Skip to content

Topic 2 Final

Topic 2 Final: AI Art Gallery

Project background:

If you’ve been on social media throughout the last few months, chances are you’ve seen a plethora of artwork, written content, memes and more – created not by a human, but by an AI. Whilst software and new machine-learning AI systems such as DALL-E 2 and Midjourney have recently become the latest creative craze online, there has been little discussion as to the legal questions surrounding AI-generated content. It may seem a bit surreal or dystopian for some, but there is now a whole new universe of questions to be raised regarding intellectual property and AI.

As much machine-learning software utilises a database of images collated from other artists, is it stealing, copying, or inspiration if you utilize someone else’s artwork and artificial intelligence to create your own? The largest issue still is: Who owns AI-generated art once it has been produced? Artificial intelligence (AI) has long produced art. But this year’s technologies, such DALL-E 2, Midjourney, and Stable Diffusion, have allowed even the most inexperienced artists to produce intricate, abstract, or lifelike pieces by merely entering a few words into a text box.

Project intention;

Create a simple AI-Generated art gallery website to invite people who haven’t used AI-generated art before in order to raise people’s awareness of AI copyright thinking.

System map:

Feedback loop:

Prototypes:

Preview: 

Cover section

Gallery section

How to section(three tools to introduce)

Upload section(If users try to upload “your” AI-Generated artwork, you will see the copyright at the bottom of the popup window, but who owns this art piece is randomly generated by the computer algorithm.)

 

About section(Critical thinking)

User test and feedback:

  • The Popup window sometimes not working when clicked multiple times.
  • Less text.
  • Images couldn’t upload to the database.
  • How to section and second menu button not clear.

Bibliography:

  1. Steven Vargas, How AI-generated art is changing the concept of art itself, https://www.latimes.com/projects/artificial-intelligence-generated-art-ownership-bias-dall-e-midjourney/
  2. Copyright review board, https://www.copyright.gov/rulings-filings/review-board/docs/a-recent-entrance-to-paradise.pdf
  3. Luke Plunkett, August 2022, AI Creating ‘Art’ Is An Ethical And Copyright Nightmare, https://kotaku.com/ai-art-dall-e-midjourney-stable-diffusion-copyright-1849388060
  4. Charlie Warzel, August 2022, I Went Viral in the Bad Way, https://newsletters.theatlantic.com/galaxy-brain/62fc502abcbd490021afea1e/twitter-viral-outrage-ai-art/
  5. Arthur Roberts, October 2022, Who owns the copyright in AI-generated art?, https://www.lexology.com/library/detail.aspx?g=fd1e9201-c746-42b4-b3c2-348dfe7ea31d
  6. James Morales, February 2021, From Poetical Science to GANism: A Selective History of the Art in Artificial Intelligence, https://www.electricartefacts.art/news/from-poetical-science-to-ganism-a-selective-history-of-the-art-in-artificial-intelligence

  7. LBB Editorial, September 2022, Who Owns AI-Generated Art? https://www.lbbonline.com/news/who-owns-ai-generated-art

Final for Topic 2

Here are the links for all of the aspects of my final project!

//Matrices

//Interviews

//User Tests

//Daily Practice: First Post | Second Post

//Janky Prototypes

//Systems Maps and Analysis

//Slides

//Site

 

//Bibliography:

6, Renee Cho |June, et al. “The Fracking Facts.” State of the Planet, 29 July 2014, https://news.climate.columbia.edu/2014/06/06/the-fracking-facts/.

Amy Mall Bemnet Alemayehu, et al. “Reduce Fracking Health Hazards.” NRDC, 21 July 2021, https://www.nrdc.org/issues/reduce-fracking-health-hazards.

April 19, 2019 Melissa Denchak. “Fracking 101.” NRDC, 13 Apr. 2022, https://www.nrdc.org/stories/fracking-101.

Lohan, Tara. “We’re Just Starting to Learn How Fracking Harms Wildlife .” The Revelator, 16 July 2020, https://therevelator.org/fracking-wildlife/.

