narratives within their play. These were then carried over to the digital design process. However, research methods can also be less directly connected, and in doing so bring about innovation in the design process. As part of MA-level teaching I ask students to consider their gaming narrative from a modal perspective. In doing so, they are introduced to specialists such as the work of Kate McLean on smell mapping (Perkins &amp; McLean, 2020) or McCloud (1993) on visual narratives structures. There are opportunities also to draw on social sciences or to bring gaming practices into the research process. For further discussion on this see here. Isolating one mode at a time and researching in this way can lead to discovering new perspectives and ideas. Lemarchand also seems to draw a distinction between research and making but the two need not be separate processes. Ingold (2013) also shows how making is part of the thinking process which he illustrates by demonstrating the long human history of knowledge production in this way. Having said this, Lemarchand is an advocate for prototyping which can be seen when he writes:&nbsp; “ If the game engine you would like to use is not yet available to you, just find a game engine that you can use today and start building immediately.” (p.31)&nbsp; I agree, using readily accessible gaming platforms such as Roblox can make it possible to begin thinking, design, building immediately and act as an initial means of prototyping.&nbsp; Overall, game design should be a complex process because as I have shown elsewhere (Yamada-Rice, 2021) it needs to consider the game, that is it’s modes, platforms, materials and associated affordances, the player and the places in which it will be played. One of the simplest ways to do this, which Lemarchand does not mention, is to play as widely as possible to become familiar with games and play in the broadest sense.&nbsp; References Ahmed, A. (2006). Queer Phenomenology: Orientation, objects and others, Durham and London: Duke University Press. Costanza-Chock, S. (2020). Design Justice: Community-Led Practices to Build the Worlds We Need (Information Policy), Cambridge, MA: The MIT Press. Kindle Edition. Dare, E. &amp; Yamada-Rice, D. (2022) Virtual magic: sleight of hand in immersive storytelling. Keynote presentation for: Connected Screens Playing with Immersive Systems.&nbsp; Leeds Beckett University, 30th March 2022 Ingold, T. (2013) Making: Anthropology, Archaeology, Art and Architecture. London: Routledge. Keogh, B., Nicoll, B. (2019). The Unity Game Engine and the Circuits of Cultural Software, Cham, Switzerland: Palgrave Macmillan. Kindle Edition. Kress, G. (2010) Multimodality: A Social Semiotic Approach to Contemporary Communication. London and New York: Routledge. Kuhn, G. (2019) Experiencing the Impossible: The Science of Magic. The MIT Press: Cambridge MA. McCloud, S. (1993) Understand Comics: The Invisible Art. New York: Harper Collins.&nbsp; Perkins, C., &amp; McLean, K. (2020). Smell walking and mapping. In S. M. Hall, &amp; H. Holmes (Eds.), Mundane methods: Innovative ways to research the everyday (p. 156-173). Manchester University Press. Yamada-Rice, D. (2021) Is now the perfect timing for a break through in connected play? Medium. Available online at: &lt;https://komesanyamada.medium.com/is-now-the-perfect-timing-for-connected-play-4a44363c9147&gt; [Accessed 11/04/22] JOURNAL ARTICLE Dare, E. &amp; Yamada-Rice, D. (2022) Reading the Cards: Critical Chatbots, Tarot and Drawing as an Epistemological Repositioning to Defend Against the Neoliberal Structures of Art Education. In: Filimowicz, M. (ed) Systematic Bias: Algorithms and Society. London: Routledge HOW DO YOU MAKE SENSE OF DIVERSITY WHEN ALL AROUND YOU IS PREJUDICE? JAN 2022 Just 22% of UK children and young people in Dubit’s recent research believe authority figures such as the Government treats everyone fairly, with figures rising only slightly with regards to the Police (30%) and teachers (36%). Additionally, the data seems to mirror contemporary discussion around white privilege and how this is entrenched in power structures including education. In relation to these key findings, this blog post seeks to ask the reader to think about how children and young people make sense of diversity when all around them is prejudice. This is the third in a series of posts that discusses the findings of a study undertaken to discover young people’s views on their lives and the world. To recap, more than 500 twelve to fifteen-year-olds from across the UK shared views in a two-stage methodology that included 32 one-to-one interviews with young people in London, Bournemouth, Gateshead and Newcastle, and an additional 514 survey responses from across the UK. The aim was to understand what young people care and worry about and where they gain knowledge that informs their opinions. Read more here2021STATE OF THE NATIONDEC 2021 Education, Algorithms &amp; Opportunities for Kids Media to Create Third Spaces for Learning&nbsp;Recently, Dubit and the Children’s Media Foundation undertook research to discover young people’s views on their lives and the world- a youth “State of the Nation”. More than 500 twelve to fifteen-year-olds from across the UK shared views in a two-stage methodology that included 32 one-to-one interviews with young people in London, Bournemouth, Gateshead and Newcastle, and an additional 514 survey responses from across the UK. Overarching topics included climate change, diversity, schooling, social media, friends, money, and more. The aim was to understand what young people care and worry about and where they gain knowledge that informs their opinions. This post focused on education is the first in a series of posts covering key aspects of the findings. How best to educate children and young people has been much debated throughout history and is closely related to historic, social and cultural values. In 1762, the philosopher Jean-Jacques Rousseau caused a stir by writing a proposal for how to educate an imaginary child called Emile into adulthood by letting him learn purely from nature and everyday life experiences. Since then, the argument for unstructured education, or learning for learning’s sake, has reoccured in notable examples and movements. A S Neill opened the famed Summerhill in 1922 which was described as a ‘do-as-you-please-school’ where formal lessons were optional (Saffange, 1994). <img width="1077" height="819" width_o="1077" height_o="819" data-src="https://freight.cargo.site/t/original/i/5bdd6bcf63924a6e875a9dad07156a1d028094ed53c02734397b3eebbf69ac67/1_mpVaTWBj0D51mRTNtU_Vmg.jpeg" data-mid="131632333" border="0" src="https://freight.cargo.site/w/1000/i/5bdd6bcf63924a6e875a9dad07156a1d028094ed53c02734397b3eebbf69ac67/1_mpVaTWBj0D51mRTNtU_Vmg.jpeg" />Read more hereCHILD-CENTERED DESIGN FOR HEALTHNOV 2021 Play and storytelling are important aspects of children’s learning about serious issues in health and medicine. Typically, design for child health is made by adults and the resulting designs are top heavy on the serious nature of medical information. Obviously, tech for health must foreground medical accuracy, but my work on designing play to improve health outcomes shows that adult designers are missing two crucial aspects that might make a big difference to children’s uptake and interaction with medical products- play and storytelling. Understanding the importance to children of play and storytelling in medical contexts came about through a two-year Innovate UK-funded research and development project. We included children in creating a mixed realities play kit to help reduce the need for a General Anaesthetic (GA) among children undergoing a Magnetic Resonance Imaging (MRI) scan. Details of the outcome of the project can be found here, but the intention of this article is to show how making the project child-centred brought about new insight into what children want from technologies for health. <img width="1000" height="1333" width_o="1000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/85f427766b653c2f20ef9a8823aaf7e4b0dfd946a73be190dbc3c2f695366861/1_2nddrU18OdygN0925G-gYg.jpeg" data-mid="131633277" border="0" src="https://freight.cargo.site/w/1000/i/85f427766b653c2f20ef9a8823aaf7e4b0dfd946a73be190dbc3c2f695366861/1_2nddrU18OdygN0925G-gYg.jpeg" /> Read more here RESEARCHING THE METAVERSESEPT 2021The Metaverse is coming, and it’s far more than a buzzword for kids and teens. If you’re not yet familiar with the term, metaverse refers to global, always-on virtual spaces that are “omni-experiential” (i.e., places to consume and create, with gaming, entertainment, learning, work, communication and socialising in a single, connected immersive environment. At the start of 2021, Kidscreen predicted that companies would quickly begin making themselves “metaverse-ready”: This year, brands will start to create metaverse studios — teams focused on integrating their IPs into multiple digital worlds, including implementing multi-game engagement strategies. Non-gaming companies will build experiences that can be played across platforms. Games will continue to serve as sandbox tools, which kids will use, repurpose and play with their own rules–not necessarily how they were originally designed. (Kidscreen) Seeing this same trend, Dubit is pioneering the way in undertaking qualitative research on kids engagement with current proto-metaverses (e.g., Roblox, Core and Crayta) to supplement the wealth of quantitive data they already have. For example, Dubit Trends found that: Over half of US 8–12 year olds said they had played Roblox in the last week;In the UK, Roblox and Minecraft tied for the game that the most 8–12 year olds had played within the last week;In the US, Roblox was the 4th most-played game among 8–12 year olds in the past week;Around a third of US and UK kids said they had played Roblox in previous 24 hours, suggesting that Roblox is a daily habit for many young people.<img width="1600" height="1081" width_o="1600" height_o="1081" data-src="https://freight.cargo.site/t/original/i/30fff319fb6ed518721876884f9a89c3a251c97d1f0fce3dfb75d30c1c8fd175/1_wPL5bW45wgW8d_DrSTwJCw.png" data-mid="131633545" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/30fff319fb6ed518721876884f9a89c3a251c97d1f0fce3dfb75d30c1c8fd175/1_wPL5bW45wgW8d_DrSTwJCw.png" />Read more here JOURNAL ARTICLENash, R., Yamada-Rice, D., Dare, E., Love, S., Main, A., Potter, D., Rodrigues, D. (2021) Using a collaborative zine to co-produce knowledge about location-based virtual reality experiences. Qualitative Research Journal, Vol.21 (2). <img width="675" height="900" width_o="675" height_o="900" data-src="https://freight.cargo.site/t/original/i/7d69d4e867dda0c6001890fdf86bd6441c4c2b0af9e7e45c41037fa3d7780950/E5snipNXIAQlKqN.jpeg" data-mid="113897739" border="0" data-scale="69" src="https://freight.cargo.site/w/675/i/7d69d4e867dda0c6001890fdf86bd6441c4c2b0af9e7e45c41037fa3d7780950/E5snipNXIAQlKqN.jpeg" /> Image by Richard Nash JOURNAL ARTICLE Ikon, E., Wee, C., Dare, E., Lewis, M., Biderman, K.,&nbsp; Gordon, L., Pochodzaj, J., and Yamada-Rice, D, 'Exercises in Exorcism, Ways of Healing (through) Art Education'. In:&nbsp;Baier, W., Canepa, E., Golemis, H. (eds) (2021) Capitalism's Deadly Threat: transform!&nbsp; London: Merlin Press. NOTHING ABOUT US WITHOUT USJUNE 2021What does it mean to be inclusive when working with kids in research? ‘Nothing About Us Without Us’ is the title of a chapter in Costanza-Chock’s (2020) book ‘Design Justice’. The chapter starts by outlining the controversy that followed a Google employee sharing a memo called ‘echo chamber’ that suggested the company, like most tech companies, had limited diversity and thus the products being designed within them were not inclusive. In the children’s tech and digital play industry, there is a similar lack of diversity in the workers developing products for younger audiences. Bringing a more diverse workforce onboard is one aspect that needs addressing; making sure we are connected to diverse groups of children and families is another part of the equation. They are connected. Working with diverse groups of children during the research and development phases of design means children from under represented groups are much more likely to see a place for themselves in our industry as they grow up. <img width="3300" height="4950" width_o="3300" height_o="4950" data-src="https://freight.cargo.site/t/original/i/9030e7143b91c188ec46d5a8e5d0cd9136bbf6390098b508bc18a543178e0e47/IMG_0021-Large.jpg" data-mid="131632624" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/9030e7143b91c188ec46d5a8e5d0cd9136bbf6390098b508bc18a543178e0e47/IMG_0021-Large.jpg" /> Image: Kinetic Landscape by Susan Atwill, Nirav Beni, JP Guerrier, Ance Janevica, Lera Kelemen, Shangyun WuRead more here JOURNAL ARTICLEYamada-Rice, D.&nbsp; (2021) Children’s interactive storytelling in Virtual Reality, Multimodality &amp; Society, Vol. 1 (1), p.48-67. THE DATA EXPERIENCE MACHINEMARCH 2021Turning surveys into experiences to provide engaging means for children to share their opinions The UN Rights of the Child (1989) stipulates that children must be given a voice in issues that affect them. Throughout my research and design work for/with children I have always sought to find better ways to include their voices and ideas. I have written a lot about using art and design-based methods for including children in qualitative research, but what about in quantitive research? In my role as a Senior Tutor in Information Experience Design at the Royal College of Art, MA students are taught how to bring research together with art and design practices, to create experiences for a wide range of audiences. This got me thinking about how a good audience experience should not only be the end point of research during dissemination, but could also be incorporated into finding engaging and interactive methods for data collection. This seems to be particularly relevant to traditional quantitive research with children who are unlikely to engage with a questionnaire in a meaningful way. <img width="1400" height="989" width_o="1400" height_o="989" data-src="https://freight.cargo.site/t/original/i/a06468e099459976a1a58eb12218421fbf1d2241ed6fa562c3d2eb12e3aa5966/1_WWoZkh6sV2o27y0zPmo_mw.png" data-mid="102844670" border="0" src="https://freight.cargo.site/w/1000/i/a06468e099459976a1a58eb12218421fbf1d2241ed6fa562c3d2eb12e3aa5966/1_WWoZkh6sV2o27y0zPmo_mw.png" />Image: Tunin’ by&nbsp;Yaprak Goker, Lucy Anderson, Evan Reinhound and Noura Andrea NassarRead more here IS NOW THE PERFECT TIMING FOR A BREAKTHROUGH IN CONNECTED PLAY? MARCH 2021And why it might be worth the pain of pursuing all the design challenges In my work in both academia and the play industry I spend a lot of time exploring what makes a good play experience. From considering the best methods for observing and understanding play to how it can be theorised to make new or better play experiences. The COVID-19 pandemic has altered play, in such a way, that it might be time to reconsider how designers and manufacturers of play products can best respond to these evolving needs. I’ll start by showing why making an excellent connected-play experience is so difficult, before illustrating why it might be worth the while at this particular moment in time. The Complexities of Designing a Connected Play Experience It is possible to position play as a balance between three connected elements, that when combined impact on player experience: The product (toy/software)PlayersPlaces (contexts of play) As toys, devices and software advance the ways of positioning play in relation to the above three elements multiplies; keeping a good design balance between them becomes harder to maintain. Here’s why: Play Product At the level of the product, decisions must be made by the designer in relation to the affordances of the toy or other play product- essentially what it is possible to do with it. For a physical toy, this is limited to materials and size etc. This means that when the player creates a narrative with the physical toy during play, the choice of what sounds or movements to make in enacting the story are decisions made by the child. <img width="1604" height="996" src="https://miro.medium.com/max/3208/1*INbzVK81ca3jAK-dgKi2yg.png" style="width: 718.492px; height: 446.146px;">Image Credit Read more here INTERVIEW WITH ME BY THE RCA <img height="562" src="https://rca-media.rca.ac.uk/images/dylan_crop.original.width-1000.jpg?timestamp=1615236225396" width="1000" style="font-size: 2rem; letter-spacing: 0.07rem; background-color: initial; width: 718.489px; height: 403.791px;">Meet the RCA: Dr Dylan Yamada-Rice&nbsp;Dylan Yamada-Rice is Senior Tutor for our MA Information Experience Design (IED) and an artist/researcher whose work pushes at the intersection between experimental design and the social sciences. Her multi-disciplinary background in academia and her boundary pushing work in industry complement her teaching for a programme which is all about finding new ways of presenting information using a combination of digital and physical which increase user engagement, often collapsing binary notions of the human and the digital. We talked about her interdisciplinary background, how she moves between academia and industry and where she thinks the future of digital storytelling lies. Your PhD was on children’s understanding of the visual mode in Japanese environments, what led you to this subject? I became really interested in Japan after my first degree at SOAS where I studied Art, Archaeology and Geography which involved quite a lot of Japanese art history. After graduation I undertook postgraduate research in Japanese Art History at Kyoto University, and when that ended I decided to stay on to teach English to children. As a teacher, I started to realise that the whole way of making sense of the world in Japanese was different to English. In English, we learn through sounds that represent meaning, whereas Japanese is largely pictorial – you're making sense of the world through your eyes rather than your ears. This interest in children’s learning prompted me to study for Master’s degrees in social sciences first in Early Childhood Education and then Research Methods. My PhD – which involved working with a group of kids in Japan for a year and trying to understand how they comprehended the world around them through images – brought together all these different threads that I thought were quite separate parts of me; my love of drawing and Japanese semiotics, and also an interest in children, which I always felt like I’d better not admit to because somehow children were seen as lesser. <img src="https://rca-media.rca.ac.uk/images/1_npk8cj3eyhse81Gq-7N_Vg.width-750.png" width="734" height="413" style="width: 718.489px; height: 404.272px;">ESRC &amp; AHRC funded UK Japan Location-Based VR Network ResearchDoes your multi-disciplinary background inform your approach to teaching as Acting Head of IED? Definitely. MA Information Experience Design is all about finding innovative new ways to present data in ways that make users want to engage with it. That’s why we take people from a wide range of backgrounds. So we’ll have someone from architecture, someone from philosophy and a fine artist working on the same brief. Staff backgrounds are just as wide-ranging. We encourage students to capitalise on these diverse disciplines to present data in ways that resonate with people. A good example is of a student I had once who was looking at collected data in bell graphs. In the end, they cast them as actual bells and played them. So you’re taking something that is usually on a page and turning it into something physical that can be interacted with – you’re engaging with data in a new way. In my work, this is where drawing comes in. Kids don’t do A, B, C – they’re tangential. To get to what you want to know, you have to do something more physical like making or drawing to engage them. When you have the data you have to decide how to make it interesting and accessible with a mix of analogue and digital mediums. <img src="https://rca-media.rca.ac.uk/images/1_5tgr4K8facHLlEaXa_pLEg.width-750.png" width="750" height="421" style="width: 718.489px; height: 403.312px;">VR &amp; Mixed-Realities Play Kit to prepare Under 10s for an MRI As well as being Acting Head of MA IED, you also work part-time for digital games company Dubit. Can you tell us about your work there? I’m Senior Research Manager at Dubit. My role there has allowed me to link up the two worlds of industry and academia to do a different type of research and produce a different kind of product. In academia you research an idea in depth that isn’t attached to an end product, while at Dubit, I can look at what children actually do with an app. You’re currently working with Dubit to produce a Virtual Reality (VR) ‘Play Kit’ to prepare children for MRI scans. Can you tell us about it? Yes, the project is funded by Innovate UK and is in partnership with Dubit. We’re using Dubit’s data on kid’s entertainment and applying it to a health setting. MRI machines are stressful experiences for children – they’re very noisy and require children to stay still for a long time. So, we’re producing an app and a physical play kit that will help alleviate these stresses and prepare children for their scan. We were about to take it to test in hospitals when Covid-19 hit, so now we’re seeking new ways to do the research at a distance. What do you feel VR can contribute the experience of play and/or storytelling? Is this kind of technology going to be the future of&nbsp;storytelling? I think the future of storytelling is mixed realities. VR on it’s own is not as exciting as VR on a really well designed set or if you have elements of Augmented Reality (AR) that reveal something in the actual world. If you asked kids about Pokémon Go, they might say that adults made an app that revealed Pokémon that were always there in the actual world. The future of storytelling is how you do that for adults as well as for kids.