Tag: Design

Design + Computation + Performance + __________

An innovative software tool enabling users to create dynamic, immersive media environments.

James Grady
Assistant Professor
Boston University

Random Actor is an innovative software tool initiated by James Grady, Assistant Professor of Graphic Design, and Clay Hopper, Senior Lecturer of Directing at Boston University’s College of Fine Arts. This solution connects computation and human performance, enabling users, including theatrical designers, artists, and more, to create dynamic, immersive media environments without extensive coding expertise. By incorporating computational vision, projection mapping, MIDI control, and machine learning into a user-friendly interface, Random Actor democratizes interactive design, making it accessible to a wide range of industries from theater to corporate events and gaming therapy models.

Building on tools like Processing, OpenFrameworks, TouchDesigner, and Unity, which integrate projection mapping, interactive generative graphics, and computational vision, this new tool addresses the challenges of traditional scenic and visual design. These existing tools often require coding knowledge, which can limit accessibility for non-coders. Random Actor bridges this gap by providing an intuitive, user-friendly interface that enables designers and performers to leverage advanced techniques without needing to learn how to code, thus expanding creative expression and adaptability in real-time visual storytelling.

In staging a previous play within an immersive, fully projected-media environment, we found traditional rehearsal methods to be insufficient for achieving the desired aesthetic goals. The excessive time spent adjusting or writing code during rehearsal led to the development of a software application capable of changing the values of any given generative algorithm in real time, without requiring coding knowledge.

We hypothesize that this kind of generative interactive technology could have far-reaching implications for how we construe visual narrative, story structure, and design principles, and how they manifest in physical space as extensions of the human body, speech, sign, and music. Our goal is to develop a new design vocabulary that merges the interior psychology of the performer with the physical environment, expanding the boundaries of Aristotelian narrative structure while affirming their deep relevance to the human experience.

Random Actor aims to bridge the gap between technology, creativity, and research. It expands on a continuum where technology empowers artistic expression. Based on our recent testing during a live play and multiple workshops, our findings suggest a bright future for such tools, indicating they could be further refined and integrated into broader artistic and educational practices, potentially transforming the landscape of design and performance art.

This design research is presented at Design Incubation Colloquium 11.1: Boston University on Friday, October 25, 2024.

Centered: People and Ideas Diversifying Design

Examples of sophisticated, intelligent design from many cultures around the world

Kaleena Sales
Associate Professor
Tennessee State University

This book has its origins in Beyond the Bauhaus, a series of short essays Sales developed through her board service with AIGA’s Design Educators Community Steering Committee in 2019. Her goal with that series was to amplify design work from underrepresented groups who have been left out of the design canon. The first article featured the beautifully designed West African Adinkra symbols from the Akan people of Côte d’Ivoire and discussed the deep meaning within the symbols, as well as the use of common visual principles within the designs. What she hoped to demonstrate to readers was that there were examples of sophisticated, intelligent design in many cultures around the world, many of which were developed prior to movements like the Bauhaus. The next essay was on the work of AfriCOBRA, a civil rights–era artist collective based in Chicago. While the work of AfriCOBRA has made its impact within the fine arts scene, gaining notoriety during the height of the Black Power Movement, she sought to share their work through the lens of design. Though the group did not self-identify as designers, if educators and practitioners are interested in learning from diverse design methodologies, it makes sense to look beyond the boundaries of our professional discipline to find examples of successful design. In AfriCOBRA’s work, we find a delightful use of expressive lettering, rhythmic patterns, and bold colors. This work is particularly inspiring because these artists found a way to codify their visual language. They decided on a shared aesthetic vision and executed it time and again. Working against the backdrop of the Civil Rights Movement, these artists intentionally pursued a Black aesthetic, reflecting pride in their community and identities. 

As the article series grew, contributors began to submit essays about other design histories worthy of inclusion in the canon. Caspar Lam and YuJune Park wrote an essay about the Chinese Type Archive featuring the evolving typographic language of modern Chinese. Stephen Child and Isabella D’Agnenica contributed an article on the Gee’s Bend Quilters, a group of Black women from Alabama who mastered an improvisational style of quilting. Dina Benbrahim wrote an essay titled “Moroccan Design Stories, with Shape and Soul,” analyzing the typographic and geometric designs found within Moroccan design history. Other early contributors to the article series were Ali Place, who examined the role of women in computer programming, and Aggie Toppins, who investigated the story behind the I AM a Man placard from the 1968 Memphis sanitation workers’ strike.