“Potential Health and Environmental Effects of Hydrofracking in the Williston Basin, Montana.” Case Studies, 15 Feb. 2019, https://serc.carleton.edu/NAGTWorkshops/health/case_studies/hydrofracking_w.html.

“Sign the Petition.” Change.org, https://www.change.org/p/ban-fracking-before-it-s-too-late.

Topic 2 Final

Project

The Phytometer is a product that you can put on your desk that helps to maintain your inbox and offset your carbon footprint. The Phytometer Planter connected to your inbox, and when you receive junk mail, the UV light that keeps the plant alive is turned off. The only way to turn the light back on is to unsubscribe from the newsletters that are flooding your inbox. The main intention of the project is to encourage people to unsubscribe to the unwanted emails in their inbox. It isn’t enough to just delete them, we should unsubscribe from the lists to make sure they’re never sent. It is intended to be ironic and sarcastic, since corporations should not being sending so many email regularly. It is also looking at corporations critically who put the onus on individuals for the cause of climate change, when the biggest carbon footprint are caused by large corporations and out of our control.

Link to the Figma prototype

I-A-E

Ideas

  • Climate change is bad
  • Everyone should try to reduce their carbon footprint

Arrangements

  • Hard arrangement: people are required to use their computers/email for work and life
  • Soft arrangement: businesses target customers using a “free” and quick tool — email

Effects

  • People think sending emails are free of physical repercussions
  • People receive lots of emails a day that they ignore
  • People are unaware of the things done behind-the-scenes to send/receive email

Systems Maps

These systems maps are to look at the types of emails sent to our inboxes, and determining what are essential and what are not. This was the basis of the project, which helped me to determine that marketing emails are the most prominent type of email in my inbox, and the ones I ignore the most.

Janky Prototypes

Interview

I interviewed my colleague, Aneesha Desai, who is a climate activist and engineer.

Q: Can you give us a quick description about who you are and the work you do?

A: I’m Aneesha, and currently I work on a team at Google that does research on climate change. We analyzes data to see where products source their materials from, and help companies to use the data to figure out how to reduce their carbon footprint. I also created an app called Planet Possible, which educates people on climate change and encourages them to take action.

Q: Can you tell us how you initially became interested in working on climate change?

A: A few years ago, I initially became conscious of my non-environment friendly habits, and started to try and offset my carbon footprint by changing my daily habits, like becoming vegan. It wasn’t until the wildfires in Australia in 2020 which made me realize that I wanted to make a bigger impact and decided to join my team at Google.

Q: What are your thoughts on the general public and their idea of climate change?

A: Typically, I see people react in three different ways. The first group are hardcore climate activists, and are very passionate and knowledgable about climate change. The second group are climate change deniers, who don’t believe climate change will impact their lives. And lastly and more commonly, I see people who are aware of climate change, but don’t know where to start making an impact. We found that about 85% of the people make up the last group. Many people care about the problem and want to take action, but lack knowledge about the topic and can’t find ways to participate in the cause. This is what led me to build my app Planet Possible, which educates people on all the industries that contribute to climate change, and gives them ways to reach out to key people to enact change.

Q: What do you think is the most effective way to motivate people to change?

A: Through building Plant Possible, we’ve found that people are most inclined to participate in a rewards-based system, where they are given rewards for their actions. We found that just providing facts and statistics on your carbon footprint does not enact change, and people need more to be motivated to change. This is why we’re pivoting the Planet Possible app to a more rewards-based platform, where people attain points when they offset their carbon footprint.

UX Docs

The storyboard of the intended flow the Phytometer product.

The user flow diagram of the Phytometer app.

 

A user journey diagram for the intended audience.

User Testing

User Testing 1 video

User Testing 2 video

User Testing 3 video 

The main thing I learned from the user testing was that there was a need to show people how to unsubscribe from their unwanted junk mail, so I added the tutorial after connecting the planter to guide users on how unsubscribe from a typical marketing email. Another thing I learned was that users were most likely not going to read the text on the app, so I minimized the amount of text there was on each screen. And lastly, there was feedback on equating the statistics to something relatable, for instance, comparing the amount of CO2 emitted from your inbox to miles while driving, so that people can get a better idea of their carbon footprint.