<img src="https://rca-media.rca.ac.uk/images/Scan-17-May-2020-3_1.width-400.jpg" width="400" height="580" style="width: 400px; height: 580px;">Graphic narrative drawn as part of the analysis phase of the UK-Japan Location-based VR Network., Dylan Yamada-Rice 2020 FINAL PROJECT REPORTYamada-Rice, D., Dare, E. Main, A., Potter, J., Ando, A. Miyoshi, K., Narumi, T., Beshani, S., Clark, A., Duszenko, I. Love, S., Nash, R., Rodrigues, D., Stearman, N. (2020) Location-Based Virtual Reality Experiences for Children: Japan-UK Knowledge Exchange Network: Final Project Report. Available online at &lt;URL&gt;.&nbsp;<img width="976" height="1368" width_o="976" height_o="1368" data-src="https://freight.cargo.site/t/original/i/f9c2847fda8ccc793cc14b799d9aa1fe85d9f9e2efd88733e5dd33dc4ba6b802/Screenshot-2020-06-24-at-09.24.54.png" data-mid="75893674" border="0" data-scale="68" src="https://freight.cargo.site/w/976/i/f9c2847fda8ccc793cc14b799d9aa1fe85d9f9e2efd88733e5dd33dc4ba6b802/Screenshot-2020-06-24-at-09.24.54.png" />2019BOOK CHAPTER Yamada-Rice, D., Rodrigues, D. &amp; Zubrycka, J. (2019) Makerspaces and Virtual Reality Chapter 5. In: Blum-Ross, A., Kumpulainen, K. &amp; Marsh, J. (eds) Enhancing Digital Literacy and Creativity: Makerspaces in the Early Years. Routledge.JOURNAL ARTICLE Yamada-Rice, D. &amp; Love, S., (2019) Designing tech for health: Developing a mixed reality play kit to help children who need and MRI scan, RIAS Quarterly, Vol.38, p 57. CULTURE, HISTORY &amp;&nbsp; VR DEVELOPMENT JULY 2019 <img width="770" height="270" width_o="770" height_o="270" data-src="https://freight.cargo.site/t/original/i/f8d03898558fd9964c0240255b2ede71526cdbaede99c9fdf2eb908c89ecd5b9/0_WGptZdyyan0EDJhX.png" data-mid="70912233" border="0" src="https://freight.cargo.site/w/770/i/f8d03898558fd9964c0240255b2ede71526cdbaede99c9fdf2eb908c89ecd5b9/0_WGptZdyyan0EDJhX.png" /> &nbsp; &nbsp;&nbsp; What has culture and history got to do with VR development? Here I discuss some initial ideas on the topic… Kress (2003) describes how communication practices arise from changes in technology, social and cultural practices. Geertz (1973) defines culture as: ‘the fabric of meaning in terms of which human beings interpret their experience and guide their actions [while] social structure is the form that action takes, the actually existing network of social relations’ (p. 145). In other words, our very specific cultural and personal backgrounds control our interpretation of experiences. In relation to my own experiences of Japanese location-based VR content this is in relation to both being British, but also having spent my twenties and early thirties living in Japan. As a result my interpretation of several of the Japanese experiences drew directly from this connection to the culture; one as partial insider but also an outsider. For example, on a visit to Hashilus I played with one of their VR experiences called Happy Oshare (Fashionable) Time. Read more here MODES, MATERIALS &amp; PERFORMANCE IN THE DESIGN OF LOCATION-BASED VRJULY 2019 <img width="1400" height="1050" width_o="1400" height_o="1050" data-src="https://freight.cargo.site/t/original/i/a725c1745beee1c383e843756f837b834359dda3fbaad665e01315f60cf80555/0_T5huZRA7ITql4JIc.jpeg" data-mid="71056640" border="0" data-marker-id="2" src="https://freight.cargo.site/w/1000/i/a725c1745beee1c383e843756f837b834359dda3fbaad665e01315f60cf80555/0_T5huZRA7ITql4JIc.jpeg" />How do modes, materials and performance affect the design of a virtual reality experience? Here I review some location-based VR experiences from Japan in relation to these three areas to offer some insight for future development. The VR Park Shibuya is an arcade hosting location-based VR experiences. These are site specific content designed for VR play away from the home setting. As a result, location-based VR experiences often have a physical component which provides a different experience to that which can be achieved on a home console such as the Play Station VR. This is something more akin to fit in with the ‘experience economy’ and thus in the best case scenarios the physical set can bring an extra dimension to the VR play worthy of making an audience feel they are paying for an “experience” they could not have elsewhere. The VR Park occupies one floor of a well established game centre. Each floor is dedicated to different types of gaming content. The ground floor for example has mostly prize based games like the UFO catcher. Read more here MEDIA MEDICINEJULY 2019 <img width="1334" height="750" width_o="1334" height_o="750" data-src="https://freight.cargo.site/t/original/i/3da4b100c0f26f8c87bcea0b3b05af44561540750e0889faa7318891c9eb06a0/1_5tgr4K8facHLlEaXa_pLEg.png" data-mid="71057105" border="0" src="https://freight.cargo.site/w/1000/i/3da4b100c0f26f8c87bcea0b3b05af44561540750e0889faa7318891c9eb06a0/1_5tgr4K8facHLlEaXa_pLEg.png" /> &nbsp; “How can media help children and their families to stay healthy? From understanding how their bodies work, coping with illness, learning about health and fitness, or improving their medical experiences; worthy doesn’t have to be boring and a dose of media medicine can be just what doctor ordered.” (The Children’s Media Conference) Last week at the Children’s Media Conference, I was lucky enough to present on a panel about using kid’s media to help child health. I was there to talk about Dubit’s Innovate UK -funded project, with the Royal College of Art, Glasgow School of Art, Sheffield Children’s Hospital NHS Trust and the University of Sheffield, to build a playkit for preparing children to have an MRI scan. As part of the playkit contains a VR component I also drew on ideas from an AHRC/ESRC-funded network which has explored location-based VR experiences for children. I was accompanied by a range of very knowledgeable people working in this field and this got me thinking about what my tips for design in this area would be. Read more here BOOK CHAPTER Yamada-Rice, D. (2019) Including Children in the Design of the Internet of Toys: In Mascheroni, G. &amp; Holloway, D. (Eds) The Internet of Toys: Practices, Affordances and the Political Economy of Children’s Smart play. EXHAUSTED PIRATES &amp; INSOMNIAC ASTRONAUTSNOV 2019 <img width="485" height="486" width_o="485" height_o="486" data-src="https://freight.cargo.site/t/original/i/f2fb30a1c7e79eced5be6110af64f345eee2fdb5647facdccfd341f593603e69/1_GTiH2PV71ELRiXNF2xn6MQ.png" data-mid="71057569" border="0" src="https://freight.cargo.site/w/485/i/f2fb30a1c7e79eced5be6110af64f345eee2fdb5647facdccfd341f593603e69/1_GTiH2PV71ELRiXNF2xn6MQ.png" /> Using design-based workshops to understand children’s sleep knowledge This blog post reflects on sleep workshops that myself and Amy Clark undertook on behalf of Dubit in order to inform a new play about sleep called Sweet Dreams by tutti frutti, a theatre company specialising in productions for young children. The development of the play is funded by the Wellcome Trust and includes Sheffield Children Hospital NHS Trust and the Children’s Sleep Charity as partners. These two partners are experts in child sleep, and along with a wide body of research, can testify that sleep deprivation has a serious impact on emotional, physical and mental health, and is a growing problem for children and their families. Thus, Tutti frutti decided to respond to this need for wider knowledge about the importance of sleep by embedding information on its benefits and the fears children may have of it, into the Sweet Dreams play they are producing for 3–7 year olds. Read more hereKIDS DESIGNING TECH FOR HEALTH APRIL 2019 <img width="1000" height="1333" width_o="1000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0144e88d47c1fef8e6a9e07e69ef76986f58960fc0ee585e1f4857a66c0cc5df/1_9xg6yWzzPsEluuxUri7r-w.jpeg" data-mid="71134519" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/0144e88d47c1fef8e6a9e07e69ef76986f58960fc0ee585e1f4857a66c0cc5df/1_9xg6yWzzPsEluuxUri7r-w.jpeg" /> How much information would young children like to prepare for an MRI scan? How can design and play-based methods help children feed their ideas into the design of a med-tech product? Recently, myself, another researcher from Dubit and academic partners spent time in primary schools working with children aged 4–10 years old. The aim was to gain their ideas for a med-tech product in the form of a play kit to help children their age have an MRI scan.Magnetic Resonance Imaging (MRI) is a non-invasive scanning method that employs strong magnetic fields and radio waves to examine parts of the body. An MRI scan is used to facilitate diagnosis, help determine treatment and evaluate its effectiveness. In 2016–17, 142,020 MRI scans were carried out in England on children aged 0–14 (Dixon, 2017). Dixon (2017) also notes that MRI activity is expanding rapidly with an increase of 10% between 2015–16 and 2016–17. Read more here HUMAN &amp; NON-HUMAN ENTITIES IN JAPANESE STORIES&nbsp;JULY 2019<img width="279" height="500" width_o="279" height_o="500" data-src="https://freight.cargo.site/t/original/i/02fed93e5e0138b432db4bf8f9ef083118e866befc6afd9b819dfe83c4008bee/41qat7im1el.jpg" data-mid="71134786" border="0" src="https://freight.cargo.site/w/279/i/02fed93e5e0138b432db4bf8f9ef083118e866befc6afd9b819dfe83c4008bee/41qat7im1el.jpg" /> &nbsp; &nbsp; &nbsp; In Japan there is an affinity with non-human entities. Of course this includes other living creatures and nature but it also extends to machines and an otherworldly-ness of spirits and gods that according to Shintoism reside in many things. In the Barbican AI exhibition ‘More than Human’, a whole section is dedicated to Shintoism and the connection between human and non-human things in Japan. This is used as a framework for thinking about the connection between people and machines in an era of rapid AI development. “In the Japanese religion of Shinto, Kami are Devine forces or spirits of nature that surpass human intelligence. There are more than 8 million kami that live in natural forms including the sun, oceans, mountains, trees, rocks and animals. They are also believed to live in tools, technologies and extraordinary people. According to Shinto beliefs, all these entities respect each other and live in harmony.” “In Japanese culture and art, life breathes in people, living creatures and artificial objects alike. This perspective is reflected in animation, games and technology.” Wall writing from More than Human, BarbicanRead more here TURNING VR RESEARCH INTO PHYSICAL PROTOTYPESJAN 2019 <img width="1400" height="1050" width_o="1400" height_o="1050" data-src="https://freight.cargo.site/t/original/i/f9c36134cb2dd887b63d88690243eb2f6293cfcf11f31ca632c9adf643ca096e/1_6ox-2v45T0o5ZY8XMEZWtg.jpeg" data-mid="71135132" border="0" src="https://freight.cargo.site/w/1000/i/f9c36134cb2dd887b63d88690243eb2f6293cfcf11f31ca632c9adf643ca096e/1_6ox-2v45T0o5ZY8XMEZWtg.jpeg" />A year ago Dubit co-produced and hosted one of the roadshow events organised by Alison Norrington of StoryCentral for the Children’s Media Foundation on the topic of children and Virtual Reality. Our involvement in this work provides an example of how research, design and development can marry up well. The Research The event at Dubit focused on bringing together industry experts and academics on the topic of ‘crossing physical and virtual worlds in children’s VR’. The event started with an introduction to an Arts and Humanities Research Council funded project on design standards for location-based immersive experiences by Professor Steve Love of Glasgow School of Art. Following this, I shared insights into Dubit’s ‘Children and VR’ study with a particular emphasis on the data and findings that showed how children wanted easier ways to acclimatise from physical to virtual world. Dubit also shared it’ s perspectives on telling narratives across physical and virtual domains. The final two presentations came from Eleanor Dare of Royal College of Art about her AR books and Professor Mark Mon Williams of the University of Leeds who talked how design could help alleviate some of the pressure VR places on some children’s eyes.Read more hereRESEARCH FOR THE DESIGN OF DIGITAL PLAY APRIL 2019 <img width="1400" height="653" width_o="1400" height_o="653" data-src="https://freight.cargo.site/t/original/i/d9722e10146f49351e3341bec14f61010232820cb0535fb1e78d642b926c06b4/1_fawHp08_0uX6CjWCz763gQ.png" data-mid="71284367" border="0" src="https://freight.cargo.site/w/1000/i/d9722e10146f49351e3341bec14f61010232820cb0535fb1e78d642b926c06b4/1_fawHp08_0uX6CjWCz763gQ.png" /> Image: Dubit Insight into research processes behind the development of digital products.Twice a week I work for the children’s media agency Dubit in the area of research leading to design. Dubit is one of only a few agencies that combine research and development under one roof. This is unfortunate because the connection between research and digital development is a vital part of producing a good design. Here I outline four types of research that are user-led and help ensure the products developed match the audience they are designed for.Trends Data looks at the broadest picture, using a quantitative process to reap a broad insight into children’s lives. Dubit collects data in this manner using a 6-monthly online survey of children aged 2–15 years and their parents, which is conducted across 8 countries. The survey asks questions related to children’s tech and media use so we can understand which types of content are engaging children and what technology they have access to. Understanding these international trends allows us to know where the products we produce tie in with what else children are using and the extent to which we are competing with similar content. Read more hereBUILDING A JAPAN-UK NETWORK TO FOCUS ON LOCATION-BASED VR EXPERIENCESMARCH 2019 <img width="802" height="482" width_o="802" height_o="482" data-src="https://freight.cargo.site/t/original/i/e87a0e589960f810914787ffca400a9a285f129bae1922271729638ae43ea611/1_KnefJrDwc-PY2wmReMSFuQ.jpeg" data-mid="71284923" border="0" src="https://freight.cargo.site/w/802/i/e87a0e589960f810914787ffca400a9a285f129bae1922271729638ae43ea611/1_KnefJrDwc-PY2wmReMSFuQ.jpeg" />Image: Deborah RodriguesMyself and others have been awarded ESRC/AHRC funding to build a Japan- UK knowledge exchange network focused on location-based Virtual Reality (VR) experiences for children, which has a growing demand in a range of sectors that include entertainment, education and health. It builds on emerging research findings that suggest that context specific VR is evolving as the next generation of immersive experiences and thus has raised questions around how best to create an experience that crosses physical and virtual spaces. The network will use some of the existing ways in which location-based VR experiences are emerging as a starting point to identify what further research and development needs to be undertaken in this area. These include: Projecting the VR narrative into the physical environment, i.e. Marshmallow Laser Feast’s Ocean of Air.Read more here DEVELOPING A DIGITAL PLAY KIT TO HELP CHILDREN UNDERTAKEN AN MRI JAN 2019 Do you ever wonder what it feels like to have an MRI scan? Perhaps you have already had an MRI and are familiar with the need to remain very still for up to an hour or more, as well as how noisy the scanners are. These are two reasons that 58% of MRIs on 5–10 year olds are performed under General Aesthetic. Figures for children younger than 5 years are harder to calculate. However, in the UK around 60,000 MRI exams are carried out on 4–10 year old’s annually. UK-based research firm and digital studio Dubit has been awarded prestigious Innovate UK funding to expand into the area of gaming for child health by developing a digital play kit to prepare children for undergoing an MRI. Read more here 2018CAN MAKING HEADSETS TEACH CHILDREN HOW VR WORKS? JAN 2018 <img width="601" height="600" width_o="601" height_o="600" data-src="https://freight.cargo.site/t/original/i/8efae7468f3d09d02b840abbea3811f9fdf4231939821ad49f85c627e551d40a/1_jyDAh4KVHXPu9wQaLBsPMg.png" data-mid="71259059" border="0" data-scale="84" src="https://freight.cargo.site/w/601/i/8efae7468f3d09d02b840abbea3811f9fdf4231939821ad49f85c627e551d40a/1_jyDAh4KVHXPu9wQaLBsPMg.png" /> For three years, Dubit has been engaged in research around children and virtual reality. Beyond basic questions of health and safety, engagement and enjoyment, UI and UX, it’s critical with this emerging medium to ask how children can learn to critique VR content. As with any medium, we should want young people across cultures to be critically literate — choosing and engaging thoughtfully across diverse VR content, but also to be content creators themselves. Making builds an active connection between thinking and knowing. Anthropologist Tim Ingold (2013)* wrote that humans have forever learned about the world through our hands. While VR content creation is still a complex process, perhaps enabling young people to design their own VR headsets, with an eye toward enhancing the immersive experience, would spark critical thinking about how VR works. I tested this idea in my role as a Senior Tutor at London’s Royal College of Art, with postgraduate students, building from key findings in Dubit’s Children and Virtual Reality study. Read more here PEER-REVIEWED JOURNAL ARTICLE Yamada-Rice, D. (2018) Licking planets and Stomping on Buildings: children’s interactions with curated spaces in Virtual Reality. Children's Geographies, Vol.16, No. 5.&nbsp; MULTIMODALITY &amp; INFORMATION EXPERIENCE DESIGN <img width="2288" height="1042" width_o="2288" height_o="1042" data-src="https://freight.cargo.site/t/original/i/ec2ab5d7a94f2c28950ca84e15b3e9a15240c434187b3ee79e7074e77ccd415c/screen-shot-2018-11-15-at-17-35-13.png" data-mid="71259222" border="0" src="https://freight.cargo.site/w/1000/i/ec2ab5d7a94f2c28950ca84e15b3e9a15240c434187b3ee79e7074e77ccd415c/screen-shot-2018-11-15-at-17-35-13.png" /> Information Experience Design (IED) work is multimodal. This workshop showed participants&nbsp; how an understanding of multimodal theory can be used to expand their IED practice. There was a focus on: The meaning of a modeWhat it means to transduct information from one mode to anotherThe ways in which modes relate to culture and historyInformation that is lost and gained when one mode is used over anotherThe workshop started with an outline of multimodal theory similar to the last session (see here). In the last multimodality workshop students were asked to observe one mode across the ground floor of the RCA White City campus and find a way to represent it, i.e. to see how the building smells and find a way of representing it. Having done this with groups of social science students in the past I was surprised when none of the IED students choose to represent the mode they were representing in writing. Much of the literature on multimodal analysis within the social sciences uses a form of transcription that breaks down the multimodal whole by transcribing each mode into words and placing them in a table (such as the example below by Mavers, 2005). Read more here PEER-REVIEWED JOURNAL ARTICLEYamada-Rice, D. (2018) 'Designing Play: young children’s play and communication practices in relation to designers’ intentions for their toy' Global Studies of Childhood 8 (1). pp. 5–22.ONLINE PUBLICATION Yamada-Rice, D. and Marsh, J.,&nbsp;(2018)&nbsp;Using Augmented and virtual Reality in the Early Childhood Curriculum. Printed Publication available online. <img width="1684" height="1182" width_o="1684" height_o="1182" data-src="https://freight.cargo.site/t/original/i/023c7d51a5ea7250e60fad418cf78ce3bb7bd3072cb43e36aa2f6821376257e6/Screenshot-2020-06-29-at-10.50.49.png" data-mid="75931391" border="0" src="https://freight.cargo.site/w/1000/i/023c7d51a5ea7250e60fad418cf78ce3bb7bd3072cb43e36aa2f6821376257e6/Screenshot-2020-06-29-at-10.50.49.png" /> DO EMERGING FORMS OF DIGITAL PLAY REQUIRE NEW MEANS FOR ANALYSING DATA? JAN 2018 <img width="1400" height="989" width_o="1400" height_o="989" data-src="https://freight.cargo.site/t/original/i/50cbbe0f049b4d64d75067bc82bbb483120595ac747e2e23b8dd2eb713482c23/1_pHZwBO6D2cyFcRT5wZup4A.jpeg" data-mid="71259944" border="0" src="https://freight.cargo.site/w/1000/i/50cbbe0f049b4d64d75067bc82bbb483120595ac747e2e23b8dd2eb713482c23/1_pHZwBO6D2cyFcRT5wZup4A.jpeg" />Image: Dylan Yamada-Rice It’s fascinating and fun to observe a child at play. Even more fascinating, though, is the underlying engagement and learning that can be uncovered through emerging means of transcribing and analyzing data. Increasingly, research with children in an industry context uses big data from online surveys or harvests data directly from the technology young people are using. Working as a Senior Research Manager at Dubit and a Senior Tutor in Information Experience Design at the Royal College of Art, I too collect and analyse data around children’s play, to guide