As this work moved from an article series to a book, there was space for some of these essays to develop into fuller writings with more in-depth research. A critical component that she hoped to achieve was to peel back the aesthetic layers of the designs to allow each reader to understand the social, political, and cultural contexts surrounding the making of the work. In examining the contexts, readers will discover how different cultural groups determine meaning, and how non-canonical ideologies and methods offer additional ways of making than what is offered by the grid-based Swiss styles of mainstream graphic design.

When she began this book process, she envisioned a neat and streamlined series of essays, matching in length and format. What developed over time became something much more organic, with essays and interviews of varying lengths. Often, she was left speechless and humbled at the generous sharing of knowledge. Nuveen Barwari’s essay, “Kurdish Fragments: Mapping Pattern as Language,” discusses the displacement of millions of Kurdish people and its impact on decorative art practices. She examines Kurdish rugs as artifacts of erasure, explaining how identity is employed through metaphors and floral themes. In her interview with Sadie Red Wing, she explains how Indigenous tribal communities have used Traditional Ecological Knowledge to inform their understanding of design and how visual sovereignty is at the heart of her work. In her conversation with Saki Mafundikwa, he explains how the colorful visual landscape of Zimbabwe offers a counter to the white space of German and Swiss design. She also draws comparisons between design and American soul music, bringing to light the creative genius of Black people across cultures and disciplines. Other essays and interviews in the book offer similar insight into perspectives and ideologies that aren’t reflected in modernist design. Further still, design leaders Ellen Lupton and Cheryl D. Holmes Miller offer perspective on the future of design, its pedagogy, and ways to reconcile the past. Practitioners Tré Seals of Vocal Type and Zipeng Zhu discuss the relationship between their work and their identity.

This small sampling of stories offers more than a quick glimpse into design artifacts. she asks of the reader to consider what we don’t know, and what questions have yet to be asked. she asks the reader to rethink the definition of design to expand beyond contemporary and digital practices and beyond the boundaries of the Western design canon.

Centered_DIDownload

This project was the 2023 Design Incubation Educators Awards winner recipient in the category of Scholarship: Publication.

Kaleena Sales is an Associate Professor of Graphic Design and Chair of the Department of Art and Design at Tennessee State University, an HBCU (Historically Black College or University) in Nashville, TN. Her research is rooted in racial justice and equity, with a specific focus on the ways culture informs aesthetics. Kaleena is co-author of the book, Extra-Bold: A Feminist, Inclusive, Anti-Racist, Non-Binary Field Guild for Graphic Designers, alongside Ellen Lupton, Farah Kafei, Jennifer Tobias, Josh A. Halstead, Leslie Xia, and Valentina Vergara. Through her service on AIGA’s Design Educators Community Steering Committee, Kaleena advocated for a more inclusive view of design history through her Beyond the Bauhaus writing series, which served as inspiration for her new book, Centered: People and Ideas Diversifying Design, published by Princeton Architectural Press. Kaleena is currently researching the intersection of Black culture and design as a doctoral student at North Carolina State University.

Design After Capitalism: Transforming Design Today for an Equitable Tomorrow 

Looking at the field to transcend the logics, structures, and subjectivities of capitalism—to combine design entrepreneurship with social empowerment.

Matthew Wizinsky
Associate Professor
Graduate Program Director (MDes) & Associate Professor
University of Cincinnati

‘Design after Capitalism’ was published in 2022 by The MIT Press. This major work of design theory analyzes contemporary design practices through the lens of political economy. Drawing on insights from sociology, philosophy, economics, political science, history, environmental and sustainability studies, and critical theory, the book lays out core principles for a modified and postcapitalist approach to design.

The designed things, experiences, and symbols that we use to perceive, understand, and perform our everyday lives are much more than just props. They directly shape how we live. In Design after Capitalism, Matthew Wizinsky argues that the world of industrial capitalism that gave birth to modern design has been dramatically transformed. Design today needs to reorient itself toward deliberate transitions of everyday politics, social relations, and economies. Looking at design through the lens of political economy, Wizinsky calls for the field to transcend the logics, structures, and subjectivities of capitalism—to combine design entrepreneurship with social empowerment in order to facilitate new ways of producing those things, symbols, and experiences that make up everyday life.

After analyzing the parallel histories of capitalism and design, Wizinsky offers some historical examples of anticapitalist, noncapitalist, and postcapitalist models of design practice. These range from the British Arts and Crafts movement of the nineteenth century to contemporary practices of growing furniture or biotextiles and automated forms of production. Drawing on insights from sociology, philosophy, economics, political science, history, environmental and sustainability studies, and critical theory—fields not usually seen as central to design—he lays out core principles for postcapitalist design; offers strategies for applying these principles to the three layers of project, practice, and discipline; and provides a set of practical guidelines for designers to use as a starting point. The work of postcapitalist design can start today, Wizinsky says—with the next project.