Rubric/Goal Assessing

Totally fulfilled: My project becomes real, and helps many people reduce their junk mail. 

Somewhat fulfilled: People remember the presentation when looking at their inbox and are more conscious about what emails are sent to them.

Not fulfilled at all: My intended audience do not believe their inbox makes an impact on climate change.

How might you measure the success of your fully realized project? 

I would measure the success of my fully realized project by comparing inbox sizes before and after using the product over a long period of time. 

What are some “key performance indicators”? Indulge your wildest dreams!

In 2 years, corporations are banned from automatically subscribing users to newsletters. They are also required to make the process to unsubscribe more obvious.

Bibliography

Armstrong, Martin, and Felix Richter. “Infographic: The Carbon Footprint of ‘Thank You’ Emails.” Statista Infographics, 4 Dec. 2019, https://www.statista.com/chart/20189/the-carbon-footprint-of-thank-you-emails/.

Dirty Messages: The Unseen Carbon Footprint of Communication. https://www.researchgate.net/publication/358277360_DIRTY_MESSAGES_The_Unseen_Carbon_Footprint_of_Communication.

“’Think before You Thank’.” ‘Think Before You Thank’ | OVO Energy, https://www.ovoenergy.com/ovo-newsroom/press-releases/2019/november/think-before-you-thank-if-every-brit-sent-one-less-thank-you-email-a-day-we-would-save-16433-tonnes-of-carbon-a-year-the-same-as-81152-flights-to-madrid.

“Why Your Internet Habits Are Not as Clean as You Think.” BBC Future, BBC, https://www.bbc.com/future/article/20200305-why-your-internet-habits-are-not-as-clean-as-you-think.

S. D. U. Mageswari, P. Suganthi and M. Meena, “Carbon Footprint of Information and Communication Technologies,” 2022 International Conference on Edge Computing and Applications (ICECAA), 2022, pp. 338-342, doi: 10.1109/ICECAA55415.2022.9936485.

Poet Suit Final Post

Presentation and Project:

Link to the slides with pics and more links inside:

https://docs.google.com/presentation/d/1AP0EMOc_WBaUL26TeJAsf2UIhs_z2B3nj3EHAjcMFMs/edit?usp=share_link

Poet Suit is a physical suit that allows the user to become a poet and play with different styles of ancient Chinese poems. The poet suit is divided into four parts: intelligent glasses, Metrical Clothing (Left: Qiyan Tang uniform; Right: Zayan ancient clothing ), Rhythm Lenses, and Poet Instrumen. The question I want to discuss is how to avoid cultural loss while the evolution of language is unstoppable since language is the record of history, but the pronunciation of ancient Chinese has already been lost. This Poet Suit is the solution I bring out, turning writing a poem into entertainment. 

The target audiences are Mandarin speakers and learners with basic knowledge of ancient Chinese poems. The primary experience I want to bring out is interacting with or experiencing the poem. I did not choose to let the audience simply read or listen to a poem because most Mandarin speakers have a terrible memory of reading and memorizing ancient Chinese poems to pass the exam. As a result, I decide to link the poem with the music to create a new experience. However, reading or listening to Chinese poetry can be the future core experience for non-Mandarin speakers.

Trail of Research

Topic choose

I’m pretty sure I want to discuss the policy of deleting the pronunciation of some characters in Mandarin. However, my intention is not clear at the very beginning. I know that I can’t entirely agree with this policy, but I didn’t think deeply enough about why I object to this policy. In the first half of the progress, I was trying to ask my audience to be against this policy together while personally, I hate influencing other people’s opinions. Then I realized I just wanted my audience to see or experience what is happening now and what questions we were facing. I want to let them decide whether this policy is reasonable and whether it would lead to some harmful effects. As a result, my intention changed to discuss the relationship between the development of the language and the heritage of the culture in a restrained way.

Daily Practice

During my one-week daily practice, I choose to try to play 水调歌头(Prelude to Water Melody)  with ~6 different instruments. Prelude to Water Melody is an ancient Chinese poem. It has been set to music, and the song is popular in different generations of China.