the design of new digital products. Still, I remain an advocate of the smaller-scale qualitative insights gained from visual and experimental methods. While more resource intensive, observing and talking to children about their use of digital content can provide very rich accounts of what engages them, that may be obscured in quantitative data alone. Currently, myself and others at Dubit are studying children’s use of Virtual Reality (VR), primarily via detailed observation. Does VR affect children’s balance? How do children move in a virtual environment? We video-record their play to answer these questions, but I had to invent new means for transcribing and analyzing that data to delve deeper into the reasons behind children’s actions. Read more herePEER-REVIEWED JOURNAL ARTICLEMarsh, J. A., Plowman, L., Bishop, J, Lahmar, J and Scott, F, Yamada-Rice, D. (2018), Play and creativity in young children’s use of apps. British Journal of Educational Technology, Vol. 49, No.4.EXPERIMENTAL RESEARCH METHODS TEACHING: SENSORY ETHNOGRAPHYNOV 2018 <img width="1192" height="1182" width_o="1192" height_o="1182" data-src="https://freight.cargo.site/t/original/i/985827ce25d343bd38830aac00e1c6b2880e674b304203ba9b06877570f75de8/screen-shot-2018-11-28-at-10-20-06.png" data-mid="71242449" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/985827ce25d343bd38830aac00e1c6b2880e674b304203ba9b06877570f75de8/screen-shot-2018-11-28-at-10-20-06.png" />Photo: Daisy Buckle This workshop started by considering how an ethnographic approach can be used to collect first-hand data that can in turn to be used to inform Information Experience Design work. It then went on to introduce two academics that have shown how the study of seemingly everyday things can be used to provide a deep understanding of the world around us. These were Sarah Pink’s work on Sensory Ethnography and&nbsp; Tim Ingold’s study of lines. The brief for the workshop was to build a den that could keep out the cold. To do this groups were asked to divide into Den Builders and Sensory Ethnographers. The role of the Sensory Ethnographers was to find a means of recording the experience of Den Building by focussing on one particular mode. This idea was developed from the work of IED student Daisy Buckle who is exploring how building human sized nests might help with people’s mental and emotional well-being. Read more hereMAKING AS A WAY OF UNDERSTANDING HOW NARRATIVE FOR VR WORKS&nbsp;MAY 2018 In what are still “early days” for Virtual Reality (VR), experiences predominately are being developed in the following areas: · Health and medicine· Entertainment and Gaming· Education· Art/ cultural sector Narrative design is important to all these areas, resulting in wide discussion of how narrative should be developed for VR’s unique attributes. Increasingly, companies with a tradition of immersive storytelling in non-digital forms are leading innovation in VR storytelling. The Royal Opera House, for example, created Audience Labs to combine historic stories with cutting edge technologies. I’ve been exploring what makes good narrative in VR since beginning as lead researcher on Dubit’s Children and Virtual Reality project. I’ve also led a paper prototyping workshop on the subject with a group of MA Information Experience Design (IED) students at the Royal College of Art. <img width="1362" height="478" width_o="1362" height_o="478" data-src="https://freight.cargo.site/t/original/i/14d9529bb1174940c82cb547157c1eb193e97c294115a9c1171a96386c67b8ec/Screenshot-2020-06-26-at-22.05.22.png" data-mid="75757646" border="0" src="https://freight.cargo.site/w/1000/i/14d9529bb1174940c82cb547157c1eb193e97c294115a9c1171a96386c67b8ec/Screenshot-2020-06-26-at-22.05.22.png" /> Read more here 2017PEER-REVIEWED JOURNAL ARTICLE Yamada-Rice, D. (2017) Designing Play for Dark Times. Contemporary Issues in Early Childhood, Vol.18 (2). p. 196-212. PROJECT REPORTYamada-Rice, D., Mushtaq, F., Woodgate, A., Bosmans, D, Douthwaite, A, Douthwaite, I, Harris, W,&nbsp;Holt, R,&nbsp;Kleeman, D,&nbsp;Marsh, J,&nbsp;Milovidov, E,&nbsp;Mon Williams, M,&nbsp;Parry, B,&nbsp;Riddler, A,&nbsp;Robinson, P,&nbsp;Rodrigues, D,&nbsp;Thompson, S&nbsp;and&nbsp;Whitley, S,&nbsp;(2017), Children and Virtual Reality: Emerging Possibilities and Challenges. Available online at http://childrenvr.org. PEER-REVIEWED JOURNAL ARTICLE Yamada-Rice, D. (2017) "Designing Play for Dark Times' Contemporary Issues in Early Childhood, 18 (2). pp. 196–212 PEER-REVIEWED JOURNAL ARTICLE Yamada-Rice, D. (2017) 'Using visual and digital research methods with young children'. In: Christensen, P. &amp; James, A. (eds) Research with Children: Perspectives and Practices. RoutledgeEU REPORT Yamada-Rice, D. (2017) Designing connected play: Perspectives from combining industry and academic know-how. In: Chaudron S., Di Gioia R., Gemo M., Holloway D., Marsh J., Mascheroni G., Peter J., Yamada-Rice D. Kaleidoscope on the Internet of Toys - Safety, security, privacy and societal insights, EUR 28397 EN, doi:10.2788/05383 2016 BOOK CHAPTER Marsh, J. and Yamada-Rice, D. (2016) Bringing Pudsey to Life: Young Children’s Use of Augmented Reality Apps. In: Kucirkova, N. and Falloon, G. (eds) Apps, Technology and Younger Learners. RoutledgePEER-REVIEWED JOURNAL ARTICLE Marsh, J., Plowman, L., Yamada-Rice, D., Bishop, J. &amp; Scott, F.(2016)&nbsp;Digital play: a new classification Early Years an International Research Journal, Vol, 36 (3). p. 242-253.&nbsp;TOOTHBRUSH ROBOTJAN 2016 I attended a Glück workshop run by Deborah&nbsp; Rodrigues that taught young children how to make their own miniature robots from toothbrush heads. The workshop took place at Der Malfisch, which is a cafe, play and art space for young children. <img src="https://screenlessdigitalplay.files.wordpress.com/2016/02/img_1660.jpg" width="5472" height="3648" style="width: 718.492px; height: 478.995px;"> The design for the toothbrush robots was relatively simple but still fiddly. Deborah explained the process by projecting a video of the process onto the art space wall. The children needed to fix a red wire from a motor to the top of the toothbrush heads, place a battery on top and then add a black wire on top of that.&nbsp; This made the motor vibrate and move the toothbrush robot. The wires were held in place by tape that made them very sensitive. Part of the process was for children to understand how the circuit was made and thus be able to repair their own robots.THE EVOLUTION OF AVAKAIFEB 2016 This was the first prototype for the Ava Kai dolls. The main starting point was their belief in open-ended play. The Vai Kai founders saw this as the starting point. So they started with this childhood ideal rather than the product or the technology. With this in mind they designed a toy that could be fully customised by each child using a selection of different shaped wooden pegs. <img src="https://screenlessdigitalplay.files.wordpress.com/2016/02/img_1544.jpg" width="5472" height="3648" style="width: 718.492px; height: 478.995px;"> The founders felt that the technology should complement traditional play. They allowed the toy to be opened up so that things could be stored inside. <img src="https://screenlessdigitalplay.files.wordpress.com/2016/02/img_1547.jpg" width="5472" height="3648" style="width: 718.492px; height: 478.995px;"> One of the cofounders, Justyne Zubrycke mentioned how she was influenced by Machiko Kasahara ideas on 'Device Art'. "More recently, interactive art has redefined forms of art and the role of artists. What we call device art is a form of media art that integrates art and technology as well as design, entertainment, and popular culture. Instead of regarding technology as a mere tool serving the art, as it is commonly seen, we propose a model in which technology is at the core of artworks." (Kasahara) As it happens I have been interested in Japanese art history for a long time and the ideas described by Kasahara can, I believe, can be traced throughout Japanese art history, that is the ideal that art should also blend seamlessly with everyday life so that it is used not only looked at. In play sessions with children Vai Kai noticed some differences in the way in which children of different ages played with the prototype. 3-5-year-olds really enjoyed adding the pegs and spent a long time doing this, but this did not hold the attention of older children so well. They experimented with adding in technology, such as using an ipad to hunt for the prototype, but the children seemed only to look at the screen.&nbsp; In the end it was decided that the Ava Kai prototype was too open-ended. Read more hereUNBOXING THE AVAKAI COMPARTMENTAPRIL 2016 From the start [of the project lookng at designers intentions for their smart-toy called Avakai] I was interested in the small compartment in the Avakai's base. I thought it would be of interest to young children who I knew from personal experiences liked to collect "stuff" in containers. Here are a couple of examples of collections from my young child: <img src="https://screenlessdigitalplay.files.wordpress.com/2016/04/cg4bx6xwsaava3w.jpg?w=496&amp;h=279"> <img src="https://screenlessdigitalplay.files.wordpress.com/2016/04/cg4fpysxeaahxfj-jpg_large.jpeg?w=496&amp;h=279"> Stones have been reoccurring features of collections since my child was very young. At times I would find pockets full of them before tipping his clothes in the washing. On most occasions I would throw them in the bin but one day I asked him what they were for and he said they were Star Wars rocks for a game he played with friends in the school playground. This reminded me of work by the academic Karen Wohlwend who has looked at how children substitute everyday items to represent digital technology when none is available for them to play with. Also of work by Jackie Marsh and Julia Bishop about how children carry over popular culture themes into their playground play. Read more here2015 FINAL PROJECT REPORT Marsh, J., Plowman, L., Yamada-Rice, D., Bishop, J.C., Lahmar, J., Scott, F., Davenport, A., Davis, S., French, K., Piras, M., Thornhill, S., Robinson, P. and Winter, P. (2015) Exploring Play and Creativity in Pre-Schoolers’ Use of Apps: Final Project Report. Available at: &lt;www.techandplay.org&gt;BOOK REVIEW Yamada-Rice, D., Procter, L., Stirling, E. &amp; Almansour M. (2015) Review: Margolis &amp; Pauwels (eds) (2011). The Sage Handbook of Visual Research Methods, Visual Communication, Vol. 14. No. 2.BOOK Yamada-Rice, D. &amp; Stirling, E. (2015) Visual Methods with Children and Young People. Academics and Visual Industry in Dialogue. London: Palgrave. <img width="1689" height="2622" width_o="1689" height_o="2622" data-src="https://freight.cargo.site/t/original/i/3cb3c31f1b81e313c3cd46cb476b040bc706fe974c4ba7207c0480c22fd52add/CPF2eRmWIAA5L8r.jpeg" data-mid="75895479" border="0" data-scale="37" src="https://freight.cargo.site/w/1000/i/3cb3c31f1b81e313c3cd46cb476b040bc706fe974c4ba7207c0480c22fd52add/CPF2eRmWIAA5L8r.jpeg" />BOOK CHAPTER Yamada-Rice, D. (2015) Semiotic Landscapes: Cultural affordances of texts in and of Japanese landscapes. In: Pahl, K. &amp; Rowsell, J. (eds) (2015) Routledge Handbook of Literacy Studies. Routledge. 2014 Yamada-Rice, D. (2014) Using Multimodal Social Semiotic Theory and Visual Methods to Consider Young Children’s Interaction with and Comprehension of Images. SAGE Research Methods Cases Collection.PEER-REVIEWED JOURNAL ARTICLE Yamada-Rice, D. (2014) The Semiotic Landscape and Three-Year-Olds’ Emerging Understanding of Multimodal Communication Practices, Journal of Early Childhood Research, Vol. 12, No. 2, p. 154-184. 2013BOOK CHAPTER Levy, R., Yamada-Rice, D. and Marsh, J. (2013) Digital literacies in the primary classroom. In: Hall, K., Cremin, T., Comber, B. and Moll, L. (eds) (2013) International Handbook of Research in Children's Literacy, Learning and Culture. Wiley-Blackwell. 20122011 PEER-REVIEWED JOURNAL ARTICLEYamada-Rice, D. (2011) New Media, evolving multimodal literacy practices and the potential impact of increased use of the visual mode in the urban environment on young children’s learning. Literacy, Vol. 45, No. 1, p.32-43.PEER-REVIEWED JOURNAL ARTICLE Yamada-Rice, D. (2011) A Comparative Study of Visuals in the Urban Landscapes of Tokyo and London, Visual Communication, Vol. 10, No. 2, p.175-186. https://dylanyamadarice.com/RESEARCH-Blueprint-for-a-Good-Digital-Society Wed, 08 Jul 2026 09:37:48 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/RESEARCH-Blueprint-for-a-Good-Digital-Society Blueprint for a Good Digital SocietyJune 2026 - November 2026Funded by ESRC via the Digital Good Network Co-I: John Potter, UCL Using the following prompt: In a digital good society children will have access to hybrid (digital, virtual and analogue) arts education in formal schooling to allow them to critically engage with technologies, related systems and agendas, I have identified formal education and a blueprint for how arts and media education can be combined and introduced to late primary/ early secondary school children. The blueprint project for educational policy and related industry stakeholders has evolved from our DGN funded project “Exploring children’s notions of what makes a digital good/bad society using hybrid art practice”, which produced evidence that using arts as a form of media education was a successful way of critically engaging young users with technologies, related systems and ideologies. Specifically, in relation to smart phones, smart objects, AI and gaming. Policy connected to children’s relationship to these technologies is shifting from making industry and platform providers responsible for children’s digital wellbeing (i.e., UK Online Safety Act, 2023) to new moves to blanket ban under 16s from social media. Organisations like the&nbsp;Five Rights Foundation have questioned the effectiveness of this. To this end, this blueprint would show how arts education could help inform children’s formal media education and fill a gap in current curricula and policy.Our blueprint entitled: “Children’s critical engagement with technology in a digital good society: the case for hybrid arts education in formal schooling” is one of 15 commissioned and will form a series to be published simultaneously by the Digital Good Network which is advancing understanding of what a good digital society looks like and how we get there. <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4ddf6225a467c7b106cf0b0c30c418752af9aeebe97f42f19ee1103b5254d6f4/Square-templates.jpg" data-mid="250203273" border="0" data-scale="22" src="https://freight.cargo.site/w/1000/i/4ddf6225a467c7b106cf0b0c30c418752af9aeebe97f42f19ee1103b5254d6f4/Square-templates.jpg" /> Each blueprint and a related briefing document focuses on a particular aspect of social life or societal institution looks like in a good digital society, and how we achieve it. The remainder in the series include: 1. Digital Governance for urban administration in the Global South in a good digital society.&nbsp;Fenna Imara Hoefsloot, University College LondonAyona Datta, University College London 2. Digital death in a good digital societyEva Nieto McAvoy, King’s College London 3. Environmentally sustainable use of generative AI in Schools in a good digital societyMiles Berry, University of RoehamptonArif Mahmud, University of Roehampton 4. Digital spaces to support survivors of human trafficking in a digital good societySohail Jannesari, King’s College LondonSharli Paphitis, King’s College London 5. Rest, calm and downtime in a good digital societyTina Kendall, Anglia Ruskin University 6. Connected families in a good digital society Murray Goulden, University of NottinghamJenny van Hooff, Manchester Metropolitan University 7. Digital platforms with and for autistic people ina good digital societyNelya Koteyko, Queen Mary, University of LondonBelén Barros Pena, City St George’s, University of London 8. A good city AI ecosystem: the case of Manchester Richard Whittle, Salford UniversitySherelle Fairweather, Manchester City CouncilJames Ransom, freelance 9. Inclusive and safe virtual reality in a good digital society Oliver Merry, Sheffield Hallam UniversityKate Whitfield, Sheffield Hallam University 10. Digital tools to support food sharing in a good digital society: the case of community-based initiatives for migrants/refugees Sara Marino, London College of Communication, University of the Arts 11. Digital infrastructures of cooperative care: adult domiciliary social care in a good digital society Genevieve Shanahan, Cardiff UniversityMaria Daskalaki, Oxford Brookes UniversityEmma Back, Equal Care Co-opMaimoona Waseem, Nottingham Trent University 12. Digital-first museums and community-hosted heritage initiative in a good digital society Daniel McNeil, University of BirminghamChamion Caballero, The Mixed MuseumDhiraj Murthy, University of Texas at AustinKennya Souza, University of Birmingham 13. Just and ethical film-making with/without Gen-AI in a good digital society Sylvia Hayes, University of ExeterEmilie Vrain, University of Oxford 14. Anti-ableist data and algorithmic sustems in a good digital society Denis Newman-Griffis, University of SheffieldBonnielin Swenor, Johns Hopkins UniversityLauren Scattergood, University of Sheffield https://dylanyamadarice.com/RESEARCH-Stories-of-Us Tue, 02 Jun 2026 13:40:56 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/RESEARCH-Stories-of-Us Stories of UsMay 2026 - December 2026Funded by the Arts and Humanities Research Council (LUCIA Fund) PI: Plymouth University with partners: Hastings Commons Community Land Trust, Nudge Community Builders, Plymouth Octopus Project (POP), The Box, Prospect Brixham CIC, Social Life, The Data Place, , University of CambridgeAs part of the AHRC Locally Unlocking Culture through Inclusive Access (LUCIA) funding, this project connects with local communities in Plymouth and Hastings to explore the role of data in decision-making about their neighbourhoods and cities. The network project explores how local communities can be better supported to take part in decisions that affect their neighbourhoods looking to address the gap between gathering information, having the shared tools and resources needed to support grass-roots community knowhow to influence change.Within the wider project that seeks to engage communities to explore the connection between data and stories about their knowledge and emotions connected to where they live, I am focusing on the development of workshops for teenagers about how AI is used in this way and what might be missed as a result.&nbsp; Research Workshops The workshops were designed to allow young people the chance to explore what they like about their city and what they would like to change. This was then considered in relation to activities that explore how AI works. Specifically, we looked at what they thought a dataset is, who chooses how images in datasets get labelled and what might be missed from their own lived experiences of place. Finally, the young people used Gen AI to produce images of how they wanted to improve their city to see if it was capable of bringing their ideas to life. &nbsp; <img width="6435" height="9097" width_o="6435" height_o="9097" data-src="https://freight.cargo.site/t/original/i/551c7240350eefabb0432a17875fa7df522cf1a2a2152a680bc3e5b2f1316112/stories-of-us-flyer-2.jpg" data-mid="249020023" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/551c7240350eefabb0432a17875fa7df522cf1a2a2152a680bc3e5b2f1316112/stories-of-us-flyer-2.jpg" /> Image: Flyer to invite young people to take part in the research workshops (Yamada,Rice, 2026) <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/7f23f1f429e5fe35bc77213b1c9261d5a8065886a24d0a7c9d415660609c0e9e/IMG_7083.jpeg" data-mid="250109033" border="0" src="https://freight.cargo.site/w/1000/i/7f23f1f429e5fe35bc77213b1c9261d5a8065886a24d0a7c9d415660609c0e9e/IMG_7083.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3683fb87ee3c529c5505f91094f3d88272e7ab421a4ec199df3e0aaa2316f709/IMG_7089.jpeg" data-mid="250109129" border="0" src="https://freight.cargo.site/w/1000/i/3683fb87ee3c529c5505f91094f3d88272e7ab421a4ec199df3e0aaa2316f709/IMG_7089.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8d9ec361d10b5873970169dde5744ace8ad4482e411d0efd439d910dea6b57cb/IMG_7076.jpeg" data-mid="250109020" border="0" src="https://freight.cargo.site/w/1000/i/8d9ec361d10b5873970169dde5744ace8ad4482e411d0efd439d910dea6b57cb/IMG_7076.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/173c05fb0cf9ff20d27eb9079dce805b3f9a6c23676159fd69c81617d487ec7c/IMG_7080.jpeg" data-mid="250109025" border="0" src="https://freight.cargo.site/w/1000/i/173c05fb0cf9ff20d27eb9079dce805b3f9a6c23676159fd69c81617d487ec7c/IMG_7080.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0d39ea5021db605e8a93f534ee85ff755118ec405065301c7c366ebc0108a6b1/IMG_6676.jpeg" data-mid="250109692" border="0" src="https://freight.cargo.site/w/1000/i/0d39ea5021db605e8a93f534ee85ff755118ec405065301c7c366ebc0108a6b1/IMG_6676.jpeg" /> <img width="3481" height="2997" width_o="3481" height_o="2997" data-src="https://freight.cargo.site/t/original/i/d5d934f15421546767b45ff537df83dcad224e1e16d16e3ce6c3b2f17a0d2815/IMG_7087.jpeg" data-mid="250109128" border="0" src="https://freight.cargo.site/w/1000/i/d5d934f15421546767b45ff537df83dcad224e1e16d16e3ce6c3b2f17a0d2815/IMG_7087.