Biography

Matthew Wizinsky is a designer, researcher, educator, and author on contemporary issues in design practice and research. He has over 20 years of professional experience in graphic, interactive, exhibition, and experiential design. He is Graduate Program Director (MDes) & Associate Professor in the Ullman School of Design at the University of Cincinnati, PhD researcher in Transition Design at Carnegie Mellon University, and Associate Editor for Visible Language, the longest-running peer-reviewed design journal. He is the author of Design after Capitalism (MIT Press, 2022).

Graphic Design and Authority: How the Design of Documents and Signage Creates, Endorses, and Authenticates Power Structures

Visual authority can be used to validate any endeavor.

Claire Bula
Adjunct Professor
Boston University

The visual design of all legal and political documents, such as deeds, permits, identification & maps, employ a specific visual language enhancing their power. Design choices relating to layout, typefaces, symbols, embellishments, impressions, white space, signatures/certifications, and materials amalgamate to display power purely through visual appearance.

Because the visual design of a document can confer authority regardless of authenticity, It is important to analyze how visual appearance alone can be interpreted. A visual language of power exists and can instill feelings of hesitation, dominance, or fear leading individuals into subservience or subordination. Visual authority can be employed by true legal sources of power or used as a device to deceive or invalidly show power. Visual authority can be used to validate any endeavor, whether its intent is beneficial and egalitarian or manipulative and oppressive. Designers should be aware of how the use of visually authoritative means have been used throughout history to control, intimidate, and outright steal basic human rights and dignities.

Through multidisciplinary research across history, philosophy, political science, and sociology, I studied the means by which power and authority have been constructed in the United States. In addition, reading design texts and conducting visual surveys of documents employing elements of visual authority led to the creation of a diagram of design elements that create the library for visual language of authority.

In response, I authored a visual essay, designed a poster illustrating visual authority’s form language via personal documents, and printed risograph signage subverting authoritative signage through type and color. This body of work serves to document my research and surfaces questions about how visual authority was developed and how it is employed today.

This design research was presented at Design Incubation Colloquium 9.2: Annual CAA Conference 2023 (Virtual) on Saturday, February 18, 2023.

Chicano Independent Publication Masthead Design

Made during research visits at university libraries in Texas and California, hubs of the Chicano movement.

Joshua Duttweiler
Assistant Professor
Texas A&M University-Corpus Christi

Alexandria Victoria Canchola
Assistant Professor
Texas A&M University-Corpus Christi

We demonstrate how the design of Chicano independent publication mastheads from the 1960’s and 1970’s in the United States used the visual language of the Chicano community to engage directly with their audience. In publication design, mastheads serve as the reader’s first indication as to a publication’s purpose and credibility. Our analysis of these independent publications is based on observations made during research visits at university libraries in Texas and California, hubs of the Chicano movement. Based on our research, the mastheads used typography, icons, and organization symbols to attract readers in service to the publication’s goals of raising awareness on local issues such as labor inequality and racial violence. The efforts made by these publications not only mobilized their audience to fight for social justice but utilized visual means as a way of uniting their readers toward a cause.

These Chicano publications, not typically referenced in the traditional white graphic design canon, provide an opportunity to learn from past designers in a parallel time of societal unrest and analyze their successful methods of advocacy and activism. The political climate of the time cultivated diverse printing practitioners; far different than the editorial staffs we see today. Activists, many without formal design training, worked to combine text and images into design that would speak to their audience. By observing the evolution of masthead design throughout the Chicano movement we can observe the progress of the publication designers’ skill as they sought to increase their audience and ability to communicate.

By understanding the role and unity of the visual language of independent Chicano newspapers, we encourage designers, historians, and students to further investigate the design semiotics of community-focused publications both within its historical context and contemporary practice.

This design research was presented at Design Incubation Colloquium 9.2: Annual CAA Conference 2023 (Virtual) on Saturday, February 18, 2023.

Voices Heard: Designing an Oral History Archive

22 cassette taped interviews with Black residents of Pontiac, Michigan from the mid-1970s

Kimmie Parker
Assistant Professor
Oakland University

The Pontiac Oral History Archive, housed in Oakland University’s Kresge Library, contains 22 cassette taped interviews with Black residents of Pontiac, Michigan from the mid-1970s. To date, this archive has been largely inaccessible, available only to those who can come to our campus to listen to the cassettes. My collaborator, [name anonymized for peer-review], and I see immense value in this archive and have been working to create a public website to house the recordings, historical photographs, and other related artifacts.