By doing so, I realize that music can shorten the distance between people and poetry and make poetry less severe. This discovery led me to make the instrument in the suit.

System map

Link to system maps:  https://miro.com/app/board/uXjVPI0fKpY=/?share_link_id=466501556636

Two maps are made to figure out the history and structure of the ancient Chinese poem. During the research, I also found a website for generating ancient Chinese poems with AI. This website inspired me that although it might be hard for normal people to create poetry, they can finish this task with the help of AI.

Janky Prototypes

Janky prototypes show three potential directions I have. The rhythmic beauty evaluator is trying to question what decides a poem’s ” beauty “: the content, the structure, or the sound. The poetry printer tries to arouse the discussion of whether AI can replace writers in literary creation. The poet suit is more about “who you are” and what makes you a poet. The poetry printer and the poet suit later become parts of my final project.

After finishing three prototypes, I realize I am pessimistic about these questions. However, I still want to make something more positive and convey a positive attitude. I ensured that I wanted to share that people and technology complement each other, not that artificial intelligence/rules limit humans.

User Journey Map and User Testing

The user journey map is the “predecessor” of the instruction book. In the beginning, the map is only for me to reverse my project, but during the user testing, I found some problems.

I invite my parents (55 years old), my friend (25 years old), and my former colleague(34 years old) to the test. The general process of the test is as follows. First, I introduce the project’s background; second, I show them the suit. The next step was a bit different; I played a 1min30s instruction video to my friend but explained how the project worked and what they needed to do to my parents and my former colleague. Then I let them interact with the project and ask questions. 

User testing is not going well. They all start to ask questions like “what should I do now?”, “then?“, “am I right?” and so on. My friends have the fewest questions, but he also says that the video did not help much. As a result, I added an instructions book for the project and asked the audience to finish it before interacting with it.

Also, I realize the importance of figuring out the age range of my target audience, and the project might need some simplification in the future.

Bibliography

The Invisible Labor of Nature

 

Well Worn Baby Blanket

 

Held

 

Vessels

 

 

With this collection of work, I explore the many roles that plants play in their communities. I consider plants’ communities to consist not only of other plants, but also of humans, insects, birds, and other animals, and all of these other members rely on plants for some particular function. Plants provide nutrients, shelter, protection, services, and resources vital to their community members, but not all of these roles are recognized and celebrated or valued by humans. In making these objects, I wanted to point to several of the undervalued roles, or the invisible labor, that nature so frequently plays. By making these connections, I sought to begin shifting this value system. I hoped that the baby blanket could be held on ones lap, so one might feel the warmth and insulation that the dead leaves provide for new life. In creating a bowl, I hoped people would think about the essential nutrients provided by plants that keep humans, insects, birds, and wildlife alive and healthy, and that viewers would begin to see that plants prepare every meal for us. And Vessels speaks to the things that nature must hold and carry. Like the invisible labor provided by care workers, essential workers, and so so many more people — labor so frequently provided by women and people of color — this work that plants do is both vital and undervalued. 

 

Thoughts/ Prompts/ A Loose “How-To” for a Nature Walk and Making Meditation

 

Step 1: Prepare yourself for a walk in nature

Regardless of where you are, you are in nature. At the very least, YOU are nature. Breathe in, breathe out, you’ll see that it is true. So let’s go for a little ramble to explore the nature that is all around us. I am in Chicago. I will write from that perspective, but if you are in this city, another city, a suburb, village, town, or elsewhere, you are also in nature.

To prepare for your walk, put on some comfy shoes. Grab whatever layers you need. Think about how you will carry any leaves or interesting things that you see on your walk. Does your coat have pockets? Should you bring a bag? Maybe you prefer to carry things in your hands?

 

 

Step 2: Get outside

Step outside your door. Look around and begin your walk. Feel your lungs and your legs and the sun or wind or rain or cold on your face. How does your body feel? Regardless of the answer, you are nature.

Now let’s look outside of ourselves. What do you see? Are there trees? Plants, bushes, flowers in window boxes? Maybe a hedge or a garden. Do you see other people? Maybe some dogs or squirrels, birds, even rats. These are nature!