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a3be4a67129f9101981912819f33037a5427d6f92c93095911aad0db66330e36/IMG_6688.jpeg" data-mid="250109693" border="0" src="https://freight.cargo.site/w/1000/i/a3be4a67129f9101981912819f33037a5427d6f92c93095911aad0db66330e36/IMG_6688.jpeg" /> <img width="3024" height="3070" width_o="3024" height_o="3070" data-src="https://freight.cargo.site/t/original/i/1f3d91c647a622105602623a351213252f86592068d04ce09b4f0cf925f5a326/IMG_6693.jpeg" data-mid="250109716" border="0" src="https://freight.cargo.site/w/1000/i/1f3d91c647a622105602623a351213252f86592068d04ce09b4f0cf925f5a326/IMG_6693.jpeg" /> <img width="3551" height="2399" width_o="3551" height_o="2399" data-src="https://freight.cargo.site/t/original/i/c513412c3e12c83db7e7a0a042de0381a4a8b105ac60e5212d2902128d54e771/IMG_6700.jpeg" data-mid="250109717" border="0" src="https://freight.cargo.site/w/1000/i/c513412c3e12c83db7e7a0a042de0381a4a8b105ac60e5212d2902128d54e771/IMG_6700.jpeg" /> Images: Workshop activities One of the workshops was in collaboration with CIC Fotonow, and as part of the workshop they led young people on a walk around Plymouth city centre to photograph things that interested them or wanted to change. <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c23c0daa89236ea0e6c72da515c4d424b34d11bba4f22112803b253744f8e3be/FO9_0025.JPG" data-mid="250123825" border="0" src="https://freight.cargo.site/w/1000/i/c23c0daa89236ea0e6c72da515c4d424b34d11bba4f22112803b253744f8e3be/FO9_0025.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f752532564f92d85cde5444349584bf69cfc9a3e6992b02eebac94822bdd7c34/FO9_0017.JPG" data-mid="250123814" border="0" src="https://freight.cargo.site/w/1000/i/f752532564f92d85cde5444349584bf69cfc9a3e6992b02eebac94822bdd7c34/FO9_0017.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ad3ca0ba9c85aadc4898d3c9f4b0ce6e9eae63e919676bca459674989b229b50/FO9_0031.JPG" data-mid="250123830" border="0" src="https://freight.cargo.site/w/1000/i/ad3ca0ba9c85aadc4898d3c9f4b0ce6e9eae63e919676bca459674989b229b50/FO9_0031.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3d193e0d496c822f88beae860fd580e0e9339f6cbfcca1c9d03ce7f7d5fa1c1c/FO9_0008.JPG" data-mid="250123389" border="0" src="https://freight.cargo.site/w/1000/i/3d193e0d496c822f88beae860fd580e0e9339f6cbfcca1c9d03ce7f7d5fa1c1c/FO9_0008.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/549c689b54d5f168734f82880ac8724d59a858266eefd84ba4c1b0be2817cd77/F08_0013.JPG" data-mid="250123834" border="0" src="https://freight.cargo.site/w/1000/i/549c689b54d5f168734f82880ac8724d59a858266eefd84ba4c1b0be2817cd77/F08_0013.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/80a2f294f6924faee7284362bdbb4f6a6288665aa3251e0a5833c8a028c9f572/F08_0042.JPG" data-mid="250133632" border="0" src="https://freight.cargo.site/w/1000/i/80a2f294f6924faee7284362bdbb4f6a6288665aa3251e0a5833c8a028c9f572/F08_0042.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/caa2bbbd9e34b8b4e63114e1c330a7a9d66b26412ab89dbc28a4c07b9f05079a/F08_0032.JPG" data-mid="250133644" border="0" src="https://freight.cargo.site/w/1000/i/caa2bbbd9e34b8b4e63114e1c330a7a9d66b26412ab89dbc28a4c07b9f05079a/F08_0032.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/77f46bf41f8819559b7a8fc0d494c78efce5cde7b873e237f1b13705af8a2d0b/F08_0021.JPG" data-mid="250133624" border="0" src="https://freight.cargo.site/w/1000/i/77f46bf41f8819559b7a8fc0d494c78efce5cde7b873e237f1b13705af8a2d0b/F08_0021.JPG" /> <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/ead180a4864138bde88d1df8e57b6ed0013eb9a22de2766de0ddb7eb142a2b81/F03_0008.JPG" data-mid="250133646" border="0" src="https://freight.cargo.site/w/1000/i/ead180a4864138bde88d1df8e57b6ed0013eb9a22de2766de0ddb7eb142a2b81/F03_0008.JPG" /> Images: A selection of young people’s photos from the photo walk&nbsp; https://dylanyamadarice.com/GRAPHIC-NARRATIVE-Holst-150-zine Mon, 21 Jul 2025 13:10:37 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/GRAPHIC-NARRATIVE-Holst-150-zine Holst 150 Zine January 2024 - December 2024Funded by the Arts Council EnglandAs part of a series of events funded by the Arts Council England and led by Jamese Edward Marks to celebrate the 150th anniversary of Gustav Holst, born 1874, Eleanor Dare created a Roblox space containing instruments for composing and playing music and a peace camp to align with Holst’s call to maintain the equilibrium of the Planets. I produced a zine to accompany the Roblox experiences and encourage actions for peace to accompany it’s use.&nbsp; <img width="595" height="841" width_o="595" height_o="841" data-src="https://freight.cargo.site/t/original/i/8e27c4fc4e83c08178241a23f81af371cdacd0255b8d641670e927c3f04c38d5/Final-Holst-Zine.jpg" data-mid="236085543" border="0" data-scale="49" src="https://freight.cargo.site/w/595/i/8e27c4fc4e83c08178241a23f81af371cdacd0255b8d641670e927c3f04c38d5/Final-Holst-Zine.jpg" /> <img width="878" height="1244" width_o="878" height_o="1244" data-src="https://freight.cargo.site/t/original/i/eef7db001ad8c56466785d1a42e9d017ae3ba66645e319ba34e970e6a9ff1026/Screenshot-2025-07-21-at-14.18.37.png" data-mid="236085394" border="0" src="https://freight.cargo.site/w/878/i/eef7db001ad8c56466785d1a42e9d017ae3ba66645e319ba34e970e6a9ff1026/Screenshot-2025-07-21-at-14.18.37.png" /><img width="876" height="1245" width_o="876" height_o="1245" data-src="https://freight.cargo.site/t/original/i/e55bdf2168b847092812215ae99a51d9eb0a777f76b48c723ab8f1945519276b/Screenshot-2025-07-21-at-14.18.45.png" data-mid="236085392" border="0" src="https://freight.cargo.site/w/876/i/e55bdf2168b847092812215ae99a51d9eb0a777f76b48c723ab8f1945519276b/Screenshot-2025-07-21-at-14.18.45.png" /><img width="874" height="1245" width_o="874" height_o="1245" data-src="https://freight.cargo.site/t/original/i/7965d50798e8a924d5582fcef58abc1987185e57c80f46422e44703fd6f5cc88/Screenshot-2025-07-21-at-14.18.55.png" data-mid="236085390" border="0" src="https://freight.cargo.site/w/874/i/7965d50798e8a924d5582fcef58abc1987185e57c80f46422e44703fd6f5cc88/Screenshot-2025-07-21-at-14.18.55.png" /><img width="877" height="1236" width_o="877" height_o="1236" data-src="https://freight.cargo.site/t/original/i/650abed230002579cab59de259bd100c7b8eb948dfbe480541c4ed4d037f0a69/Screenshot-2025-07-21-at-14.19.03.png" data-mid="236085388" border="0" src="https://freight.cargo.site/w/877/i/650abed230002579cab59de259bd100c7b8eb948dfbe480541c4ed4d037f0a69/Screenshot-2025-07-21-at-14.19.03.png" /><img width="879" height="1245" width_o="879" height_o="1245" data-src="https://freight.cargo.site/t/original/i/e503f6e236ad2b05df7a4455f62e9368c1cc2109b4971b1baf996be43bdfc155/Screenshot-2025-07-21-at-14.19.11.png" data-mid="236085386" border="0" src="https://freight.cargo.site/w/879/i/e503f6e236ad2b05df7a4455f62e9368c1cc2109b4971b1baf996be43bdfc155/Screenshot-2025-07-21-at-14.19.11.png" /><img width="879" height="1242" width_o="879" height_o="1242" data-src="https://freight.cargo.site/t/original/i/fef6adb95fa9c6a89957c921043592646955da0dcefe584c1b39d5c5894cfab8/Screenshot-2025-07-21-at-14.19.17.png" data-mid="236085384" border="0" src="https://freight.cargo.site/w/879/i/fef6adb95fa9c6a89957c921043592646955da0dcefe584c1b39d5c5894cfab8/Screenshot-2025-07-21-at-14.19.17.png" /><img width="875" height="1241" width_o="875" height_o="1241" data-src="https://freight.cargo.site/t/original/i/32f8c5694567409f0b08d7fbd0454f3b6f689bfeef791512827a32d1975ac895/Screenshot-2025-07-21-at-14.19.20.png" data-mid="236085383" border="0" src="https://freight.cargo.site/w/875/i/32f8c5694567409f0b08d7fbd0454f3b6f689bfeef791512827a32d1975ac895/Screenshot-2025-07-21-at-14.19.20.png" /> <img width="881" height="1244" width_o="881" height_o="1244" data-src="https://freight.cargo.site/t/original/i/5d8cfa80e2f6ae68d62f392d3b7569b8b1ac3f138da98d3918870418a1e3662b/Screenshot-2025-07-21-at-14.18.41.png" data-mid="236085393" border="0" src="https://freight.cargo.site/w/881/i/5d8cfa80e2f6ae68d62f392d3b7569b8b1ac3f138da98d3918870418a1e3662b/Screenshot-2025-07-21-at-14.18.41.png" /><img width="879" height="1242" width_o="879" height_o="1242" data-src="https://freight.cargo.site/t/original/i/16ec9235fbb83ca4a2e029e45fd205ff08bceee194a7b58db8fd7fcc9273bede/Screenshot-2025-07-21-at-14.18.48.png" data-mid="236085391" border="0" src="https://freight.cargo.site/w/879/i/16ec9235fbb83ca4a2e029e45fd205ff08bceee194a7b58db8fd7fcc9273bede/Screenshot-2025-07-21-at-14.18.48.png" /><img width="873" height="1240" width_o="873" height_o="1240" data-src="https://freight.cargo.site/t/original/i/b5609eb165a3e42f21841855aa51c4e891681be3fd9afc97de802524181c920f/Screenshot-2025-07-21-at-14.18.59.png" data-mid="236085389" border="0" src="https://freight.cargo.site/w/873/i/b5609eb165a3e42f21841855aa51c4e891681be3fd9afc97de802524181c920f/Screenshot-2025-07-21-at-14.18.59.png" /><img width="875" height="1242" width_o="875" height_o="1242" data-src="https://freight.cargo.site/t/original/i/8914fafd20b0a59f73cb4acf4a7b1552490993071b2fefb105410db07b04d60c/Screenshot-2025-07-21-at-14.19.08.png" data-mid="236085387" border="0" src="https://freight.cargo.site/w/875/i/8914fafd20b0a59f73cb4acf4a7b1552490993071b2fefb105410db07b04d60c/Screenshot-2025-07-21-at-14.19.08.png" /><img width="876" height="1241" width_o="876" height_o="1241" data-src="https://freight.cargo.site/t/original/i/9167acbe44491ac7086689df4f3221dfe72c2ac591b0a79eff1aa4f21fca1b14/Screenshot-2025-07-21-at-14.19.14.png" data-mid="236085385" border="0" src="https://freight.cargo.site/w/876/i/9167acbe44491ac7086689df4f3221dfe72c2ac591b0a79eff1aa4f21fca1b14/Screenshot-2025-07-21-at-14.19.14.png" /><img width="879" height="1242" width_o="879" height_o="1242" data-src="https://freight.cargo.site/t/original/i/fef6adb95fa9c6a89957c921043592646955da0dcefe584c1b39d5c5894cfab8/Screenshot-2025-07-21-at-14.19.17.png" data-mid="236085384" border="0" src="https://freight.cargo.site/w/879/i/fef6adb95fa9c6a89957c921043592646955da0dcefe584c1b39d5c5894cfab8/Screenshot-2025-07-21-at-14.19.17.png" /><img width="881" height="1245" width_o="881" height_o="1245" data-src="https://freight.cargo.site/t/original/i/401c4e8305967c999a5c4b7a65890212e4dbe39ec25c9a6f52dbfa48137c3ce9/Screenshot-2025-07-21-at-14.19.28.png" data-mid="236085382" border="0" src="https://freight.cargo.site/w/881/i/401c4e8305967c999a5c4b7a65890212e4dbe39ec25c9a6f52dbfa48137c3ce9/Screenshot-2025-07-21-at-14.19.28.png" /> <img width="3003" height="2037" width_o="3003" height_o="2037" data-src="https://freight.cargo.site/t/original/i/6ee02a1c9331cc18e47f67240bd6ef37b61d6d78b7e60e56f6f33b6a96415e64/IMG_6528.jpeg" data-mid="236078187" border="0" src="https://freight.cargo.site/w/1000/i/6ee02a1c9331cc18e47f67240bd6ef37b61d6d78b7e60e56f6f33b6a96415e64/IMG_6528.jpeg" /><img width="2666" height="2055" width_o="2666" height_o="2055" data-src="https://freight.cargo.site/t/original/i/c310561059257e7e6c203d9607af338845364bb8a659b9a77cb45974015d4728/18.jpeg" data-mid="236078183" border="0" src="https://freight.cargo.site/w/1000/i/c310561059257e7e6c203d9607af338845364bb8a659b9a77cb45974015d4728/18.jpeg" /> https://dylanyamadarice.com/GRAPHIC-NARRATIVE-Geocached-comics Wed, 28 Aug 2024 19:52:34 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/GRAPHIC-NARRATIVE-Geocached-comics Geocache Comics&nbsp;2024The following are a series of graphic narratives I produced to be digitally geocahed within a videogame that seeks to encourage children to engage with and look after trees.&nbsp; As part of the game development process workshops were conducted with primary school children to bring them into the design of videogame characters, gaming narrative and mechanics. To materialise their ideas children made masks to illustrate their characters, then wore them to embody their character designs and demonstrate the gaming narratives and mechanics they wanted in the school playground.&nbsp; The comics I created to be geocached built directly on the ideas they shared with me through these making processes.&nbsp; Bubble Gum Clouds <img width="1472" height="2159" width_o="1472" height_o="2159" data-src="https://freight.cargo.site/t/original/i/9079aada14b1a1dcef2cf07a43ad78a0d60b8c2b8257728d7428e93ef9ba979f/IMG_0654.JPG" data-mid="217108036" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/9079aada14b1a1dcef2cf07a43ad78a0d60b8c2b8257728d7428e93ef9ba979f/IMG_0654.JPG" /> “There are clouds. What will the clouds do in the game? They will kind of just sit there because they are bubble gum clouds so they won’t really do much but they still look pretty. These clouds will come out at night and there will be like a sunset every night.” (9-10-year-old) <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/9d35b54bae80d17c5f67ac9fd90f7dbc4438c8daffb904fdc21ff6869e74ff5a/IMG_5696.jpeg" data-mid="217108035" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/9d35b54bae80d17c5f67ac9fd90f7dbc4438c8daffb904fdc21ff6869e74ff5a/IMG_5696.jpeg" />Image: Mask made by a 9-10-year-old Bob the Wood Monster &amp; the Bird <img width="2481" height="3508" width_o="2481" height_o="3508" data-src="https://freight.cargo.site/t/original/i/378d167dda570e49667a1a9a97670a6eb0b6b84c660fa9ad543e09401490ba0a/Bob-the-wood-monster.jpg" data-mid="217137853" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/378d167dda570e49667a1a9a97670a6eb0b6b84c660fa9ad543e09401490ba0a/Bob-the-wood-monster.jpg" /> “That’s Bob the Wood Monster. What does Bob the Wood Monster do? He throws mud. Tell me about your main character. He has wings and he can see in the dark.”&nbsp;(9-10-year-old) <img width="804" height="724" width_o="804" height_o="724" data-src="https://freight.cargo.site/t/original/i/114eb38cf65b0163f8aad08d61f10472e03eba0d524e4fe1e603b7b08fcaca05/Screenshot-2024-08-14-at-19.34.54.png" data-mid="217137845" border="0" src="https://freight.cargo.site/w/804/i/114eb38cf65b0163f8aad08d61f10472e03eba0d524e4fe1e603b7b08fcaca05/Screenshot-2024-08-14-at-19.34.54.png" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/37e44648861d204cb30abee429226bebba5d044296e1d2099048554eaca72ed1/IMG_5647.jpeg" data-mid="217137843" border="0" src="https://freight.cargo.site/w/1000/i/37e44648861d204cb30abee429226bebba5d044296e1d2099048554eaca72ed1/IMG_5647.jpeg" /> Image: Mask and drawing by a 9-10-year-old Laser Eyes <img width="1425" height="2157" width_o="1425" height_o="2157" data-src="https://freight.cargo.site/t/original/i/72ac8ae21ba8211c715028a029756966b93d6e40e87fc76449efa15c66f461dc/IMG_0665.JPG" data-mid="217137965" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/72ac8ae21ba8211c715028a029756966b93d6e40e87fc76449efa15c66f461dc/IMG_0665.JPG" /> “He has laser beams that come from all the eyes. It lives in a creepy little black cave somewhere far away and every time someone goes in it he wakes up. It’s a horror game...The tree is actually a person who helps this evil character. When the person is playing the game they will hear spooky voices coming from the tree...in real life no one should cut the trees down because they help us live and survive.”&nbsp;(9-10-year-old) <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/421866e71298db5fdf8ac517c35175a17a438e80255c3e30d4fcc750986279d3/IMG_5698.jpeg" data-mid="217137964" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/421866e71298db5fdf8ac517c35175a17a438e80255c3e30d4fcc750986279d3/IMG_5698.jpeg" /> Image: Mask and drawing by a 9-10-year-old Deer <img width="1439" height="2159" width_o="1439" height_o="2159" data-src="https://freight.cargo.site/t/original/i/fa18083e5664b6171175d51749c86213e302157f2094b460af99c8b85aedb23d/IMG_0645.JPG" data-mid="217138882" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/fa18083e5664b6171175d51749c86213e302157f2094b460af99c8b85aedb23d/IMG_0645.JPG" /> “There is a path with monsters on it. What do I have to do when I see the monster? You have to hide from it. You have to get past the monsters and to the end of the path.”&nbsp;(9-10-year-old) <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e7c1bbe269c6c07e0ef8dde24b2bf12be0b920e2230fb5a0383ff41b19f7872a/IMG_5670.jpeg" data-mid="217138883" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/e7c1bbe269c6c07e0ef8dde24b2bf12be0b920e2230fb5a0383ff41b19f7872a/IMG_5670.jpeg" />Image: Mask by a 9-10-year-old Radioactive Cat <img width="1536" height="2277" width_o="1536" height_o="2277" data-src="https://freight.cargo.site/t/original/i/afe3911e23bd469044fe906446813b7da91bf939fb9853d6052570fd6614a543/Radioactive-cat.JPG" data-mid="217139285" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/afe3911e23bd469044fe906446813b7da91bf939fb9853d6052570fd6614a543/Radioactive-cat.JPG" /> From memory of talking to child the character is based on the idea of environmental damage caused by the Fukushima nuclear power plant in Japan. In her version of the story the nature that has been made radioactive by wastewater being returned to the sea, rises up and fights back against the humans that caused the problem. “Radiation. They could use a forcefield to back him away.”&nbsp;(9-10-year-old) <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/dfc31157bc8b37aec626cf8826d8f7c5e8b027a5ccf1ab32bad14fe6392b3f75/IMG_5743.jpeg" data-mid="217139284" border="0" src="https://freight.cargo.site/w/1000/i/dfc31157bc8b37aec626cf8826d8f7c5e8b027a5ccf1ab32bad14fe6392b3f75/IMG_5743.jpeg" /> <img width="531" height="708" width_o="531" height_o="708" data-src="https://freight.cargo.site/t/original/i/487fa775eeacec5b484008ad1e6e50c7d111e4fc2e1270c75c2f847406eda5f9/Picture-1.jpg" data-mid="217139283" border="0" src="https://freight.cargo.site/w/531/i/487fa775eeacec5b484008ad1e6e50c7d111e4fc2e1270c75c2f847406eda5f9/Picture-1.jpg" /> Image: Mask and drawing by a 9-10-year-old Biscuit &amp; Squirrel <img width="1440" height="2159" width_o="1440" height_o="2159" data-src="https://freight.cargo.site/t/original/i/5e3607b10cf94761296815a034fbc1ad18647e855a81d32a503396203f076c06/IMG_0641.JPG" data-mid="217139471" border="0" data-scale="55" src="https://freight.cargo.site/w/1000/i/5e3607b10cf94761296815a034fbc1ad18647e855a81d32a503396203f076c06/IMG_0641.JPG" /> “This is Biscuit and he’s got powers that are really quick and he can stand up on his hind legs and build barriers. There are squirrels that he has got to try and steal the hazelnut from. This is a drawing of Biscuit’s house. It’s only small but Biscuit really likes his home. He has a flat landscape but where the squirrel lives there is a really tall tree.”&nbsp;(9-10-year-old) From another child: “[The main character] is Gordon. There is a tree, that is my tree. I have a tree because I am a squirrel. I put mine in it [the cone] because I have super speed to climb up it [the tree]. That’s Biscuit [the dog see above] he’s got building powers. So what is happening with the pine cone? If he [Biscuit] grabs it all my powers vanish. He wants to put it in his safe [which is a tree house] but I am also after his bone.”&nbsp;(9-10-year-old) <img width="464" height="617" width_o="464" height_o="617" data-src="https://freight.cargo.site/t/original/i/a1a0cf15bc957da51f5726b5555693fdbd7ee73ba29069f310c7ebe1478870e6/Picture-2.jpg" data-mid="217139466" border="0" src="https://freight.cargo.site/w/464/i/a1a0cf15bc957da51f5726b5555693fdbd7ee73ba29069f310c7ebe1478870e6/Picture-2.jpg" /> <img width="1708" height="963" width_o="1708" height_o="963" data-src="https://freight.cargo.site/t/original/i/b357121f842931289b3d16a9ac3e5702a51e4ed52c30dc1ac736f0db7b3436cc/Screenshot-2024-08-13-at-21.01.27.png" data-mid="217139470" border="0" src="https://freight.cargo.site/w/1000/i/b357121f842931289b3d16a9ac3e5702a51e4ed52c30dc1ac736f0db7b3436cc/Screenshot-2024-08-13-at-21.01.27.png" /> <img width="415" height="748" width_o="415" height_o="748" data-src="https://freight.cargo.site/t/original/i/c198ae3acb3e973fc712d1c47e45423f1cc0e101d6dd639adbf0ad4c9ff3b507/Picture-3.jpg" data-mid="217139468" border="0" src="https://freight.cargo.site/w/415/i/c198ae3acb3e973fc712d1c47e45423f1cc0e101d6dd639adbf0ad4c9ff3b507/Picture-3.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/97861e143f78b9bc499dd7215f73fad4ef51eafa4ddfc6acf9a7076b27698562/IMG_5657.jpeg" data-mid="217139469" border="0" src="https://freight.cargo.site/w/1000/i/97861e143f78b9bc499dd7215f73fad4ef51eafa4ddfc6acf9a7076b27698562/IMG_5657.jpeg" /> <img width="321" height="223" width_o="321" height_o="223" data-src="https://freight.cargo.site/t/original/i/82d4a7d3f8c8e733f1491dc1d4d57b972f44aa4e1b3c41d167f8b4871f700c4e/Picture-1.jpg" data-mid="217141958" border="0" src="https://freight.cargo.site/w/321/i/82d4a7d3f8c8e733f1491dc1d4d57b972f44aa4e1b3c41d167f8b4871f700c4e/Picture-1.jpg" /> Image: Masks and drawings bytwo 9-10-year-olds https://dylanyamadarice.com/TEACHING-ARCHIVE-Experience-Design Wed, 28 Aug 2024 13:27:01 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/TEACHING-ARCHIVE-Experience-Design MA Experience DesignTeaching Archive from MA Experience Design, University of Plymouth, 2023-2025 At the University of Plymouth, I led the MA in Experience Design. The programme centred on creating bespoke experiences for specific audiences to allow them to engage with real-world issues. Design Lab The two core modules of the course, Design Lab 1 and Design Lab 2 focused on theory and practical workshops connected to storytelling, immersion, interaction and using experimental research methods to bring a deep connection with these three areas to the intended audience of the artwork being created. In order to begin the idea of asking students to think about what an “experience” can be, I decided to produce hand-stitched module guides and reading lists that would encourage reading, playing and watching in relation to the key theories being taught on the course. It was intended to demonstrate that Experience Design can be seen also be seen as a philosophical approach and applied to anything. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7e8e2564b5e9e30e0ad8049a5c850729ee4d58795564dadda71a5cbd8303826f/IMG_1108.jpeg" data-mid="229287892" border="0" src="https://freight.cargo.site/w/1000/i/7e8e2564b5e9e30e0ad8049a5c850729ee4d58795564dadda71a5cbd8303826f/IMG_1108.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8270ab554b28262bbe6a72e9d08c6accfee3e4e7e54afb0a33eddcbfc6259923/IMG_2015.jpeg" data-mid="229287893" border="0" src="https://freight.cargo.site/w/1000/i/8270ab554b28262bbe6a72e9d08c6accfee3e4e7e54afb0a33eddcbfc6259923/IMG_2015.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/507ac9f694a3b39123e73d8f2483363543b5c8b6661dcd2f558766059a2989f7/IMG_2043.jpeg" data-mid="229287891" border="0" src="https://freight.cargo.site/w/1000/i/507ac9f694a3b39123e73d8f2483363543b5c8b6661dcd2f558766059a2989f7/IMG_2043.jpeg" /> Images: Reading lists and module guides <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/cb2c7436248e30c9c7f5228d725afb6cab7629cbbcc9ade68a896804ce851755/6E471818-1CB0-4AE4-8A9B-3D6C301FA300.JPG" data-mid="238675220" border="0" src="https://freight.cargo.site/w/1000/i/cb2c7436248e30c9c7f5228d725afb6cab7629cbbcc9ade68a896804ce851755/6E471818-1CB0-4AE4-8A9B-3D6C301FA300.JPG" /> Image: Mapping the reading list Later, as a way of critically engaging with Higher Education’s desire to make all courses standardised, including the way in which work is presented to students on digital learning platforms and feedback on assessments, I created an official course stamp for use when returning written feedback. It was made as a prompt to allow students to question, what an art education is for, what it should look like, and again what is an “experience” and how can we use an experience design approach to alter the mundane and critique current systems. <img width="1116" height="1103" width_o="1116" height_o="1103" data-src="https://freight.cargo.site/t/original/i/9f158a902ba2d1fd40637b74cea1016472d64fc605ab06dcd6d448175bafb683/IMG_7370.jpg" data-mid="236429179" border="0" src="https://freight.cargo.site/w/1000/i/9f158a902ba2d1fd40637b74cea1016472d64fc605ab06dcd6d448175bafb683/IMG_7370.jpg" /> <img width="1125" height="1101" width_o="1125" height_o="1101" data-src="https://freight.cargo.site/t/original/i/6b564b1a849f23712a3c59be57fcad5cb48c1b4a65687b780430bdaf230c61a0/IMG_7369.jpg" data-mid="236429180" border="0" src="https://freight.cargo.site/w/1000/i/6b564b1a849f23712a3c59be57fcad5cb48c1b4a65687b780430bdaf230c61a0/IMG_7369.jpg" /> Images: Hand-carved course stamp Theory was taught as a lecture followed by a practical workshop to engage with ideas around knowing through making (Ingold). Topics covered included areas such as: Experience. What is the “experience” part of Experience Design. This was explored through professional practice as well as thinking about the role of the audience, story/narrative and how interaction and a sense of immersion can be brought about through these when combined with research and exploration of materials and modes of communication. Fulldome. Mike Phillips taught theory related to fulldome experiences, as we were also lucky enough to have one on campus in the Immersive Vision Theatre. VIrtual Reality. The connection between VR and histories of magic. Specifically, how ideas from the history of magic and illusion can support immersive storytelling with emerging technologies. <img width="1125" height="1110" width_o="1125" height_o="1110" data-src="https://freight.cargo.site/t/original/i/ab20247ed0cef6cecdf56ab2fe3a32b17d750d657f7be80402bdb0be31ec4f3b/IMG_7396.jpg" data-mid="236433129" border="0" src="https://freight.cargo.site/w/1000/i/ab20247ed0cef6cecdf56ab2fe3a32b17d750d657f7be80402bdb0be31ec4f3b/IMG_7396.jpg" /> <img width="1125" height="1126" width_o="1125" height_o="1126" data-src="https://freight.cargo.site/t/original/i/df0c37f027831226b936afc15a094bf9e3cc1491b6d706b1bf9fbfd4c5018772/IMG_7395.jpg" data-mid="236433130" border="0" src="https://freight.cargo.site/w/1000/i/df0c37f027831226b936afc15a094bf9e3cc1491b6d706b1bf9fbfd4c5018772/IMG_7395.jpg" /><img width="1125" height="1110" width_o="1125" height_o="1110" data-src="//freight.cargo.site/t/original/i/81766a1a589c5c9a94bd15abb067bb31d9faeb78da374058366173eea91e8831/IMG_7396.jpg" data-mid="236432908" border="0" style="width: 302.308px; height: 298.278px; display: none;"> <img width="1125" height="1105" width_o="1125" height_o="1105" data-src="https://freight.cargo.site/t/original/i/a0e5fb35adb489ad25dbe27e5fbcfe44da9138f00ef22e1b4c5ecf7c8e17db65/IMG_7411.jpg" data-mid="236433137" border="0" src="https://freight.cargo.site/w/1000/i/a0e5fb35adb489ad25dbe27e5fbcfe44da9138f00ef22e1b4c5ecf7c8e17db65/IMG_7411.jpg" /><img width="1125" height="1126" width_o="1125" height_o="1126" data-src="//freight.cargo.site/t/original/i/8502ddb8e808e87f70256a710c4e2fe90c426005029a446b3fa4458862f16ab7/IMG_7395.jpg" data-mid="236432909" border="0" style="width: 302.308px; height: 302.577px; display: none;"> Images: Studying VR &amp; Magic Critical Technologies. The politics behind Big Tech and the impact of virtual, digital and analogue materials on the natural world: <img width="1125" height="1131" width_o="1125" height_o="1131" data-src="https://freight.cargo.site/t/original/i/f0c6b03fdd60e9ee723f80bad17179491d43ecea2c92edaeea3b21fb35a245af/IMG_7416.jpg" data-mid="236440049" border="0" src="https://freight.cargo.site/w/1000/i/f0c6b03fdd60e9ee723f80bad17179491d43ecea2c92edaeea3b21fb35a245af/IMG_7416.jpg" /><img width="1125" height="1108" width_o="1125" height_o="1108" data-src="https://freight.cargo.site/t/original/i/07420f0177d5b0a1fd8d1c8e8513d88aa773424418ea0985b0d460a4874590f8/IMG_7374.jpg" data-mid="236429302" border="0" src="https://freight.cargo.site/w/1000/i/07420f0177d5b0a1fd8d1c8e8513d88aa773424418ea0985b0d460a4874590f8/IMG_7374.jpg" /> <img width="1125" height="1103" width_o="1125" height_o="1103" data-src="https://freight.cargo.site/t/original/i/a873acd9b030329b059d3a5417a6864b0b875d7f090881ea074b0c6e769af4d9/IMG_7375.jpg" data-mid="236429301" border="0" src="https://freight.cargo.site/w/1000/i/a873acd9b030329b059d3a5417a6864b0b875d7f090881ea074b0c6e769af4d9/IMG_7375.jpg" /><img width="1125" height="1107" width_o="1125" height_o="1107" data-src="https://freight.cargo.site/t/original/i/07c52134369797fbab1656b747af8c352663e478b9caf573f2304e9ac9341549/IMG_7417.jpg" data-mid="236440051" border="0" src="https://freight.cargo.site/w/1000/i/07c52134369797fbab1656b747af8c352663e478b9caf573f2304e9ac9341549/IMG_7417.jpg" /> <img width="1125" height="1109" width_o="1125" height_o="1109" data-src="https://freight.cargo.site/t/original/i/da4ff766f286b6b79da550dd01a56bb066217f0591f6964490d6f01e04c39146/IMG_7373.jpg" data-mid="236429303" border="0" src="https://freight.cargo.site/w/1000/i/da4ff766f286b6b79da550dd01a56bb066217f0591f6964490d6f01e04c39146/IMG_7373.jpg" /><img width="1125" height="1097" width_o="1125" height_o="1097" data-src="https://freight.cargo.site/t/original/i/c90656554c6fd1e86d7855d0591a1807f9619e9242168a8c992291f7d8f8c260/IMG_7415.jpg" data-mid="236440053" border="0" src="https://freight.cargo.site/w/1000/i/c90656554c6fd1e86d7855d0591a1807f9619e9242168a8c992291f7d8f8c260/IMG_7415.jpg" /> Images: Natural dying and bio plastics workshops by Francie Feng Alternative Futures. For example, students used Fraser’s (2016) “Four Futures: Life After Capitalism” to imagine alternative futures in Roblox. Fraser writes that it is easier to imagine the end of the world than to imagine the end of Capitalism. This idea was also used to connect students to later classes and workshops about Speculative Design. <img width="1125" height="1114" width_o="1125" height_o="1114" data-src="https://freight.cargo.site/t/original/i/8e2ddfb5c0b35b38a1733b9ca4ff887923558758ad7bf22086ec18318a61fa84/IMG_7390.jpg" data-mid="236432793" border="0" src="https://freight.cargo.site/w/1000/i/8e2ddfb5c0b35b38a1733b9ca4ff887923558758ad7bf22086ec18318a61fa84/IMG_7390.jpg" /> <img width="1125" height="1105" width_o="1125" height_o="1105" data-src="https://freight.cargo.site/t/original/i/b440f229ea18da9ce958a649d803e04e56fd23ef36731a4861ca779e7abf97c4/IMG_7391.jpg" data-mid="236432794" border="0" src="https://freight.cargo.site/w/1000/i/b440f229ea18da9ce958a649d803e04e56fd23ef36731a4861ca779e7abf97c4/IMG_7391.jpg" /> <img width="1119" height="1106" width_o="1119" height_o="1106" data-src="https://freight.cargo.site/t/original/i/68604d7e958671eff9dcc0acfad22c4df57f796acbb8ce0e47eecfba94c2e9c1/IMG_7389.jpg" data-mid="236432791" border="0" src="https://freight.cargo.site/w/1000/i/68604d7e958671eff9dcc0acfad22c4df57f796acbb8ce0e47eecfba94c2e9c1/IMG_7389.jpg" /> Images: Alternative Futures workshop- designing worlds in Roblox Studio Information Theory. It was shared how designing experiences requires an understanding of information theory on several levels. First in thinking about what information/ story/narrative/ data will be conveyed in the experience. Secondly, to understand that information systems affect how we create an experience. This was explored in relation to systems, culture, history and more-than-human ways of communicating. Related to this, students were also taught multimodal theory and how the combining of modes of communication affects experience but also how the study of modes can bring about greater insight into the topic students chose to work with. To understand this, questions were asked such as: What is a mode? What does it mean to “transduct” information, a story element or an entire narrative from one mode to another? How do modes relate to culture and history? What is lost and what is gained when one mode is used over another? <img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1c1740e5e57e71818b84f107305e3d13e3b46f5f8fe86e77ba7b63247ee0b305/F3EDEC0C-9D74-4542-803D-A27D8ADA8739.JPG" data-mid="238675223" border="0" src="https://freight.cargo.site/w/1000/i/1c1740e5e57e71818b84f107305e3d13e3b46f5f8fe86e77ba7b63247ee0b305/F3EDEC0C-9D74-4542-803D-A27D8ADA8739.JPG" /> <img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/afbf6ba84727109b7931f5c46e5ba7ee5e828d5064110e4e6988c640c1c75f7b/4D30C4A3-1BF4-4965-B685-27FA568DE66C.JPG" data-mid="238678992" border="0" src="https://freight.cargo.site/w/1000/i/afbf6ba84727109b7931f5c46e5ba7ee5e828d5064110e4e6988c640c1c75f7b/4D30C4A3-1BF4-4965-B685-27FA568DE66C.JPG" /> <img width="1118" height="845" width_o="1118" height_o="845" data-src="https://freight.cargo.site/t/original/i/6cac7d76e8186cdfbaf5a142d6b2fd3c0b78caf9decb1ed8c84ce4d2b278b273/IMG_8587.jpg" data-mid="238695517" border="0" src="https://freight.cargo.site/w/1000/i/6cac7d76e8186cdfbaf5a142d6b2fd3c0b78caf9decb1ed8c84ce4d2b278b273/IMG_8587.jpg" /> <img width="1125" height="1119" width_o="1125" height_o="1119" data-src="https://freight.cargo.site/t/original/i/b0033e68683c2d1366c26971efadca8479b08a1233b9dbf2065c95b973e6f9a0/IMG_8592.jpg" data-mid="238695514" border="0" src="https://freight.cargo.site/w/1000/i/b0033e68683c2d1366c26971efadca8479b08a1233b9dbf2065c95b973e6f9a0/IMG_8592.jpg" /> Images: Information theory workshopDesign.&nbsp; Theories connected to design were presented to engage students in how concepts such as affordances, onboarding and offboarding can be used to help craft Experience Design work, but also to show how Experience Design differs from Product Design. We also explored design in relation the consumption and the climate crisis.&nbsp; The Anthropocene. In relation to the climate crisis we also studied The Anthropocene and how art and Experience Design specfically can provide new ways of interpreting the role of being human. Some of this connected to critiquing the strive for artifical intelligence in telation to natural intellegence. How digital artists like others need to question how we use cenrtain materials and for what purposes. This colosely connected to research methods taught such as post-humanism, new materialities and sensory ethnography.&nbsp; Game Theory and Play. For example ideas connected to serious gaming where the primary purpose is something that exists beyond the game play. To do this we also explore gaming mechanics, aesthetics, rules and risks etc.&nbsp; <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/35cb540408f0d84d7f44050a9e9bef9385388798b45e5d60eb4036bd9f4bf5c7/IMG_0994.jpeg" data-mid="238678988" border="0" src="https://freight.cargo.site/w/1000/i/35cb540408f0d84d7f44050a9e9bef9385388798b45e5d60eb4036bd9f4bf5c7/IMG_0994.jpeg" /> <img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7cc0660554ffed1e65f5fffcd37aa1a9419423b247e7354a48f22bafb2e7311f/D1529C5F-C53A-41AE-A916-FDBD2903D9ED.JPG" data-mid="238678770" border="0" src="https://freight.cargo.site/w/1000/i/7cc0660554ffed1e65f5fffcd37aa1a9419423b247e7354a48f22bafb2e7311f/D1529C5F-C53A-41AE-A916-FDBD2903D9ED.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/6d833e1fcefaed463b2e04cd114cda68e57b55b41eba02d2b7cac0dcf0e9b9b9/IMG_0990.jpeg" data-mid="238678989" border="0" src="https://freight.cargo.site/w/1000/i/6d833e1fcefaed463b2e04cd114cda68e57b55b41eba02d2b7cac0dcf0e9b9b9/IMG_0990.jpeg" /> Images: Workshop on Play Critical reflections on AI. In 2024 we hosted a visiting talk by Eleanor Dare from the University of Cambridge who spoke about her work in this area. Then in 2025, we hosted a visiting scholar Thomas Enemark Lundtofte from the University of Southern Denmark who also shared his research about children and AI.&nbsp; <img width="1124" height="1150" width_o="1124" height_o="1150" data-src="https://freight.cargo.site/t/original/i/b7360595522e218c351a9f67c83a2a59a3840c72944b474d7722f661b5e11138/IMG_8590.jpg" data-mid="238695519" border="0" src="https://freight.cargo.site/w/1000/i/b7360595522e218c351a9f67c83a2a59a3840c72944b474d7722f661b5e11138/IMG_8590.jpg" /> <img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/90dfb69150626a15bfd34090fd58f7e33ba47f2b5b63ac64be7ef573708afd8e/9AB67DAC-825B-4DFC-BBDB-1BCC0246F4C2.JPG" data-mid="238678991" border="0" src="https://freight.cargo.site/w/1000/i/90dfb69150626a15bfd34090fd58f7e33ba47f2b5b63ac64be7ef573708afd8e/9AB67DAC-825B-4DFC-BBDB-1BCC0246F4C2.JPG" /> <img width="1107" height="757" width_o="1107" height_o="757" data-src="https://freight.cargo.site/t/original/i/a76371a616d2c1dbb7a02460baacc8a0b241a725804b88276aaf5a2c40689a25/IMG_8591.jpg" data-mid="238695515" border="0" src="https://freight.cargo.site/w/1000/i/a76371a616d2c1dbb7a02460baacc8a0b241a725804b88276aaf5a2c40689a25/IMG_8591.jpg" /> Together we explored Nick Souansis’ book Unflattening and ideas around what information gets recorded, disseminated and how. Some of this crossed over into the histories of immersive technologies: <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/60d9ea3ad726b99ea433d35e1458a1ecb25617620451a2a3ea8f52252f3ae380/3DCF89A9-FC15-4968-AE7D-948173EB085E.JPG" data-mid="238678817" border="0" src="https://freight.cargo.site/w/1000/i/60d9ea3ad726b99ea433d35e1458a1ecb25617620451a2a3ea8f52252f3ae380/3DCF89A9-FC15-4968-AE7D-948173EB085E.JPG" /> <img width="1125" height="1121" width_o="1125" height_o="1121" data-src="https://freight.cargo.site/t/original/i/899813b09bc67012c166d466b8cf4b203556689349819c6cdf56797ff2ab5422/IMG_8510.jpg" data-mid="238637880" border="0" src="https://freight.cargo.site/w/1000/i/899813b09bc67012c166d466b8cf4b203556689349819c6cdf56797ff2ab5422/IMG_8510.jpg" /> <img width="1125" height="1114" width_o="1125" height_o="1114" data-src="https://freight.cargo.site/t/original/i/0edaa38f42028066fa80f3e2d63a9bd81f4e6a58d331b522346afa20e10bd38c/IMG_8509.jpg" data-mid="238637881" border="0" src="https://freight.cargo.site/w/1000/i/0edaa38f42028066fa80f3e2d63a9bd81f4e6a58d331b522346afa20e10bd38c/IMG_8509.jpg" /> <img width="1125" height="1113" width_o="1125" height_o="1113" data-src="https://freight.cargo.site/t/original/i/6dabff98acdf4ef8a359018c4210669405f6476cc743c9278e19f0a757ee335b/IMG_8512.jpg" data-mid="238637882" border="0" src="https://freight.cargo.site/w/1000/i/6dabff98acdf4ef8a359018c4210669405f6476cc743c9278e19f0a757ee335b/IMG_8512.jpg" /> Images: Unflattening workshop Alongside theory I taught practical sessions on experimental research methods. These have been documented in detail elsewhere on my website but included topics such as serendipity, sensory and performance ethnography, multimodality, cultural probes and more. <img width="1125" height="809" width_o="1125" height_o="809" data-src="https://freight.cargo.site/t/original/i/b604c76c494baa8d33ecbcce9fdf458756d6fd84285c04e7810ea899cde23290/IMG_7403.jpg" data-mid="236433443" border="0" src="https://freight.cargo.site/w/1000/i/b604c76c494baa8d33ecbcce9fdf458756d6fd84285c04e7810ea899cde23290/IMG_7403.jpg" /> <img width="1125" height="971" width_o="1125" height_o="971" data-src="https://freight.cargo.site/t/original/i/b5c40ee20fb5943990611cb8352774562d9a22663ff209cdbd46464b407d7262/IMG_7401.jpg" data-mid="236433445" border="0" src="https://freight.cargo.site/w/1000/i/b5c40ee20fb5943990611cb8352774562d9a22663ff209cdbd46464b407d7262/IMG_7401.jpg" /> <img width="1125" height="1115" width_o="1125" height_o="1115" data-src="https://freight.cargo.site/t/original/i/8a51194ff4fc0eaa09fbb4d8463796abf0f508988f09b3654ec0ece43bead1de/IMG_7414.jpg" data-mid="236433472" border="0" src="https://freight.cargo.site/w/1000/i/8a51194ff4fc0eaa09fbb4d8463796abf0f508988f09b3654ec0ece43bead1de/IMG_7414.jpg" /> Images (left to right): serendipity, smell mapping, comics in research Situated PracticeSituated practice was a module that asked Experience Design students to collaborate with those on other MAs to work on live briefs. For this module I ran one live brief for each of the years that the MA ran. The first was to use the co-design work produced by children for the Future Treescapes Videogame project to produced something that could be used within the game or its design.&nbsp; Brandon Barnard in exploring the masks and narratives the children had created came up with the idea of turning them into comics that could then be hidden amongst trees in the videogame. He used paper prototyping to test the idea in the real world. In the final game this concept was used as in-game geocaching. <img width="1405" height="1058" width_o="1405" height_o="1058" data-src="https://freight.cargo.site/t/original/i/1b0a486c94725e3da21bfbe497ebb563d72ca133a7d654d754894a8b2f3ae364/Screenshot-2024-09-02-at-21.34.20.png" data-mid="236457822" border="0" src="https://freight.cargo.site/w/1000/i/1b0a486c94725e3da21bfbe497ebb563d72ca133a7d654d754894a8b2f3ae364/Screenshot-2024-09-02-at-21.34.20.png" /> <img width="1512" height="976" width_o="1512" height_o="976" data-src="https://freight.cargo.site/t/original/i/a1438b5d17fba153405c30c5315e2753d87ece6bf969a64cb58447b4f3d1760d/Screenshot-2024-09-02-at-21.34.08.png" data-mid="236457830" border="0" src="https://freight.cargo.site/w/1000/i/a1438b5d17fba153405c30c5315e2753d87ece6bf969a64cb58447b4f3d1760d/Screenshot-2024-09-02-at-21.34.08.png" /> Images and concept by Brandon Barnard In the academic year 2024-25, I worked with three groups of students on a live brief that linked their work to the Devonport 200 festival at Plymouth’s Market Hall. Using a pre-existing children’s trail that Market Hall had commissioned from an illustrator to engage children and their families with local landmarks, I asked students to consider how they could bring their knowledge about interaction to make the trail engaging in additional ways. Oliver Li, Razan Naser, Margit Curle-Halvorsen (MA Games Design) and Zeyu Xi (MA Games Design) combined to use location-based AR to trigger animation and poetry at some of the sites on the trail: <img width="1974" height="1329" width_o="1974" height_o="1329" data-src="https://freight.cargo.site/t/original/i/2e4d38374f29e64e35a308da91e175b66acb3c7bcc9a8673ae7ddaeb469d549a/Screenshot-2025-09-26-at-11.24.05.png" data-mid="238689942" border="0" src="https://freight.cargo.site/w/1000/i/2e4d38374f29e64e35a308da91e175b66acb3c7bcc9a8673ae7ddaeb469d549a/Screenshot-2025-09-26-at-11.24.05.png" /> <img width="1125" height="1104" width_o="1125" height_o="1104" data-src="https://freight.cargo.site/t/original/i/a67acd0e9a2abbd07655a959e6d7a6bbedde03ac7b25d1c8a993f33f69fe8482/IMG_8514.jpg" data-mid="238670827" border="0" src="https://freight.cargo.site/w/1000/i/a67acd0e9a2abbd07655a959e6d7a6bbedde03ac7b25d1c8a993f33f69fe8482/IMG_8514.jpg" /> Images: Work by&nbsp;Oliver Li, Razan Naser, Margit Curle-Halvorsen and Zeyu Xi Events/ Trips &amp; Guest SpeakersIn 2023 we took part in the Future Undokai Project. This was a collaboration between the Future Undokai Project in Japan, The Barbican Theatre and i-DAT at the University of Plymouth. The project explored the future of intergenerational community sports, and how communities might combine tech and physical materials to design new team games.