Let’s look a little closer. Are you on a sidewalk? Are weeds pushing up between the cracks? Are tree roots breaking apart the cement? Are grasses surrounding the edges of potholes, or pushing out from where the sidewalk meets the storefront? Marvel for a moment in the resilience of nature.

Step 3: Gather

As you walk, begin to gather small things. For our purposes, I suggest gathering leaves. Take a look at these leaves. What color are they? What is their texture? Are they brittle or soft? Thick or thin? Do they feel delicate? Do they look like lace? Or maybe they are tough and strong, like leather.

Notice their veins. These carry water and nutrients to the rest of the plant. Do you see small cells that make up the leaf? These might be stomata, which help the leaves to breathe.

Step 4: Mull

Keep mulling about the leaves. What do they do? They filter air, absorbing carbon dioxide and exhaling oxygen. They engage in photosynthesis, turning sunlight into energy. They communicate with other plants, emitting scents and chemicals to defend against herbivore attacks, or warn of nearby predators. For more on this subject, maybe start here.

Step 5: Return home

When you are ready, return home.

 

Step 6: Make a quilt

Clear a space for sewing a quilt. Get out your sewing machine.

Begin to sew the leaves together. Overlap one leaf onto another, or several onto many. There is no pattern for this quilt. Add more where you like, when you like. Make the colors pleasing — or don’t. The important part is to pay attention. See what is happening with the leaves. Are some breaking? That is ok! Are some turning to dust? Whoa. Are some holding up? Staying strong? Why?

In order to make the quilt stay together a bit better, try sewing in a cross-hatch pattern. But if you don’t care about this, then don’t.

 

 

Step 7: Test it

When you are ready, stop quilting. Maybe your quilt is the size of a dinner plate. Maybe it’s a placemat? Maybe the size of a baby blanket. Regardless, lay it on your lap. How does it feel? Do you feel your warmth reflected onto your lap? Do you feel insulated at all? Maybe not. But maybe so. This is the blanket that covers the earth (in places) in the fall. It insulates the ground, returns nutrients to the soil, allows insects and animals to build homes. Maybe, if you have a yard to rake, you leave a section covered in leaves.

 

Step 8: Prepare paste to make a vessel

In a small pot or saucepan, mix 1 cup of water and 2 tablespoons of flour. Whatever flour you have should be fine. Or at least worth a try.

Whisk this mixture together over medium heat, and keep whisking as it begins to boil. Once it is boiling, keep whisking. It may take a few minutes, but boil and whisk until the mixture starts to thicken and cook down, forming a thick glossy goo. It should be thicker than pancake mix. Maybe even as thick as pudding.

As you are cooking this paste, contemplate the work that nature does to feed the world. The photosynthetic magic of turning sunlight into energy. The vast network of root systems, arguably more complex and widespread than anything humans have made, that transport water, nutrients, life. The way that plants give of their very beings for every creature to eat, to shelter. Cooking can remind us of that.

 

Step 9: Paper mache leaves

Use some foil to build a basic form. I suggest making a bowl form as a place to start. To make a suitable bowl form, gather a generous amount of aluminum foil. Crumple it into a mass, and start to shape it into a low, wide cylinder. Then press down in the middle of this cylinder to form a hollow. Smooth this hollow out to the edges. It doesn’t have to be perfect, or anywhere near it. You just want to approximate a shape that will hold a bowl. Or whatever else you might want to make. And if you don’t want to make a bowl, or don’t have foil, do something else. Maybe just use a bowl you already have.

Line your form (or bowl, or just your table) with waxed paper. Grab a glob of flour paste and smear it onto a leaf. Lay this leaf on the waxed paper, and add another leaf. If you need more paste, add more paste. If you have too much paste, add more leaves. Overlap the leaves how you like, remove stems if you need to, and keep going with paste and leaves until you are satisfied with the results.

How does this feel? How does the warm paste feel on your fingers? How do the leaves hold up? What happens when they get covered with paste? Do they fall apart? Become transparent? Let your creation dry for a while — several hours at minimum, a day or two or longer if desired.