&nbsp; <img width="1125" height="1104" width_o="1125" height_o="1104" data-src="https://freight.cargo.site/t/original/i/c40342c5bead09236974c0c763ae45d019e40c52a3745669bb71cf5d8b0c1d6c/IMG_7387.jpg" data-mid="236430854" border="0" src="https://freight.cargo.site/w/1000/i/c40342c5bead09236974c0c763ae45d019e40c52a3745669bb71cf5d8b0c1d6c/IMG_7387.jpg" /><img width="1125" height="1092" width_o="1125" height_o="1092" data-src="https://freight.cargo.site/t/original/i/f6f2ca27103a541a5821250dd828103c1d6d406c991020d5960c72de3a80da6c/IMG_7383.jpg" data-mid="236430858" border="0" src="https://freight.cargo.site/w/1000/i/f6f2ca27103a541a5821250dd828103c1d6d406c991020d5960c72de3a80da6c/IMG_7383.jpg" /> <img width="1125" height="1115" width_o="1125" height_o="1115" data-src="https://freight.cargo.site/t/original/i/efc953498c8e006718c17d6673eae44f8d6263e60499c207c4c8c1ebd0645c35/IMG_7386.jpg" data-mid="236430855" border="0" src="https://freight.cargo.site/w/1000/i/efc953498c8e006718c17d6673eae44f8d6263e60499c207c4c8c1ebd0645c35/IMG_7386.jpg" /><img width="1125" height="1111" width_o="1125" height_o="1111" data-src="https://freight.cargo.site/t/original/i/02bf047dd14dc2f893de199ec82e5c8b3f7804ed17266c5a40b18f6289c91299/IMG_7384.jpg" data-mid="236430857" border="0" src="https://freight.cargo.site/w/1000/i/02bf047dd14dc2f893de199ec82e5c8b3f7804ed17266c5a40b18f6289c91299/IMG_7384.jpg" /> <img width="1125" height="1111" width_o="1125" height_o="1111" data-src="https://freight.cargo.site/t/original/i/aefa6deacc84ddd9c82dc6e5fbc1dc3a6ffbeb931b65838ce2972ca73758f8b2/IMG_7382.jpg" data-mid="236430859" border="0" src="https://freight.cargo.site/w/1000/i/aefa6deacc84ddd9c82dc6e5fbc1dc3a6ffbeb931b65838ce2972ca73758f8b2/IMG_7382.jpg" /><img width="1125" height="1117" width_o="1125" height_o="1117" data-src="https://freight.cargo.site/t/original/i/078bd22f7073f929508df6c807be257f98af0a4d511e663e14a7a972d818c41e/IMG_7381.jpg" data-mid="236430860" border="0" src="https://freight.cargo.site/w/1000/i/078bd22f7073f929508df6c807be257f98af0a4d511e663e14a7a972d818c41e/IMG_7381.jpg" /> Images: Plymouth Undokai, 2023 In 2024 we paired up with Hot Wire (Andy Prior) and White Noise (Ronnie Deelan) to host and take part in a night of experimental sound and images in the Immersive Vision Theatre: <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/512c249cb3f7bb8950b228e991d7ddb8bde39ab63edfa9af719985f82f1bf5d1/721F53DC-B9AA-49CE-B73A-0A44AC322A6B.JPG" data-mid="238678795" border="0" src="https://freight.cargo.site/w/1000/i/512c249cb3f7bb8950b228e991d7ddb8bde39ab63edfa9af719985f82f1bf5d1/721F53DC-B9AA-49CE-B73A-0A44AC322A6B.JPG" />Image: Event poster (Dylan Yamada-Rice)I <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e6409d4efbb8e89761c95c5f91c0fd46f3df397b6d88d5e5f491009d18d22c1b/IMG_0840.jpeg" data-mid="238678850" border="0" src="https://freight.cargo.site/w/1000/i/e6409d4efbb8e89761c95c5f91c0fd46f3df397b6d88d5e5f491009d18d22c1b/IMG_0840.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/17ba9c585178ece31a43cfa796524384a89e6d6b7e306f59be831cfd6ebd824b/IMG_0838.jpeg" data-mid="238678851" border="0" src="https://freight.cargo.site/w/1000/i/17ba9c585178ece31a43cfa796524384a89e6d6b7e306f59be831cfd6ebd824b/IMG_0838.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/114b48a52daec6759831e8888f5deaa32085f5af742b2be54bfeb6983693da6a/IMG_0759.jpeg" data-mid="238678853" border="0" src="https://freight.cargo.site/w/1000/i/114b48a52daec6759831e8888f5deaa32085f5af742b2be54bfeb6983693da6a/IMG_0759.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/23319744984bce27a7276b8fcef191a725163f300c228050b2ad27da52988eaa/IMG_0817.jpeg" data-mid="238678852" border="0" src="https://freight.cargo.site/w/1000/i/23319744984bce27a7276b8fcef191a725163f300c228050b2ad27da52988eaa/IMG_0817.jpeg" /> <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/344da0423e7b75975f6094a2f814ef691e4db5f00f0e6acfdaeb91f9af8073ad/90ab9ad8-8075-4158-b09f-3a2086374014.JPG" data-mid="238678849" border="0" src="https://freight.cargo.site/w/1000/i/344da0423e7b75975f6094a2f814ef691e4db5f00f0e6acfdaeb91f9af8073ad/90ab9ad8-8075-4158-b09f-3a2086374014.JPG" /> <img width="1200" height="1600" width_o="1200" height_o="1600" data-src="https://freight.cargo.site/t/original/i/9bde139364efb7b6082a31d619643fddbf1ab215bc790e15b5fdec2409a348c9/258a29c3-169f-4e07-adf5-7ec017453536.JPG" data-mid="238678848" border="0" src="https://freight.cargo.site/w/1000/i/9bde139364efb7b6082a31d619643fddbf1ab215bc790e15b5fdec2409a348c9/258a29c3-169f-4e07-adf5-7ec017453536.JPG" /> Images: MA Experience Design with Hotwire x White Noise We also collaborated with and hosted the Holst Spaceship Earth event in the Immersive Vision Theatre, linking students to a live research project and the variety of artists involved in that: <img width="1125" height="1409" width_o="1125" height_o="1409" data-src="https://freight.cargo.site/t/original/i/d10202a8021e8859a3b7a23b6ccafdd7a4bb9460afed4de041d48321e6a5eea2/IMG_1773.jpg" data-mid="238679147" border="0" src="https://freight.cargo.site/w/1000/i/d10202a8021e8859a3b7a23b6ccafdd7a4bb9460afed4de041d48321e6a5eea2/IMG_1773.jpg" /> <img width="1171" height="1792" width_o="1171" height_o="1792" data-src="https://freight.cargo.site/t/original/i/7873ffb6809393816f062ef175ec01ac33d58713dac9116b328ff42deaeffaad/output-80D6EC03-AC52-4EC7-BDE7-059E1E3687EA.JPEG" data-mid="238679167" border="0" src="https://freight.cargo.site/w/1000/i/7873ffb6809393816f062ef175ec01ac33d58713dac9116b328ff42deaeffaad/output-80D6EC03-AC52-4EC7-BDE7-059E1E3687EA.JPEG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/4e20667aefb61d01198694f97dcc4342e36a1ce1ba4efc4c06eca4b371e17302/IMG_2344.jpeg" data-mid="238679348" border="0" src="https://freight.cargo.site/w/1000/i/4e20667aefb61d01198694f97dcc4342e36a1ce1ba4efc4c06eca4b371e17302/IMG_2344.jpeg" /> <img width="645" height="484" width_o="645" height_o="484" data-src="https://freight.cargo.site/t/original/i/13c3672d119d31af3c5282a935697acef5c5e292f580b169ee702571d0e364e2/2297FFEC-85C1-48B5-96D6-5F70DF17504A.JPG" data-mid="238679352" border="0" src="https://freight.cargo.site/w/645/i/13c3672d119d31af3c5282a935697acef5c5e292f580b169ee702571d0e364e2/2297FFEC-85C1-48B5-96D6-5F70DF17504A.JPG" /> <img width="1125" height="1117" width_o="1125" height_o="1117" data-src="https://freight.cargo.site/t/original/i/a45f64cbab800aa0a7522ae8dafabac65db96d3b173450cfbc23c6bad631f7b3/IMG_8579.jpg" data-mid="238689728" border="0" src="https://freight.cargo.site/w/1000/i/a45f64cbab800aa0a7522ae8dafabac65db96d3b173450cfbc23c6bad631f7b3/IMG_8579.jpg" /> <img width="1125" height="1115" width_o="1125" height_o="1115" data-src="https://freight.cargo.site/t/original/i/cd139a6d452e4807f59595dc013528a49e58078f77200d3722329da638736762/IMG_8583.jpg" data-mid="238689724" border="0" src="https://freight.cargo.site/w/1000/i/cd139a6d452e4807f59595dc013528a49e58078f77200d3722329da638736762/IMG_8583.jpg" /> <img width="1125" height="1114" width_o="1125" height_o="1114" data-src="https://freight.cargo.site/t/original/i/098bca69909d3e2e13a5b85a39f7a3f81343d1efb8985f7606fa0b663590147c/IMG_8578.jpg" data-mid="238689727" border="0" src="https://freight.cargo.site/w/1000/i/098bca69909d3e2e13a5b85a39f7a3f81343d1efb8985f7606fa0b663590147c/IMG_8578.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/59fbdb4dc17f911a023eabf9bd6fbe72d95136f8be9ccd92a237992f3999c368/IMG_2336.jpeg" data-mid="238679349" border="0" src="https://freight.cargo.site/w/1000/i/59fbdb4dc17f911a023eabf9bd6fbe72d95136f8be9ccd92a237992f3999c368/IMG_2336.jpeg" /> <img width="1125" height="1110" width_o="1125" height_o="1110" data-src="https://freight.cargo.site/t/original/i/d95d55f20c21ce9937a2fec59f6835ff338e712876dd63e60129a3faca9660e2/IMG_8586.jpg" data-mid="238689716" border="0" src="https://freight.cargo.site/w/1000/i/d95d55f20c21ce9937a2fec59f6835ff338e712876dd63e60129a3faca9660e2/IMG_8586.jpg" /> <img width="1121" height="1126" width_o="1121" height_o="1126" data-src="https://freight.cargo.site/t/original/i/246f4d4776805230f13856850d144068329e0f4c711988f29676b5f02cb7f144/IMG_8576.jpg" data-mid="238689712" border="0" src="https://freight.cargo.site/w/1000/i/246f4d4776805230f13856850d144068329e0f4c711988f29676b5f02cb7f144/IMG_8576.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/26c51f8ff4a3080d41d560d8c8190c840d29f26a392639b6057f7b09666fbc5e/IMG_2351.jpeg" data-mid="238679347" border="0" src="https://freight.cargo.site/w/1000/i/26c51f8ff4a3080d41d560d8c8190c840d29f26a392639b6057f7b09666fbc5e/IMG_2351.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/271b98c1edf7bb145192e68424d7bd54e398e9868be8031bad0dd46731d4cdb0/IMG_2334.jpeg" data-mid="238679351" border="0" src="https://freight.cargo.site/w/1000/i/271b98c1edf7bb145192e68424d7bd54e398e9868be8031bad0dd46731d4cdb0/IMG_2334.jpeg" /> <img width="1112" height="1119" width_o="1112" height_o="1119" data-src="https://freight.cargo.site/t/original/i/3610ee3714feab3829373ed4342fd4da02790f820e0a1df91622620a75ae10dd/IMG_8577.jpg" data-mid="238689729" border="0" src="https://freight.cargo.site/w/1000/i/3610ee3714feab3829373ed4342fd4da02790f820e0a1df91622620a75ae10dd/IMG_8577.jpg" /> <img width="1125" height="1109" width_o="1125" height_o="1109" data-src="https://freight.cargo.site/t/original/i/e99460c0f284a60e0bba93b174a8cc12971ca3dff5f0e1341839ca78c6ff6fc0/IMG_8581.jpg" data-mid="238689723" border="0" src="https://freight.cargo.site/w/1000/i/e99460c0f284a60e0bba93b174a8cc12971ca3dff5f0e1341839ca78c6ff6fc0/IMG_8581.jpg" /> Images: Transit of Earth in the Immersive Vision Theatre, 2024 Ahead of the Transit of Earth event students took part in a Hotwire sound workshop lead by Andy Prior to produce rapid fire 360 sound design to be played as part of the event: <img width="1125" height="1112" width_o="1125" height_o="1112" data-src="https://freight.cargo.site/t/original/i/16917f22e7f5226045e1485adbbb5d33f61c34131a990239d025439a4bc0a4bb/IMG_8585.jpg" data-mid="238689721" border="0" src="https://freight.cargo.site/w/1000/i/16917f22e7f5226045e1485adbbb5d33f61c34131a990239d025439a4bc0a4bb/IMG_8585.jpg" /> <img width="1125" height="1098" width_o="1125" height_o="1098" data-src="https://freight.cargo.site/t/original/i/2a55d8f77c998af859d2112858469c00cef7f2d59a6771a6d0545e60a6514764/IMG_8584.jpg" data-mid="238689725" border="0" src="https://freight.cargo.site/w/1000/i/2a55d8f77c998af859d2112858469c00cef7f2d59a6771a6d0545e60a6514764/IMG_8584.jpg" /> <img width="1125" height="1103" width_o="1125" height_o="1103" data-src="https://freight.cargo.site/t/original/i/48f6d9f53cdb9a70ae66b4a06f4c63994d3581c6a298bbfc6ea61918d5081edd/IMG_8589.jpg" data-mid="238695516" border="0" src="https://freight.cargo.site/w/1000/i/48f6d9f53cdb9a70ae66b4a06f4c63994d3581c6a298bbfc6ea61918d5081edd/IMG_8589.jpg" /> Additionally, throughout the course, we used the fulldome spaces in the Market Hall and the Immersive Vision Theatre to host scratch nights where students were free to experiment with work in progress: <img width="1125" height="1106" width_o="1125" height_o="1106" data-src="https://freight.cargo.site/t/original/i/76e525c36c8e60b4bb13235036942f385bb4da3fca7840516c1df399a4ac0a99/IMG_7405.jpg" data-mid="236433031" border="0" src="https://freight.cargo.site/w/1000/i/76e525c36c8e60b4bb13235036942f385bb4da3fca7840516c1df399a4ac0a99/IMG_7405.jpg" /><img width="1123" height="1104" width_o="1123" height_o="1104" data-src="https://freight.cargo.site/t/original/i/be02ee839e07aade908347758558c06bfbbf2e56fe80d1695d7e0b95df88c901/IMG_7420.jpg" data-mid="236440871" border="0" src="https://freight.cargo.site/w/1000/i/be02ee839e07aade908347758558c06bfbbf2e56fe80d1695d7e0b95df88c901/IMG_7420.jpg" /> <img width="1125" height="1112" width_o="1125" height_o="1112" data-src="https://freight.cargo.site/t/original/i/b152994030312bde4a5f2e9de473e1f508aeb63f8824153f2447aa0fae781f9a/IMG_7408.jpg" data-mid="236433034" border="0" src="https://freight.cargo.site/w/1000/i/b152994030312bde4a5f2e9de473e1f508aeb63f8824153f2447aa0fae781f9a/IMG_7408.jpg" /><img width="1125" height="1128" width_o="1125" height_o="1128" data-src="https://freight.cargo.site/t/original/i/6d6df81c6669c5b93ba4e90726837d72f7a3961b6847c0795ef7580d214893eb/IMG_7419.jpg" data-mid="236440876" border="0" src="https://freight.cargo.site/w/1000/i/6d6df81c6669c5b93ba4e90726837d72f7a3961b6847c0795ef7580d214893eb/IMG_7419.jpg" /> <img width="1125" height="1113" width_o="1125" height_o="1113" data-src="https://freight.cargo.site/t/original/i/b2bd83cde271a815c5bbf104eba13bbe20773e5b2c8c4e1ea3b749d9ca6f3e3d/IMG_7409.jpg" data-mid="236433033" border="0" src="https://freight.cargo.site/w/1000/i/b2bd83cde271a815c5bbf104eba13bbe20773e5b2c8c4e1ea3b749d9ca6f3e3d/IMG_7409.jpg" /><img width="1118" height="1105" width_o="1118" height_o="1105" data-src="https://freight.cargo.site/t/original/i/b15ecf051835e55eafd49656b19902ce998f4bc5ad71a31a287a1178ba94608f/IMG_7418.jpg" data-mid="236440880" border="0" src="https://freight.cargo.site/w/1000/i/b15ecf051835e55eafd49656b19902ce998f4bc5ad71a31a287a1178ba94608f/IMG_7418.jpg" /> Images: Fulldome scratch nights We visited exhibitions at The Box, Mirror and Karst in Plymouth. As well as supported Brandon Bernard when he showed his work at Imperfect Cinema: <img width="1125" height="1102" width_o="1125" height_o="1102" data-src="https://freight.cargo.site/t/original/i/9fd9d8f0aecafb62c574eeba1205dff9c0536b4c1fbecadb57964f130fa7ee29/IMG_7423.jpg" data-mid="236453514" border="0" src="https://freight.cargo.site/w/1000/i/9fd9d8f0aecafb62c574eeba1205dff9c0536b4c1fbecadb57964f130fa7ee29/IMG_7423.jpg" /><img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/95e5cfb6567f35494bf70f0d21d601dc4a58530bc7907a8f75a99510f8081ea8/2175163D-95BC-480A-B043-0F87DA9E4805.JPG" data-mid="238678766" border="0" src="https://freight.cargo.site/w/1000/i/95e5cfb6567f35494bf70f0d21d601dc4a58530bc7907a8f75a99510f8081ea8/2175163D-95BC-480A-B043-0F87DA9E4805.JPG" /> <img width="1125" height="1241" width_o="1125" height_o="1241" data-src="https://freight.cargo.site/t/original/i/ea45ab0d1f9a87bfe823dc447b731d8d58c3aba9dea616b8ddc552b28e1e2c24/IMG_7424.jpg" data-mid="236454040" border="0" src="https://freight.cargo.site/w/1000/i/ea45ab0d1f9a87bfe823dc447b731d8d58c3aba9dea616b8ddc552b28e1e2c24/IMG_7424.jpg" /><img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/77dc9b5be8acafe6f1d1dfb2ef404b610c1904088434800207ec21df3814d61a/IMG_2804.jpeg" data-mid="238679198" border="0" src="https://freight.cargo.site/w/1000/i/77dc9b5be8acafe6f1d1dfb2ef404b610c1904088434800207ec21df3814d61a/IMG_2804.jpeg" /> <img width="645" height="484" width_o="645" height_o="484" data-src="https://freight.cargo.site/t/original/i/f8f61f0d1e5c9894f9202329d621b0376622dddd3fc3f1776e1f2033d31e37a4/A5D6F046-5438-4393-AD76-E960AAF6C8C4.JPG" data-mid="238678987" border="0" src="https://freight.cargo.site/w/645/i/f8f61f0d1e5c9894f9202329d621b0376622dddd3fc3f1776e1f2033d31e37a4/A5D6F046-5438-4393-AD76-E960AAF6C8C4.JPG" /><img width="1125" height="1110" width_o="1125" height_o="1110" data-src="https://freight.cargo.site/t/original/i/1206cf491a3e230e7d0ce710cdbc60981bd4dabb011c8472c0106e59dc0c1d96/IMG_7421.jpg" data-mid="236453515" border="0" src="https://freight.cargo.site/w/1000/i/1206cf491a3e230e7d0ce710cdbc60981bd4dabb011c8472c0106e59dc0c1d96/IMG_7421.jpg" /><img width="1118" height="1105" width_o="1118" height_o="1105" data-src="https://freight.cargo.site/t/original/i/1505029b859928b144c1203698ae8426034ca0ad5a90135b11b6471f721993ef/IMG_8594.jpg" data-mid="238695512" border="0" src="https://freight.cargo.site/w/1000/i/1505029b859928b144c1203698ae8426034ca0ad5a90135b11b6471f721993ef/IMG_8594.jpg" /> Images: Exhbition fieldtrips&nbsp; Plymouth Theatre Royal has two theatres and an experimental performance space and we attended shows to support studies into Experience Design. One of the shows Murmur also connected direct to one of the core readings related to more-than-human theories Sheldrake’s book on Fungi- Entangled Lives.&nbsp; <img width="1123" height="936" width_o="1123" height_o="936" data-src="https://freight.cargo.site/t/original/i/07c2b639ad2f2e2e37ec08dff033a4588fbc602fbcc8d40f12e3ea95b3008ec5/69C6F3D0-58F3-41C6-AC1C-485849238D8B.JPG" data-mid="238678796" border="0" src="https://freight.cargo.site/w/1000/i/07c2b639ad2f2e2e37ec08dff033a4588fbc602fbcc8d40f12e3ea95b3008ec5/69C6F3D0-58F3-41C6-AC1C-485849238D8B.JPG" /><img width="1125" height="1110" width_o="1125" height_o="1110" data-src="https://freight.cargo.site/t/original/i/3f2467cad66d0ae0b2f84942aa48ff305035d97b106319c16720028b0d404aa8/IMG_7425.jpg" data-mid="236454039" border="0" src="https://freight.cargo.site/w/1000/i/3f2467cad66d0ae0b2f84942aa48ff305035d97b106319c16720028b0d404aa8/IMG_7425.jpg" /> <img width="1125" height="832" width_o="1125" height_o="832" data-src="https://freight.cargo.site/t/original/i/41bf9d9dff02cbdc1baf4f23dd0c9943509680f8d3091752b82258777aa755ce/IMG_7426.jpg" data-mid="236454191" border="0" src="https://freight.cargo.site/w/1000/i/41bf9d9dff02cbdc1baf4f23dd0c9943509680f8d3091752b82258777aa755ce/IMG_7426.jpg" /><img width="1125" height="633" width_o="1125" height_o="633" data-src="https://freight.cargo.site/t/original/i/9f839e4d2adc46c305c33cc5265e329d64b942305cd9fac0672cc4ddbae73ea8/IMG_7429.jpg" data-mid="236454209" border="0" src="https://freight.cargo.site/w/1000/i/9f839e4d2adc46c305c33cc5265e329d64b942305cd9fac0672cc4ddbae73ea8/IMG_7429.jpg" />&nbsp; <img width="1125" height="1095" width_o="1125" height_o="1095" data-src="https://freight.cargo.site/t/original/i/c8f4c55c20b2df1c665e4d577af3b2ee7a8fc0db63b9135ebebaf4abc21a76fe/IMG_7427.jpg" data-mid="236454192" border="0" src="https://freight.cargo.site/w/1000/i/c8f4c55c20b2df1c665e4d577af3b2ee7a8fc0db63b9135ebebaf4abc21a76fe/IMG_7427.jpg" /><img width="2165" height="3154" width_o="2165" height_o="3154" data-src="https://freight.cargo.site/t/original/i/80297d35e00a8fb40f97972c40aba8d2c14b57715dbff5b47d9d17bb18b4b726/IMG_1864.jpeg" data-mid="238679145" border="0" src="https://freight.cargo.site/w/1000/i/80297d35e00a8fb40f97972c40aba8d2c14b57715dbff5b47d9d17bb18b4b726/IMG_1864.jpeg" /> Images (Left to Right): Outlier/ Is there anybody there/ Murmur&nbsp;Student WorkStudent Work: 2024-25 Watch Out!/ Xuefei Yang <img width="1792" height="1279" width_o="1792" height_o="1279" data-src="https://freight.cargo.site/t/original/i/d3417bf983be7d4e57d44ffa2fc5537ff153fe7391465c73e3083fd20ea72cdb/WechatIMG5282.jpg" data-mid="236454486" border="0" src="https://freight.cargo.site/w/1000/i/d3417bf983be7d4e57d44ffa2fc5537ff153fe7391465c73e3083fd20ea72cdb/WechatIMG5282.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fa820794e27e508dc90e5b49a1d66f04577acd0e94eeb5288c443e3bfaa6393f/IMG_2585.jpeg" data-mid="238679200" border="0" data-scale="53" src="https://freight.cargo.site/w/1000/i/fa820794e27e508dc90e5b49a1d66f04577acd0e94eeb5288c443e3bfaa6393f/IMG_2585.jpeg" /> Field of Infinite Bloom/ Razan Naser This project explored how XR can be used as the basis for allowing the audience to experience a feeling of hope and renewal within a multisensory installation. To do this, the work used projection, physical materials in the form of turf, sound and scent to bring together a narrative about flowers. It uses metaphors associated to stillness, stirring and bloom. As part of the design process she conducted both a survey to understand people’s favourite flowers as well as what they associate with specific flowers. Razan also conducted an arts-based workshop to learn more about these things by encouraging participants to sculpt a flower from clay. The findings from these two pieces of research led to the development of the Sunflower motif in the final work. Also core to the final production was collaboration with Margit Curle-Halvorsen who wrote a poem that was incorporated into the sound design. <img width="1768" height="1064" width_o="1768" height_o="1064" data-src="https://freight.cargo.site/t/original/i/7a737b735c329c983407db5318099eb32cb4ad6fa29840ca5c7ac185da1ecb3d/Screenshot-2025-09-24-at-16.44.14.png" data-mid="238608666" border="0" src="https://freight.cargo.site/w/1000/i/7a737b735c329c983407db5318099eb32cb4ad6fa29840ca5c7ac185da1ecb3d/Screenshot-2025-09-24-at-16.44.14.png" /> <img width="2361" height="821" width_o="2361" height_o="821" data-src="https://freight.cargo.site/t/original/i/aa486deda9133398090eb1f83e79bf610d42016ee77ccd22f742eb90c44e2656/Screenshot-2025-09-24-at-16.44.27.png" data-mid="238608665" border="0" src="https://freight.cargo.site/w/1000/i/aa486deda9133398090eb1f83e79bf610d42016ee77ccd22f742eb90c44e2656/Screenshot-2025-09-24-at-16.44.27.png" /> Images: Research workshop (Images &amp; Work by Razan Naser) <img width="4608" height="3456" width_o="4608" height_o="3456" data-src="https://freight.cargo.site/t/original/i/55cb9b4f3c2211a8cbb11c0f68bde3b57a64682ba4627f94beaf1e48cbc08a38/P9440150.JPG" data-mid="238780558" border="0" src="https://freight.cargo.site/w/1000/i/55cb9b4f3c2211a8cbb11c0f68bde3b57a64682ba4627f94beaf1e48cbc08a38/P9440150.JPG" />Image: Final installation ( Work by Razan Naser) There is No Alternative/ Xuefei Yang This project critically engaged with the notion of good action being associated with working hard and explored the possibility of lives beyond a neoliberal economy. This manifested as an interactive installation in which the audience uses the voice command of “stop” or “start” to control whether the mannequin works their repetitive job of removing liquid or not. Yet, if the audience chooses to free the mannequin from their labour they will drown. <img width="914" height="1244" width_o="914" height_o="1244" data-src="https://freight.cargo.site/t/original/i/74673704fb48c1d0ffadf81e386aa59f5d7dc9aec70417ac338ca5e327deacfe/Screenshot-2025-05-12-at-20.10.35.png" data-mid="236454226" border="0" src="https://freight.cargo.site/w/914/i/74673704fb48c1d0ffadf81e386aa59f5d7dc9aec70417ac338ca5e327deacfe/Screenshot-2025-05-12-at-20.10.35.png" /> <img width="1425" height="1433" width_o="1425" height_o="1433" data-src="https://freight.cargo.site/t/original/i/9721c1162c8be9b74c93ea23db2d1211912294d2001fda29930a2ad643cf4805/Screenshot-2025-07-30-at-18.26.02.png" data-mid="236455036" border="0" src="https://freight.cargo.site/w/1000/i/9721c1162c8be9b74c93ea23db2d1211912294d2001fda29930a2ad643cf4805/Screenshot-2025-07-30-at-18.26.02.png" /> I Don’t Want to go to Work/ Oliver Li Across Design Lab 2 and final project Oliver focused on the topic of paper. Initially the piece was a client project focused on making something to help advertise the Illustration and the Paper Artefact conference at the University of Falmouth. However, as part of the work he began to explore people’s relationship to paper, analogue making as a rebuffal of AI and his own generations attitudes to work. The final piece became an animation made from paper called “I Don’t Want to go to Work”. In the final installation he chose to show the animation on a retro TV with artefacts related to his animated narrative resting on top. <img width="2686" height="479" width_o="2686" height_o="479" data-src="https://freight.cargo.site/t/original/i/6d5d42ed629eeb65b1709ab27ac57497f9ca9796c067548f672d9a40db50c0d7/Screenshot-2025-09-24-at-17.33.35.png" data-mid="238610751" border="0" src="https://freight.cargo.site/w/1000/i/6d5d42ed629eeb65b1709ab27ac57497f9ca9796c067548f672d9a40db50c0d7/Screenshot-2025-09-24-at-17.33.35.png" /> <img width="2824" height="1434" width_o="2824" height_o="1434" data-src="https://freight.cargo.site/t/original/i/1c80c01f89b427cea7b31b9eaab588690369c2358f02d9f812a5b07056f0dee5/Screenshot-2025-09-24-at-17.34.39.png" data-mid="238610749" border="0" src="https://freight.cargo.site/w/1000/i/1c80c01f89b427cea7b31b9eaab588690369c2358f02d9f812a5b07056f0dee5/Screenshot-2025-09-24-at-17.34.39.png" /> <img width="2840" height="1431" width_o="2840" height_o="1431" data-src="https://freight.cargo.site/t/original/i/441050338fcbf7c1fc0d95e2c7e7d18249e7b50a06356a3701700457261d62ae/Screenshot-2025-09-24-at-17.34.26.png" data-mid="238610750" border="0" src="https://freight.cargo.site/w/1000/i/441050338fcbf7c1fc0d95e2c7e7d18249e7b50a06356a3701700457261d62ae/Screenshot-2025-09-24-at-17.34.26.png" /> Images: Stills from the animation (top), animation as shown on the conference website (bottom) (all work by Oliver Li) <img width="1125" height="2436" width_o="1125" height_o="2436" data-src="https://freight.cargo.site/t/original/i/16b3fb002db7c2c5f961062ffd9841d95691cde61bf26af7b8245d260e80a153/IMG_8504.jpg" data-mid="238612611" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/16b3fb002db7c2c5f961062ffd9841d95691cde61bf26af7b8245d260e80a153/IMG_8504.jpg" /> No Way Out/ Xuefei Yang This in an interactive installation that aims to engage the user with notions of dark patterns embedded in digital platforms by making it impossible for the user to consent to the terms and conditions. It is accompanied by a series of cards that explain some of the dark patterns found in a range of popular digital platforms. <img width="2517" height="1412" width_o="2517" height_o="1412" data-src="https://freight.cargo.site/t/original/i/91e1283567ff731d23ac4542beed002a902b07c823ad54bc16a0c0942e1336a2/Screenshot-2025-09-24-at-16.57.25.png" data-mid="238609473" border="0" src="https://freight.cargo.site/w/1000/i/91e1283567ff731d23ac4542beed002a902b07c823ad54bc16a0c0942e1336a2/Screenshot-2025-09-24-at-16.57.25.png" /> Image: Work and image by Xuefei Yang <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/96884ee22d501f06c07e74b4cf5b2250b67509b65ce3718dcb56033e097f65f4/IMG_8394.jpeg" data-mid="238609645" border="0" src="https://freight.cargo.site/w/1000/i/96884ee22d501f06c07e74b4cf5b2250b67509b65ce3718dcb56033e097f65f4/IMG_8394.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/23afef58e825126562c7a314de80f7457ad9fcd46e25a2eddb30b843cde0ebf5/IMG_8392.jpeg" data-mid="238609646" border="0" src="https://freight.cargo.site/w/1000/i/23afef58e825126562c7a314de80f7457ad9fcd46e25a2eddb30b843cde0ebf5/IMG_8392.jpeg" /> Images: Final Installation (work by Xuefei Yang) “No way Out is a critical interactive installation that exposes the hidden coercions of digital platforms through embodied experience. Building on dark pattern taxonomies and the epistemic tradition of play, it extends critical design into a performative mode of enquiry. The work stages behavioural extraction, datafication, and affective coercion not as abstract concepts but as lived encounters. Loops of frustration, hesitation, and deceptive closures make coercive logics perceptible only when enacted, turning critique into situated knowledge. In doing so, the project foregrounds the ethical stakes of interface design: How systems that appear functional can erode autonomy, obscure consent and normalise manipulation, while asking how design might instead real its politics and foster critical reflection.” (Words by Xuefei) <img width="1706" height="1264" width_o="1706" height_o="1264" data-src="https://freight.cargo.site/t/original/i/2cfc089b73ea1fef5072cd9ab53c3427cecf9f49d89f549748a409089c2afee5/Screenshot-2025-09-24-at-17.12.27.png" data-mid="238609472" border="0" src="https://freight.cargo.site/w/1000/i/2cfc089b73ea1fef5072cd9ab53c3427cecf9f49d89f549748a409089c2afee5/Screenshot-2025-09-24-at-17.12.27.png" /> Image: Cards by Xuefei YangMy Disappearance / Alfie Jack Bailey Lallem Alfie created a world in a game engine to capture the simultaneous isolating and self-soothing experience of complete dissociation from the world- the particular kind of escapism, he says, his brain likes to create during moments of extreme mental or sensory input. The work refers to the feeling of leaving behind his surroundings in favour of an abstract internal illusion of stillness. <img width="4004" height="2686" width_o="4004" height_o="2686" data-src="https://freight.cargo.site/t/original/i/defc3a4da87aba20d951eeb5e81c4c13dc4fb15e6e24ecafae9dc761c25ae43b/IMG_8525-2.jpeg" data-mid="238670841" border="0" src="https://freight.cargo.site/w/1000/i/defc3a4da87aba20d951eeb5e81c4c13dc4fb15e6e24ecafae9dc761c25ae43b/IMG_8525-2.jpeg" /> Image: “My Dissapperence” by&nbsp;Alfie Jack Bailey Lallem <img width="2483" height="2482" width_o="2483" height_o="2482" data-src="https://freight.cargo.site/t/original/i/d4821abd6e8abd7f1c86c10f8567563ad3b8200beaaa012204ab580358d6cc00/IMG_8528-2.jpeg" data-mid="238670825" border="0" src="https://freight.cargo.site/w/1000/i/d4821abd6e8abd7f1c86c10f8567563ad3b8200beaaa012204ab580358d6cc00/IMG_8528-2.jpeg" /> <img width="2520" height="2521" width_o="2520" height_o="2521" data-src="https://freight.cargo.site/t/original/i/df144d2bf410e2855bb4dfba8509cc39019eed2ae9f5f9eb49a1767797c57440/IMG_8534-2.jpeg" data-mid="238670826" border="0" src="https://freight.cargo.site/w/1000/i/df144d2bf410e2855bb4dfba8509cc39019eed2ae9f5f9eb49a1767797c57440/IMG_8534-2.jpeg" /> <img width="2637" height="2637" width_o="2637" height_o="2637" data-src="https://freight.cargo.site/t/original/i/cdac4656f4aeea2cb4f3b2c1e67039c2df47b15d51d472ee69d66e04e3485d14/IMG_8529-2.jpeg" data-mid="238670824" border="0" src="https://freight.cargo.site/w/1000/i/cdac4656f4aeea2cb4f3b2c1e67039c2df47b15d51d472ee69d66e04e3485d14/IMG_8529-2.jpeg" /> Images: Illustrations and paper prototyping that informed “My Dissapperence” by Alfie Jack Bailey Lallem Immersive Echoes/ Razan NaserFor the second term of Design Lab Razan made a site-specific work for the Market Hall fulldome, Plymouth. The Market Hallis situated in a historic area of Plymouth and so she set about researching changes to the use of the historic building and area using archival material held by The Box museum and then used this to make a 360 mixed-media film as a response to what she describes as “a response to cultural memory loss through urban regeneration”. Leading into this she undertook&nbsp;3D scanning, sketches, speculative storytelling, and an exploration of glitch aesthetics. <img width="2224" height="632" width_o="2224" height_o="632" data-src="https://freight.cargo.site/t/original/i/9f5f8b7215b26cb0338100dc491bb5f935c2aee9cb316fc37bcc5af7e65ebd02/Screenshot-2025-09-24-at-20.01.55.png" data-mid="238614360" border="0" src="https://freight.cargo.site/w/1000/i/9f5f8b7215b26cb0338100dc491bb5f935c2aee9cb316fc37bcc5af7e65ebd02/Screenshot-2025-09-24-at-20.01.55.png" /> Images: Field work at Market Hall (Images by Razan Naser) <img width="1981" height="1175" width_o="1981" height_o="1175" data-src="https://freight.cargo.site/t/original/i/ddc6e05cae600d5ed68b79547f677585289ba3eb68c0db96b4a68691f59ded1d/Screenshot-2025-09-24-at-20.01.08.png" data-mid="238614363" border="0" src="https://freight.cargo.site/w/1000/i/ddc6e05cae600d5ed68b79547f677585289ba3eb68c0db96b4a68691f59ded1d/Screenshot-2025-09-24-at-20.01.08.png" /> <img width="1877" height="1155" width_o="1877" height_o="1155" data-src="https://freight.cargo.site/t/original/i/2d8d54d8793382ebdab6b8f3a9dc06f3d2e5db237539b67b73344d475e065578/Screenshot-2025-09-24-at-20.01.14.png" data-mid="238614362" border="0" src="https://freight.cargo.site/w/1000/i/2d8d54d8793382ebdab6b8f3a9dc06f3d2e5db237539b67b73344d475e065578/Screenshot-2025-09-24-at-20.01.14.png" /> <img width="1495" height="765" width_o="1495" height_o="765" data-src="https://freight.cargo.site/t/original/i/9385fd790855c4f59ee81523ee77be26754ba08327c67cb634a3e663d3d3c51b/Screenshot-2025-09-24-at-20.00.38.png" data-mid="238614366" border="0" src="https://freight.cargo.site/w/1000/i/9385fd790855c4f59ee81523ee77be26754ba08327c67cb634a3e663d3d3c51b/Screenshot-2025-09-24-at-20.00.38.png" /> <img width="1964" height="867" width_o="1964" height_o="867" data-src="https://freight.cargo.site/t/original/i/0307152308cc73a86b6befd22bc8832f679ba84d10b95fbdb41c46b63ffd1162/Screenshot-2025-09-24-at-20.01.03.png" data-mid="238614364" border="0" src="https://freight.cargo.site/w/1000/i/0307152308cc73a86b6befd22bc8832f679ba84d10b95fbdb41c46b63ffd1162/Screenshot-2025-09-24-at-20.01.03.png" /> Images: Sketched based on archival material held by The Box (work by Razan Naser) <img width="1690" height="1227" width_o="1690" height_o="1227" data-src="https://freight.cargo.site/t/original/i/f09ce8356013579481d089b1994da2ab3cbe94ab4ef90e84488a414579e98cbc/Screenshot-2025-09-24-at-20.02.23.png" data-mid="238614359" border="0" src="https://freight.cargo.site/w/1000/i/f09ce8356013579481d089b1994da2ab3cbe94ab4ef90e84488a414579e98cbc/Screenshot-2025-09-24-at-20.02.23.png" /> Images: Work in Progress(images by Razan Naser)&nbsp; <img width="1421" height="959" width_o="1421" height_o="959" data-src="https://freight.cargo.site/t/original/i/c6674e9350c8458a03a77765fac44963e1a06de9c2858d829dfe5361fd196958/Screenshot-2025-09-24-at-20.02.41.png" data-mid="238614358" border="0" src="https://freight.cargo.site/w/1000/i/c6674e9350c8458a03a77765fac44963e1a06de9c2858d829dfe5361fd196958/Screenshot-2025-09-24-at-20.02.41.png" /> Images: User testing in the Immersive Vision Lab (work and phographs by Razan Naser) Breath of Light: The Politics and Poetry of Breathing/ Deborah Adeoye Deborah began to explore the politics of breathing in relation to the cost of medical oxygen in Nigeria compared to average income. She then created a fulldome experience that in her words “transforms the act of breathing into a dynamic interplay of light and sound.”&nbsp; Using sensors she allowed audience members to create light and sound from their breath and thus create a shared reflection on what it means to do something as simple as breathe. She writes: "Breath of Light" contemplates how access to air- an often-assumed free commodity is circumscribed by systems of privilege, geography, and infrastructure. Through interaction,&nbsp;immersion, and inquiry, this project examines the poetics and politics of respiration, turning&nbsp;invisible rhythms into visible provocations.” <img width="1782" height="1094" width_o="1782" height_o="1094" data-src="https://freight.cargo.site/t/original/i/10d6aa604ad1ae92f17cc7bf052bf1e415eb2aed0fa98ec090afe14030432daf/Screenshot-2025-09-24-at-20.24.28.png" data-mid="238614872" border="0" src="https://freight.cargo.site/w/1000/i/10d6aa604ad1ae92f17cc7bf052bf1e415eb2aed0fa98ec090afe14030432daf/Screenshot-2025-09-24-at-20.24.28.png" /> <img width="2008" height="1111" width_o="2008" height_o="1111" data-src="https://freight.cargo.site/t/original/i/3c1315e69619773e0544e398dd8f6d146bdc30e388be369852479dd775c1c6bc/Screenshot-2025-09-24-at-20.23.34.png" data-mid="238614873" border="0" src="https://freight.cargo.site/w/1000/i/3c1315e69619773e0544e398dd8f6d146bdc30e388be369852479dd775c1c6bc/Screenshot-2025-09-24-at-20.23.34.png" /> Images: exploring different shapes to represent different user’s breathe (Images and work by Deborah Adeoye) <img width="1932" height="1283" width_o="1932" height_o="1283" data-src="https://freight.cargo.site/t/original/i/4267b1bac111c968ad51a597228568110be05930309acc27e31803dd8e384d58/Screenshot-2025-09-24-at-20.23.17.png" data-mid="238614870" border="0" src="https://freight.cargo.site/w/1000/i/4267b1bac111c968ad51a597228568110be05930309acc27e31803dd8e384d58/Screenshot-2025-09-24-at-20.23.17.png" /> Cool Kids Can Cook/ Oliver LiOliver came from a background in illustration and in Term 1 he worked with Tamar Grow Local to produce illustration and animation that would accompany a cookery book he had been involved in previously. He used an experience design approach to research to further explore Plymouth City Council’s agenda of 'People Connecting Through Food' by undertaking community based workshops in schools as well as exploring how Makey Makey could directly connect to food and offer new ways for children to interact with it while he engaged children in &nbsp;understanding where food comes from, the relevance of seasonal vegetables and how to use fresh vegetables in season to make a meal.Oliver was also interested in the connection between 'digital lives' and food, especially the ways in which the digital domain may be influencing children's understanding around food and how this could intersect with what is local, diverse, healthy and sustainable. <img width="1254" height="1254" width_o="1254" height_o="1254" data-src="https://freight.cargo.site/t/original/i/2290ded5f594c84e7625c52cb286a1fb4bac923890c912a3a8622da7aeeaa018/Screenshot-2025-09-26-at-10.31.54.png" data-mid="238688962" border="0" src="https://freight.cargo.site/w/1000/i/2290ded5f594c84e7625c52cb286a1fb4bac923890c912a3a8622da7aeeaa018/Screenshot-2025-09-26-at-10.31.54.png" /> <img width="907" height="912" width_o="907" height_o="912" data-src="https://freight.cargo.site/t/original/i/ce00e7b0b12169f6ad4d07da92802e344600b20d5c5f6fb1026dc840d830d750/Screenshot-2025-09-26-at-10.32.02-copy.png" data-mid="238688966" border="0" src="https://freight.cargo.site/w/907/i/ce00e7b0b12169f6ad4d07da92802e344600b20d5c5f6fb1026dc840d830d750/Screenshot-2025-09-26-at-10.32.02-copy.png" /> <img width="911" height="906" width_o="911" height_o="906" data-src="https://freight.cargo.site/t/original/i/62f8ac0d4d9b2bed70894f9958555de4f55c727fae5629c136c850f0893c6044/Screenshot-2025-09-26-at-10.32.02.png" data-mid="238688967" border="0" src="https://freight.cargo.site/w/911/i/62f8ac0d4d9b2bed70894f9958555de4f55c727fae5629c136c850f0893c6044/Screenshot-2025-09-26-at-10.32.02.png" /> Images: Cookbook illustration by Oliver Li <img width="1124" height="1118" width_o="1124" height_o="1118" data-src="https://freight.cargo.site/t/original/i/47cfaaa37e97c365df8bdc5f6ddb73b593757a13ea39a31fb1830483277b8733/IMG_8571.jpg" data-mid="238688647" border="0" src="https://freight.cargo.site/w/1000/i/47cfaaa37e97c365df8bdc5f6ddb73b593757a13ea39a31fb1830483277b8733/IMG_8571.jpg" /> <img width="1125" height="1109" width_o="1125" height_o="1109" data-src="https://freight.cargo.site/t/original/i/1de5b841065462e29db09fcd12ec289784edaba5731039a758cb6e1145e116c5/IMG_8572.jpg" data-mid="238688649" border="0" src="https://freight.cargo.site/w/1000/i/1de5b841065462e29db09fcd12ec289784edaba5731039a758cb6e1145e116c5/IMG_8572.jpg" /> <img width="1125" height="1095" width_o="1125" height_o="1095" data-src="https://freight.cargo.site/t/original/i/66273cd3cf63640177b0c7e5f1f12716f942b547b19b07832d327745577b51d0/IMG_8573.jpg" data-mid="238688651" border="0" src="https://freight.cargo.site/w/1000/i/66273cd3cf63640177b0c7e5f1f12716f942b547b19b07832d327745577b51d0/IMG_8573.jpg" /> Images: Connecting food with Makey Makey (work and photographs by Oliver Li) <img width="1112" height="1838" width_o="1112" height_o="1838" data-src="https://freight.cargo.site/t/original/i/e4b3808922a90e59adc7a7fab80358ba2c76b6b99f7eea013343a5aa7bd17866/IMG_2243.PNG" data-mid="238679202" border="0" src="https://freight.cargo.site/w/1000/i/e4b3808922a90e59adc7a7fab80358ba2c76b6b99f7eea013343a5aa7bd17866/IMG_2243.PNG" /> <img width="1111" height="1830" width_o="1111" height_o="1830" data-src="https://freight.cargo.site/t/original/i/f8cb9794ddd585e79065a004cae9a29d27f755ea46bd597256c6d1f0083dcc7b/IMG_2242.PNG" data-mid="238679203" border="0" src="https://freight.cargo.site/w/1000/i/f8cb9794ddd585e79065a004cae9a29d27f755ea46bd597256c6d1f0083dcc7b/IMG_2242.PNG" /> <img width="2669" height="696" width_o="2669" height_o="696" data-src="https://freight.cargo.site/t/original/i/2378cc2f8d7be1e805b54afc20e4a8809e67ce101deab268d578083b980e996f/Screenshot-2025-09-26-at-10.33.30.png" data-mid="238688935" border="0" src="https://freight.cargo.site/w/1000/i/2378cc2f8d7be1e805b54afc20e4a8809e67ce101deab268d578083b980e996f/Screenshot-2025-09-26-at-10.33.30.png" /> Images: Illustration by Oliver Li/ photography by the University of Plymouth Serenity Escape/ Razan Naser In Term 1, Razan decided that she would focus on creating an fulldome piece based on the topic of wellbeing. Specifically, she was interested research that has shown how young adults her age are suffering from stress and anxiety. In relation to this she wanted to create an immersive experience to help the audience feel calm. Using research methods taught in the term she decided to settle on an underwater theme.&nbsp; <img width="1440" height="1439" width_o="1440" height_o="1439" data-src="https://freight.cargo.site/t/original/i/70bdd5b5a81730d71e9dfbceeb4b55b05d6b56d4a3a073d065dfaa17c5b4ed2b/50025ECB-90F2-4260-A56D-1EEC81016262.JPG" data-mid="238679345" border="0" src="https://freight.cargo.site/w/1000/i/70bdd5b5a81730d71e9dfbceeb4b55b05d6b56d4a3a073d065dfaa17c5b4ed2b/50025ECB-90F2-4260-A56D-1EEC81016262.JPG" /> <img width="1823" height="755" width_o="1823" height_o="755" data-src="https://freight.cargo.site/t/original/i/f44a6430517df3680f3226cbbb2f93b4369a04796977e2f3ee6c1ad1e3da62eb/Screenshot-2025-09-26-at-11.34.29.png" data-mid="238690743" border="0" src="https://freight.cargo.site/w/1000/i/f44a6430517df3680f3226cbbb2f93b4369a04796977e2f3ee6c1ad1e3da62eb/Screenshot-2025-09-26-at-11.34.29.png" /> Images: Sensory Ethnography approach to research (Images by Razan Naser) <img width="1824" height="807" width_o="1824" height_o="807" data-src="https://freight.cargo.site/t/original/i/ad69cd6d0790cfae757a503dc7986e3c374afe6c544778518a6213ed71568e85/Screenshot-2025-09-26-at-11.34.50.png" data-mid="238690738" border="0" src="https://freight.cargo.site/w/1000/i/ad69cd6d0790cfae757a503dc7986e3c374afe6c544778518a6213ed71568e85/Screenshot-2025-09-26-at-11.34.50.png" /> Images: Field trip to Plymouth aqurium (Images by Razan Naser)<img width="1737" height="1303" width_o="1737" height_o="1303" data-src="https://freight.cargo.site/t/original/i/4f6d33f856c72f2ebed641f668d0db74549f1b6ae5f47b35aed4fbe56321838a/Screenshot-2025-09-26-at-11.34.20.png" data-mid="238690733" border="0" src="https://freight.cargo.site/w/1000/i/4f6d33f856c72f2ebed641f668d0db74549f1b6ae5f47b35aed4fbe56321838a/Screenshot-2025-09-26-at-11.34.20.png" /> Images: A Cultural Probe approach to research conducted with peers (Images by Razan Naser) <img width="953" height="1337" width_o="953" height_o="1337" data-src="https://freight.cargo.site/t/original/i/c52d5aa5485563d233c178827bd4ee71e45bc926817a1619f9964b4421446685/Screenshot-2025-09-26-at-11.34.40.png" data-mid="238690741" border="0" src="https://freight.cargo.site/w/953/i/c52d5aa5485563d233c178827bd4ee71e45bc926817a1619f9964b4421446685/Screenshot-2025-09-26-at-11.34.40.png" /> <img width="1491" height="1053" width_o="1491" height_o="1053" data-src="https://freight.cargo.site/t/original/i/b7eac1fb29c63e963b8c2da57701de1313e89ded243af47059f6646651ac9ce0/Screenshot-2025-09-26-at-11.35.15.png" data-mid="238690736" border="0" src="https://freight.cargo.site/w/1000/i/b7eac1fb29c63e963b8c2da57701de1313e89ded243af47059f6646651ac9ce0/Screenshot-2025-09-26-at-11.35.15.png" /> <img width="1459" height="865" width_o="1459" height_o="865" data-src="https://freight.cargo.site/t/original/i/0c5ecaa3bd1b016803447b630f8d452f7c10aabd4c63bd1721b46d93cc029968/Screenshot-2025-09-26-at-11.43.07.png" data-mid="238692010" border="0" src="https://freight.cargo.site/w/1000/i/0c5ecaa3bd1b016803447b630f8d452f7c10aabd4c63bd1721b46d93cc029968/Screenshot-2025-09-26-at-11.43.07.png" /> Images: Storyboarding, photogrammetry, Maya and Unreal Engine as part of the production process (Images by Razan Naser) Student Work: 2023-24 Dada &amp; Broodiest Flunkey/ Brandon BarnardDuring Design Lab 1, Brandon focused on Dada and how this art movement might also relate to current issues. In response to this, Brandon created a series of tools to motivate others to draw on the Dada movement in their own artistic practice, such as creating an animated video to showcase a variety of Dada techniques and informing the audience of the meanings behind these. Brandon undertook a great deal of practical experimentation that included a production of an animatic, the use of social media to distribute glimpses of his work in order to build up a sense of anticipation/suspense, an online interactive exhibition, and combining Unity software with hand-drawings to create a multifaceted experience by which the audience could engage with Dadaism in a contemporary context.