Step 10: Reflect

As you wrap up and move about the rest of your day, do a little reflection on this activity. Here are some suggested questions to guide your reflection, but go rogue.

What did this process bring up for you? What did you learn? What did your fingers teach you about the materiality of nature? What does this materiality mean? Where does it come from? What does nature do?

Project 2 Bibiliography

Project 2 Bibliography

Almassi, Ben. “Value Disputes in Urban Ecological Restoration: Lessons from the Chicago Wilderness.” Studies in History and Philosophy of Science. 87, 93-100. April 8, 2021.

Carter, Steve, et al. “Guiding Principles for Rewilding.” Conservation Biology. 35:1882–1893. February 26, 2021. DOI: 10.1111/cobi.13730

Chadde, Steve W. Prairie Plants of Illinois. Orchard Innovations, 2019.

Eshel, Kat. “7 Problems With Rewilding.” Medium. March 22, 2014, https://medium.com/@kateshel/rewilding-europe-2-ea9df00cfe76

“Hugo McCloud: from where i stand.” The Aldrich Contemporary Art Museum. 2021. https://thealdrich.org/exhibitions/hugo-mccloud-from-where-i-stand

Ibáñez-Álamo, Juan D. et al. “Biodiversity within the city: Effects of land sharing and land sparing urban development on avian diversity.” Science of the Total Environment, 707, March 10, 2020. https://doi.org/10.1016/j.scitotenv.2019.135477

Jaafry, S.W.H. and A. Fatima. 2022. “Interactions among the plants with different neighbor identities and plant communication (A Review).” Sarhad Journal of Agriculture, 38:3, 1017-1025

Moses, Alison Croney. What We Hold. 2022. Cedar wood and milk paint. The Center for Art in Wood, Philadelphia.

Narango, Desiree L. et al. “Nonnative plants reduce population growth of an insectivorous bird.” PNAS, 115:45, 11549-11554. November 6, 2018. https://doi.org/10.1073/pnas.1809259115

Stoetzer, Bettina. “RUDERAL ECOLOGIES: Rethinking Nature, Migration, and the Urban Landscape in Berlin.” Cultural Anthropology. 33:2, 295–323. 2018. DOI: 10.14506/ca33.2.09

Mendelson, Ellie, et al. “What Is a Leaf?” Frontiers for Young Minds. Frontiers Media SA. 31 March 2022.  https://kids.frontiersin.org/articles/10.3389/frym.2022.659623

 

Final Project: Who Am I

  • by

For this project I want to display a map for people, who are they, what are those rolls people are playing everyday, but they didn’t notice during daily life, accounting to those rolls that people playing, how much of them are true come from their mind, and how much people can really be who they want, accounting to the research, people’s dream most being impacted from own parents, and parents always stay in their safe zone, and for they the most valuable children they want to pick the most secure way from their safe zone. And That’s the reason why people gave up or lost their own dream or intelligent since very young age. This is project is based on my personal experience, I have a very conservative confusion background family, the way I am going always been selected form my parents, I was a quite good girl did whatever they want, until the day I went aboard and study along, I had saw, smell, heard, learned, and created my own perceptions. I just wake up, and realize life is an experience, always come along, and leave alone, the only thing and be temporary saved, or keep. However with time files, everything will be totally erase off in time river. Life once, so just make it follow your own mind. At the very end I gave 3 direction to negotiate how you want to keep working on your dream or intelligent.

 

Reference:

Bhagwan, Dada. “Positive Parenting: How to Be a Better Parent: Parent Child Relationship.” Spacer

Bisht, Bhawana. “Dear Parents, Stop Imposing Your Dreams on Your Children.” SheThePeople TV, SheThePeople, 11 Mar. 2020

Doglio, Fernando. “Stop Killing Your Kid’s Dreams for the Future. Why Would You Do That?” Medium, A Parent Is Born, 21 Oct. 2020

Max Jordan Nguemeni Tiako, MD. “‘Parents Kill More Dreams than Anybody’ – Spike Lee.” Medium, Medium, 23 Mar. 2016

“Sometimes, Good Parents Produce Bad Kids.” NPR, NPR, 15 July 2010

Topic 2 Final Project: Memory vs. History

Topic Overview:

My topic investigated the process of what solidifies events, stories, and points of view as “history,” focusing on the below questions:

  • How does this process inform what is learned and shared through the generations, through institutions, curriculum, and truth?
  • How is information edited in a particular process or path before it is considered historical and worth spreading/teaching/learning?
  • What are the criteria of history vs. memory?
  • What is the power dynamic that allows this to happen?