&nbsp; <img width="492" height="280" width_o="492" height_o="280" data-src="https://freight.cargo.site/t/original/i/26607d367a778a97c66d089c496898b0319659e4e0d74bd97081bf27ed583ef6/2.gif" data-mid="217091532" border="0" src="https://freight.cargo.site/w/492/i/26607d367a778a97c66d089c496898b0319659e4e0d74bd97081bf27ed583ef6/2.gif" /> <img width="548" height="310" width_o="548" height_o="310" data-src="https://freight.cargo.site/t/original/i/ec8ff9a20ef0ded8bfc2028308998e3fa3d157104d1e668bee52c6d9dc32a8b4/4.jpg" data-mid="217091529" border="0" src="https://freight.cargo.site/w/548/i/ec8ff9a20ef0ded8bfc2028308998e3fa3d157104d1e668bee52c6d9dc32a8b4/4.jpg" /> <img width="2405" height="1175" width_o="2405" height_o="1175" data-src="https://freight.cargo.site/t/original/i/2b2221a0f524c6fa02cc47985c7ad30aa4584823b0feb1e8319765aacb8bfb80/3.png" data-mid="217091530" border="0" src="https://freight.cargo.site/w/1000/i/2b2221a0f524c6fa02cc47985c7ad30aa4584823b0feb1e8319765aacb8bfb80/3.png" /> Images: All work and images by Brandon Barnard Brandon drew on some of the research methods studied in class, such as Cultural Probes and Performance Ethnography to inform his work.&nbsp; Taking a Cultural Probe approach, he handed out prints of the Mona Lisa to his peers and asked them to try to contradict what they saw in the image. He stated that he was influenced by one of the participants ripping the piece up, mirroring Arp’s (1920) work. Then, he noted the themes that arose from everyone’s alteration of the Mona Lisa which included femininity v. masculinity; value communication; art importance and preservation; contemporary/digital; perceived social status/class; emotions visible in the piece; and beauty. He went on to explore these concepts as he continued to develop his own experience design work.&nbsp; <img width="1518" height="1102" width_o="1518" height_o="1102" data-src="https://freight.cargo.site/t/original/i/1b5947f06aa73c7426ee39845d89d0dfdde901260ae1ba3306d23761de4c8e52/8..png" data-mid="217091531" border="0" src="https://freight.cargo.site/w/1000/i/1b5947f06aa73c7426ee39845d89d0dfdde901260ae1ba3306d23761de4c8e52/8..png" /> Image: Cultural Probe by Brandon Barnard In Design Lab 2 Brandon extended on the work above to explore the role of chance in experimental filmmaking. He collaborated with other filmmakers and showcased his final work at Imperfect Cinema. <img width="1384" height="779" width_o="1384" height_o="779" data-src="https://freight.cargo.site/t/original/i/f8140eaf6dd447c4944561caece56735a31901c94511d4c4f313b3ac66c6e39c/Picture-1.jpg" data-mid="217105580" border="0" src="https://freight.cargo.site/w/1000/i/f8140eaf6dd447c4944561caece56735a31901c94511d4c4f313b3ac66c6e39c/Picture-1.jpg" /> Image: Mindmap connecting aspects of learning during Design Lab 1 &amp; 2 to the prodution of Broodiest Flunkey by Brandon Barnard Variation of Silence/ Tu Jianan Throughout both Design Lab modules, Tu maintained a focus on exploring ways of engaging the audience in understanding the perspectives of single parent families, specifically the mother and daughter dynamic. She did this through the creation of an interactive digital comic. <img width="2000" height="1123" width_o="2000" height_o="1123" data-src="https://freight.cargo.site/t/original/i/d551e27772cc04fe889205b438e8d09ca5dd66ba4e8cb0511330700c0abf377b/tu-4.jpeg" data-mid="217134861" border="0" src="https://freight.cargo.site/w/1000/i/d551e27772cc04fe889205b438e8d09ca5dd66ba4e8cb0511330700c0abf377b/tu-4.jpeg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/5b791e0247e4f57b8495b55707a9bab2704b1e6f07a8f05973316a90e160552a/tu-3.jpeg" data-mid="217134862" border="0" src="https://freight.cargo.site/w/1000/i/5b791e0247e4f57b8495b55707a9bab2704b1e6f07a8f05973316a90e160552a/tu-3.jpeg" /> <img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/dc18ae1e21eecd868a3ab9d4d151109bb017a4b7133663c0bcf544629d6f71eb/tu.jpeg" data-mid="217134860" border="0" src="https://freight.cargo.site/w/1000/i/dc18ae1e21eecd868a3ab9d4d151109bb017a4b7133663c0bcf544629d6f71eb/tu.jpeg" /> <img width="1990" height="1118" width_o="1990" height_o="1118" data-src="https://freight.cargo.site/t/original/i/aa40526a49eb0b0fa1edf662188529e4dec4b7529a2e6f13ec0b1a43866417c1/tu-2.jpg" data-mid="217134978" border="0" src="https://freight.cargo.site/w/1000/i/aa40526a49eb0b0fa1edf662188529e4dec4b7529a2e6f13ec0b1a43866417c1/tu-2.jpg" /> <img width="1125" height="2000" width_o="1125" height_o="2000" data-src="https://freight.cargo.site/t/original/i/042a2d04816f88237e51e6d4a32981dd5f5937fdfc46ef2775163a30b2bfad07/A2F2480A-8BEF-47C9-BA0E-29D76984EF69.JPG" data-mid="238678772" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/042a2d04816f88237e51e6d4a32981dd5f5937fdfc46ef2775163a30b2bfad07/A2F2480A-8BEF-47C9-BA0E-29D76984EF69.JPG" />The comic is designed to allow the user to experience the story through the two different but connected perspectives of the mother and daughter. In order to avoid making assumptions about the experiences of single parent families, Tu undertook secondary research looking at how they are portrayed in other media. She also undertook primary research in the form of a survey and regular user testing. The findings were used to develop the branching narrative for the comic design. <img width="2000" height="1230" width_o="2000" height_o="1230" data-src="https://freight.cargo.site/t/original/i/c92eae8058c8cc0028fce57c92fe83c6d43dfa41659ee57e7ecd359cc92b9eb8/b32f6a9be339a2c9379cf14a623210c.jpg" data-mid="217137512" border="0" src="https://freight.cargo.site/w/1000/i/c92eae8058c8cc0028fce57c92fe83c6d43dfa41659ee57e7ecd359cc92b9eb8/b32f6a9be339a2c9379cf14a623210c.jpg" /> Image: branching narrative design by Tu Jianan In the image above, the yellow box represents the plot development of the story, the pink box- all the options that the player may encounter in the comics, the green box-the impact on the plot after the player selects the option, and the purple box represents the impact of the choice on the daughter in the story.The Journey of a Tomato/ Catherine Chendi Liu Catherine began by researching food waste. From a literature review she discovered food is wasted at three different stages: growing, transportation and consumption. She also undertook informal interviews to find out about commonly wasted food types. From this she began exploring the production of a gravity game using Unity. She drew inspiration from games such as “Give me Toilet Paper” and “I am bread”. Finally, she decided to centre her game on looking after tomatoes. She modelled her concepts with paper prototyping, three mini games that represented the three stages of food waste. Fail a mini game and you must throw a tomato in the bin.&nbsp; <img width="1125" height="579" width_o="1125" height_o="579" data-src="https://freight.cargo.site/t/original/i/235d560ab5d7a65dd9a47c270a27421ac7e7aac87bc75e319daaff2b820293ee/IMG_7379.jpg" data-mid="236429489" border="0" src="https://freight.cargo.site/w/1000/i/235d560ab5d7a65dd9a47c270a27421ac7e7aac87bc75e319daaff2b820293ee/IMG_7379.jpg" /><img width="1125" height="576" width_o="1125" height_o="576" data-src="https://freight.cargo.site/t/original/i/a30267b49e3566a4c80f97aefefd743047b7274ccec500d0ec9f0ddeb5f25949/IMG_7377.jpg" data-mid="236429491" border="0" src="https://freight.cargo.site/w/1000/i/a30267b49e3566a4c80f97aefefd743047b7274ccec500d0ec9f0ddeb5f25949/IMG_7377.jpg" /> <img width="1125" height="574" width_o="1125" height_o="574" data-src="https://freight.cargo.site/t/original/i/9c3bcff0fd03f196c170dc4ec6c01bbb05a56b660732acf3e994268667cc728c/IMG_7378.jpg" data-mid="236429490" border="0" src="https://freight.cargo.site/w/1000/i/9c3bcff0fd03f196c170dc4ec6c01bbb05a56b660732acf3e994268667cc728c/IMG_7378.jpg" /><img width="1125" height="551" width_o="1125" height_o="551" data-src="https://freight.cargo.site/t/original/i/8968d8133eee2fa816c3a6ed476930d589dbb7b76e560deb4b57c8c8e893e87c/IMG_7376.jpg" data-mid="236429492" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8968d8133eee2fa816c3a6ed476930d589dbb7b76e560deb4b57c8c8e893e87c/IMG_7376.jpg" /> JoyFeel Labs/ Marina Reinhardt Marina’s interactive performance asked the audience to answer a questionnaire about what makes them feel sad with a promise to banish that emotion forever through a performative tea ceremony with an AI bot.&nbsp; <img width="1113" height="1123" width_o="1113" height_o="1123" data-src="https://freight.cargo.site/t/original/i/f47dcffdec542140dc649cb2cd561cc64f6f8953c762a1fbfbb7f3cd211deae6/IMG_7398.jpg" data-mid="236432841" border="0" src="https://freight.cargo.site/w/1000/i/f47dcffdec542140dc649cb2cd561cc64f6f8953c762a1fbfbb7f3cd211deae6/IMG_7398.jpg" /> <img width="1125" height="1123" width_o="1125" height_o="1123" data-src="https://freight.cargo.site/t/original/i/8afc7ef758d33a75ab1890fc22ac1535e88248a591ff59b34199bdc2d66c8d49/IMG_7399.jpg" data-mid="236432843" border="0" src="https://freight.cargo.site/w/1000/i/8afc7ef758d33a75ab1890fc22ac1535e88248a591ff59b34199bdc2d66c8d49/IMG_7399.jpg" /> <img width="1125" height="1111" width_o="1125" height_o="1111" data-src="https://freight.cargo.site/t/original/i/dc00ec8b9689d0967230887e0a548726f5a61c055bc3ea1617a935d343f61c62/IMG_7397.jpg" data-mid="236432842" border="0" src="https://freight.cargo.site/w/1000/i/dc00ec8b9689d0967230887e0a548726f5a61c055bc3ea1617a935d343f61c62/IMG_7397.jpg" /> Personality Visualisation/ Shiyin Li Interested in the recent popularity of personality testing among you people in Asia, Shiyin started by exploring different types of personality testing and tarot and followed this up with survey that gathered further information about people’s interest and belief in personality testing. In the final work an interaction device was made using Arduino to encourage people to undertake personality testing while meeting with friends for coffee or dinner. The final results are printed as a receipt that can be kept or gifted to friends. <img width="2016" height="951" width_o="2016" height_o="951" data-src="https://freight.cargo.site/t/original/i/2cda022d6c7c0e810c6e79899aec99db97ae836d160db43d125f73f136090600/Screenshot-2025-09-24-at-18.43.59.png" data-mid="238614049" border="0" src="https://freight.cargo.site/w/1000/i/2cda022d6c7c0e810c6e79899aec99db97ae836d160db43d125f73f136090600/Screenshot-2025-09-24-at-18.43.59.png" /> Image: Receipt designs (work by Shiyin Li) <img width="1007" height="570" width_o="1007" height_o="570" data-src="https://freight.cargo.site/t/original/i/2b46f185f1d0eede915a730fe40f6f36d5307994878aa16b5e9e579486c44869/IMG_8505.jpg" data-mid="238616240" border="0" src="https://freight.cargo.site/w/1000/i/2b46f185f1d0eede915a730fe40f6f36d5307994878aa16b5e9e579486c44869/IMG_8505.jpg" /> <img width="1125" height="592" width_o="1125" height_o="592" data-src="https://freight.cargo.site/t/original/i/a520635ec0a47542c80ad63b0669df59986b4750777001fa6be655644c4098db/IMG_8507.jpg" data-mid="238616238" border="0" src="https://freight.cargo.site/w/1000/i/a520635ec0a47542c80ad63b0669df59986b4750777001fa6be655644c4098db/IMG_8507.jpg" /> Images: User testing (work and photographs by Shiyin Li) https://dylanyamadarice.com/GRAPHIC-NARRATIVE-Visual-Prompts-for-Digital-Good Tue, 27 Feb 2024 12:45:05 +0000 Dylan Yamada-Rice https://dylanyamadarice.com/GRAPHIC-NARRATIVE-Visual-Prompts-for-Digital-Good Digital Good/Bad Visual Prompts2024 The following are a series of visual prompts for children to explore notions of digital good/bad as part of the&nbsp;Exploring Children’s Attitudes Towards Notions of Digital Good/Bad research project. The ideas for the prompts arose from two public&nbsp;engagement events and exploring these in relation to literature. <img width="2144" height="1101" width_o="2144" height_o="1101" data-src="https://freight.cargo.site/t/original/i/fded9cd483861962a8cdcb2fd916bec11d281b67cb6961f4dc52b88fb98114e9/7.jpg" data-mid="205563232" border="0" src="https://freight.cargo.site/w/1000/i/fded9cd483861962a8cdcb2fd916bec11d281b67cb6961f4dc52b88fb98114e9/7.jpg" /> <img width="1981" height="1317" width_o="1981" height_o="1317" data-src="https://freight.cargo.site/t/original/i/84b30c02bd24fe26e0ec7cfd174c8fd2cebd1452516fc98a651ba04aa02c55fc/20.jpg" data-mid="205563247" border="0" src="https://freight.cargo.site/w/1000/i/84b30c02bd24fe26e0ec7cfd174c8fd2cebd1452516fc98a651ba04aa02c55fc/20.jpg" /> <img width="2043" height="1337" width_o="2043" height_o="1337" data-src="https://freight.cargo.site/t/original/i/ca22f98da87ce2a1da05ee5cfcaaa39ce45def8ac028ce3359b3e71d11ba91ea/8.jpg" data-mid="205563235" border="0" src="https://freight.cargo.site/w/1000/i/ca22f98da87ce2a1da05ee5cfcaaa39ce45def8ac028ce3359b3e71d11ba91ea/8.jpg" /> <img width="2159" height="1441" width_o="2159" height_o="1441" data-src="https://freight.cargo.site/t/original/i/81590d1c4750a1f4f68e24006d8fa11291585ed63d830ae2787c8c7940e38c21/3.JPG" data-mid="205563259" border="0" src="https://freight.cargo.site/w/1000/i/81590d1c4750a1f4f68e24006d8fa11291585ed63d830ae2787c8c7940e38c21/3.JPG" /> <img width="2290" height="1527" width_o="2290" height_o="1527" data-src="https://freight.cargo.site/t/original/i/67cae05a1b326bc06da6cb0b11f4a80cd46968e463550ee1e5bb2601f4346a76/4.JPG" data-mid="205563258" border="0" src="https://freight.cargo.site/w/1000/i/67cae05a1b326bc06da6cb0b11f4a80cd46968e463550ee1e5bb2601f4346a76/4.JPG" /> <img width="1307" height="1608" width_o="1307" height_o="1608" data-src="https://freight.cargo.site/t/original/i/4d12167dbb24c68e97051637885ef2201f302d8b8f8b9f287190ff238632a3a3/6.JPG" data-mid="205563257" 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data-mid="205563254" border="0" src="https://freight.cargo.site/w/1000/i/ab7378f3949121f0b6f508b73f4f48a77c3f825aebca2d4b2f472b3755255204/14.jpg" /> <img width="2160" height="1434" width_o="2160" height_o="1434" data-src="https://freight.cargo.site/t/original/i/ed55c37238aef7ebe1a8292891a4ee74463c7603d3d567ace423d174bf21cb84/16.jpg" data-mid="205563253" border="0" src="https://freight.cargo.site/w/1000/i/ed55c37238aef7ebe1a8292891a4ee74463c7603d3d567ace423d174bf21cb84/16.jpg" /> <img width="2220" height="1400" width_o="2220" height_o="1400" data-src="https://freight.cargo.site/t/original/i/f51273e18f4af876faebe1ba11ff051cb36b395bb6cc8240342901445849c381/12.jpg" data-mid="205563252" border="0" src="https://freight.cargo.site/w/1000/i/f51273e18f4af876faebe1ba11ff051cb36b395bb6cc8240342901445849c381/12.jpg" /> <img width="2160" height="1382" width_o="2160" height_o="1382" data-src="https://freight.cargo.site/t/original/i/a712534c0177f3c8f9097cbf340b75fb1090eeb6995fcf65caa1cee270511de8/10.jpg" data-mid="205563251" border="0" src="https://freight.cargo.site/w/1000/i/a712534c0177f3c8f9097cbf340b75fb1090eeb6995fcf65caa1cee270511de8/10.jpg" /> <img width="2001" height="1334" width_o="2001" height_o="1334" data-src="https://freight.cargo.site/t/original/i/8b1091b0136f7ff98d9572c95e1466941491507730ed78d09427a481a35e14be/17.jpg" data-mid="205563250" border="0" src="https://freight.cargo.site/w/1000/i/8b1091b0136f7ff98d9572c95e1466941491507730ed78d09427a481a35e14be/17.jpg" /> <img width="2018" height="1415" width_o="2018" height_o="1415" data-src="https://freight.cargo.site/t/original/i/65a901b61edc3be740f94582f8c19ea690ab059f86f6aaa33dc5abc3302b7516/18.jpg" data-mid="205563249" border="0" src="https://freight.cargo.site/w/1000/i/65a901b61edc3be740f94582f8c19ea690ab059f86f6aaa33dc5abc3302b7516/18.jpg" /> <img width="2494" height="1402" width_o="2494" height_o="1402" data-src="https://freight.cargo.site/t/original/i/f5e8e4d09324a71e117fcce3a293ac33d714c055382b098d146a715cc963f143/19.jpg" data-mid="205563248" border="0" src="https://freight.cargo.site/w/1000/i/f5e8e4d09324a71e117fcce3a293ac33d714c055382b098d146a715cc963f143/19.jpg" /> <img width="1208" height="1610" width_o="1208" height_o="1610" data-src="https://freight.cargo.site/t/original/i/1f781b9ac26249692139870bdbd8a50c801d53019f4f4eb1282ecfc4cac95a3e/1.JPG" data-mid="205563231" border="0" src="https://freight.cargo.site/w/1000/i/1f781b9ac26249692139870bdbd8a50c801d53019f4f4eb1282ecfc4cac95a3e/1.JPG" /> <img width="2160" height="970" width_o="2160" height_o="970" data-src="https://freight.cargo.site/t/original/i/f1245d4d2d73fbecbb1291d1351ea4aa668c1fe90de1612947cc93202556a7ff/21.jpg" data-mid="205563246" border="0" src="https://freight.cargo.site/w/1000/i/f1245d4d2d73fbecbb1291d1351ea4aa668c1fe90de1612947cc93202556a7ff/21.jpg" /> <img width="2677" height="1306" width_o="2677" height_o="1306" data-src="https://freight.cargo.site/t/original/i/63cc96e59a302b55bde2793f60764f71a57729a3f3850f7166ae0ede6a3a8fcb/22.jpg" data-mid="205563245" border="0" src="https://freight.cargo.site/w/1000/i/63cc96e59a302b55bde2793f60764f71a57729a3f3850f7166ae0ede6a3a8fcb/22.jpg" /> <img width="2040" height="1342" width_o="2040" height_o="1342" data-src="https://freight.cargo.site/t/original/i/348f4c690853672ca7b028b70beb10dcc2711df5bcf5d837b121f81e1e5e10ce/23.jpg" data-mid="205563244" border="0" src="https://freight.cargo.site/w/1000/i/348f4c690853672ca7b028b70beb10dcc2711df5bcf5d837b121f81e1e5e10ce/23.jpg" /> <img width="2160" height="1076" width_o="2160" height_o="1076" data-src="https://freight.cargo.site/t/original/i/fd0e51d51069ef4bc03f25ebef91cbb130af8c8830dbc21fd161299e67edb340/24.jpg" data-mid="205563243" border="0" src="https://freight.cargo.site/w/1000/i/fd0e51d51069ef4bc03f25ebef91cbb130af8c8830dbc21fd161299e67edb340/24.jpg" /> <img width="2083" height="1358" width_o="2083" height_o="1358" data-src="https://freight.cargo.site/t/original/i/5902e0d19baafe7e6082992101d1114ae8ff48ab2882844eaf84d1d6c2fa4d6c/25.jpg" data-mid="205563242" border="0" src="https://freight.cargo.site/w/1000/i/5902e0d19baafe7e6082992101d1114ae8ff48ab2882844eaf84d1d6c2fa4d6c/25.jpg" /> <img width="1620" height="2160" width_o="1620" height_o="2160" data-src="https://freight.cargo.site/t/original/i/e00d60f38e186c8040d62357c57614b05cc6555d56814081bee76222734a063a/26.jpg" data-mid="205563241" border="0" src="https://freight.cargo.site/w/1000/i/e00d60f38e186c8040d62357c57614b05cc6555d56814081bee76222734a063a/26.jpg" /> <img width="1527" height="2291" width_o="1527" height_o="2291" data-src="https://freight.cargo.site/t/original/i/5f822843fd8ef87449beda0c79889ff998a1d5d712c2584fb6562769d19bd020/27.jpg" data-mid="205563240" border="0" src="https://freight.cargo.site/w/1000/i/5f822843fd8ef87449beda0c79889ff998a1d5d712c2584fb6562769d19bd020/27.jpg" /> <img width="2121" height="1414" width_o="2121" height_o="1414" data-src="https://freight.cargo.site/t/original/i/8a351b1cad98f8bc46d2f10c3b8a04b045b81389c1897e354d75d195a1b7f66a/28.jpg" data-mid="205563239" border="0" src="https://freight.cargo.site/w/1000/i/8a351b1cad98f8bc46d2f10c3b8a04b045b81389c1897e354d75d195a1b7f66a/28.jpg" /> <img width="2048" height="1366" width_o="2048" height_o="1366" data-src="https://freight.cargo.site/t/original/i/3e4a37555a4c345ef0193f77bb1dad12b09392872b9fc8250d568f84f36a8167/11.jpg" data-mid="205563238" border="0" src="https://freight.cargo.site/w/1000/i/3e4a37555a4c345ef0193f77bb1dad12b09392872b9fc8250d568f84f36a8167/11.jpg" /> <img width="2160" height="1620" width_o="2160" height_o="1620" data-src="https://freight.cargo.site/t/original/i/35695a7afa38f5617548ea43956431898c2571e57de4edcdd39301b279f1cd7b/29.jpg" data-mid="205563237" border="0" src="https://freight.cargo.site/w/1000/i/35695a7afa38f5617548ea43956431898c2571e57de4edcdd39301b279f1cd7b/29.jpg" /> <img width="2160" height="1620" width_o="2160" height_o="1620" data-src="https://freight.cargo.site/t/original/i/45b792932fab83de7af3d390da523d5614cd7afb0fac9c389b8f101abedf2438/2.jpg" data-mid="205563236" border="0" src="https://freight.cargo.site/w/1000/i/45b792932fab83de7af3d390da523d5614cd7afb0fac9c389b8f101abedf2438/2.jpg" /> <img width="2160" height="1205" width_o="2160" height_o="1205" data-src="https://freight.cargo.site/t/original/i/e39841e91d0dbedfe1c56d25c94ddcc97e21144007ba6c06c99f635494cff860/15.jpg" data-mid="205563234" border="0" src="https://freight.cargo.site/w/1000/i/e39841e91d0dbedfe1c56d25c94ddcc97e21144007ba6c06c99f635494cff860/15.jpg" /> <img width="1077" height="1620" width_o="1077" height_o="1620" data-src="https://freight.cargo.site/t/original/i/3d2d35fdac680780013400ef6086a1dc7e87862d83ceced11601a8ef19cd8e37/5.jpg" data-mid="205563233" border="0" src="https://freight.cargo.site/w/1000/i/3d2d35fdac680780013400ef6086a1dc7e87862d83ceced11601a8ef19cd8e37/5.jpg" /> Images: Digital drawings on photographs (Yamada-Rice, 2024) The images were shown as part of a group show 29:29, 6th-18th March 2024, RLB Second Floor Gallery <img width="1232" height="1743" width_o="1232" height_o="1743" data-src="https://freight.cargo.site/t/original/i/785924631e7592806c71102c65d1f981f9c93e73a20952a18a4ea31f2581abda/2929_Poster_.jpg" data-mid="207077202" border="0" src="https://freight.cargo.site/w/1000/i/785924631e7592806c71102c65d1f981f9c93e73a20952a18a4ea31f2581abda/2929_Poster_.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/f3faf512a40f650c626b94b605c9143d76c8e22c436533cd256f1d1ac21990af/IMG_6162.jpeg" data-mid="207077290" border="0" src="https://freight.cargo.site/w/1000/i/f3faf512a40f650c626b94b605c9143d76c8e22c436533cd256f1d1ac21990af/IMG_6162.jpeg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/53b66464f7d8dacaff125f8845ac8c3ffdbe32a08f081225a5aa23644dd7a758/IMG_6164.jpeg" data-mid="207077289" border="0" src="https://freight.cargo.site/w/1000/i/53b66464f7d8dacaff125f8845ac8c3ffdbe32a08f081225a5aa23644dd7a758/IMG_6164.jpeg" />