My intended output/form for this project was to empower more stories, contexts, and perspectives to be shared to fully inform how certain events or movements impacted and shaped the experience for different communities as a societal whole rather than through a specific lens.

Research & Process: 

  • Systems Maps: I chose to start my Daily Practice series by creating a Systems Map. This exercise identified the importance of documentation, how information is documented, and the most “successful” forms of documentation that are the lynchpin to a historical narrative’s viability.
  • Daily Practice Day 2 & Daily Practice Days 3-6: Further brainstorming through the Daily Practice exercises led me to consider the different processes of creating a narrative, the revisions that take place, and how to frame a story in certain contexts.
  • IAE Map: Helped me further solidify the Public and Counter Public through-line, framing the intention and vice versa.
  • Janky Prototyping & Sketching: These creative ideation sessions gave me seedlings of outputs and interactions for interactive media outputs, but ultimately the idea of empowerment and being able to tell your own story was what I ultimately hinged the project form on, which is why I ultimately pivoted to the idea of a more accessible, low-res, guided journal experience, leading to the Make History Guided Journal.
  • Further builds: Rather than seeing this journal produced by a company or a branded product, I could see this more as an initiative or outreach programming with a national institution with local branches to attempt to get a broad swath of inputs. Or, the potential to manage this at the local level through a grant or endowment for historical societies in specific areas of underrepresented populations, almost working as a community initiative similar to an idea of a time capsule, where local stories/entries. My only concern is with making this a publicized activity, the participants may choose to add color to how stories are told or written, which would impact their accuracy. That is something I haven’t fully understood, how to crack that part of the human condition to stretch the truth or have biases towards themselves to ensure the truth is told. The scale of which this is activated also determines the direction of its growth and intention, as mentioned in feedback from Marina.

Bibliography:

  1. David W. Blight, April 2002, Historians and “Memory,” Common Place, <http://commonplace.online/article/historians-and-memory/#:~:text=owned%2C%20history%20interpreted.-,Memory%20is%20passed%20down%20through%20generations%3B%20history%20is%20revised.,contexts%20in%20all%20their%20complexity.>
  2. Sofía García-Bullé, August 21, 2021, What is Historical Revisionism?, Institute for the Future of Education, <https://observatory.tec.mx/edu-news/historical-revisionism/#:~:text=As%20the%20name%20implies%2C%20historical,both%20positive%20and%20negative%20aspects.>
  3. Victor Hugo Paltsits, 1911, Historical Societies: Their Work and Worth, Cornell University Press/JSTOR, <https://www.jstor.org/stable/42889984#metadata_info_tab_contents>
  4. C. Behan McCullagh, 1987, The Truth of Historical Narratives, JSOTR, <https://www.jstor.org/stable/2505043#metadata_info_tab_contents>
  5. Julia C. Wells, 2022, Performing Invisible Stories Through Creative History, The University of California Press/The Public Historian, <https://online.ucpress.edu/tph/article/44/1/7/119621/Performing-Invisible-Stories-through-Creative>
  6. Storyworth, <https://welcome.storyworth.com/questions?oid=37&affid=5source_id%3Dgoogle&sub1=Prospecting-Storyteller-11.20.20&sub1=Sitelink_OurQuestions&utm_source=google&utm_medium=cpc&utm_campaign=Sitelink_OurQuestions&source_id=google&gclid=CjwKCAiAmuKbBhA2EiwAxQnt79pyFZP7aF4PCaBBVQ3cEayW7E3nahscuyepEJ5Ek0ZIPQKXFe1oGxoC8bcQAvD_BwE>
  7. Think CBT, Think CBT Therapists, Worksheets & Exercises, <https://thinkcbt.com/think-cbt-worksheets>