For decades, Pontiac was a vibrant city with one of the largest populations of working-class Black Americans in the US; after the auto industry moved much of its operations away from the city, an already disenfranchised population struggled to move forward. Society then, as today, grappled with racism, racial inequality, socio-economic inequality, and police brutality. The stories on these tapes range from first-hand accounts of the Great Migration to industrial working conditions to racist encounters to social and family life in the 1970s. The voices of everyday people, particularly people of color, often go unheard. The preservation of and accessibility to these important historical accounts are critical as we work towards a more just society.

Since fall of 2021, we have worked on this project in collaboration with members of the Pontiac community and colleagues across our campus. We have obtained funding for the digitization and transcription of the cassette tapes, introduced students and community members to the archive, obtained permissions and made connections with living relatives, and began designing an online archival website. This interdisciplinary and wide-ranging process has become much more than a design project: this work lives at the intersection of design, community activism, historical preservation, and digital humanities. I look forward to sharing our work-in-progress as we strive to equalize access to these important voices.

This design research was presented at Design Incubation Colloquium 9.1: Kent State University on Saturday, October 15, 2022.

Addressing Opportunity: The Landscape of Inequality

Investigating how space, social consciousness, and populations interact between the relationship of individual-level actions and community-level outcomes

Mia Cinelli
Assistant Professor
The University of Kentucky

Shoshana Shapiro
PhD Candidate
University of Michigan

At the intersections of art, design, and sociology, “Addressing Opportunity: The Landscape of Inequality” is a collaboration between Shoshana Shapiro, PhD candidate in Public Policy and Sociology at the University of Michigan, and Mia Cinelli, Assistant Professor of Art Studio & Digital Design at the University of Kentucky. This series of designed postcards showcases the impact of individual actions on income inequality in the United States. These works explore narrative constriction and dissemination of data through visual sociology, which uses visual communication to convey or explore sociological concepts and relationships.

Addressing Opportunity examines how space, social consciousness, and populations interact by investigating the relationship between individual-level actions and community-level outcomes. Borrowing the visual language of postcards, this series references desired locations, geographic movement, and brevity of communication across distance. Subversively alluding to idealized imagery of mid-century suburbia, each postcard features information on income inequality relative to history, personal choices, and observed national trends. Using accessible exhibitions as a catalyst for discourse, these postcards are displayed as a narrative series, each revealing new information. In addition, these works are accompanied by free postcards for audience members to send, as well as a brochure on individual actions to consider.

This presentation explores the development of this body of work, as well as the opportunities presented by interdisciplinary collaboration between design and the empirical social sciences more generally. We consider our work in conversation with other narrative or data-driven projects such Dear Data and the Opioid Spoon Project, while works such as Postsecret, Zoe Leonard’s You see I am here after all or Robert Graves and Didier Madoc-Jones’s Postcards From the Future project set precedent for postcards as a discursive design medium. By designing artwork about data, we hope to make information accessible that can inform people’s decisions and engender positive change.

This research was presented at the Design Incubation Colloquium 7.3: Florida Atlantic University on Saturday, April 10, 2021.

Honeybee Colonies: An Interdisciplinary Approach to the Studio Classroom

Students experience the natural world in the urban setting of New York City

Mark Randall
Assistant Professor
The New School, Parsons School of Design

As reflected in the fossil record, honeybees extend back at least 30 million years and were well established as Homo Sapiens emerged. One of the earliest known images of human/bee interaction is from an 8,000, year-old Mesolithic cave painting of honey hunters in eastern Spain.

Bees have not only provided honey and beeswax, they have impacted human society throughout history; creatively, culturally and spiritually. Bees are a powerful metaphor for life; a lens through which we can explore art, design, science and culture.

Building a single-subject course from such rich material, allows for a dynamic and vibrant multi-disciplinary classroom that engages a diverse cohort of design, science and liberal arts students.

Based on student interest at Parsons School of Design, Honeybee Colonies: Art, Design, Science, and Culture was developed to explore the world of the honeybee in all of its complexity. Through science labs in bee biology, a bee-hunting field trip to Central Park, and a visit to a rooftop urban farm in Brooklyn, the course allowed students to experience the natural world in the urban setting of New York City. Guest lectures from designers, artists, an architect, and a filmmaker, demonstrated how bees have profoundly influenced their work.

Informed by their research and classroom experience, each student produced a final project on the subject of their choice. Diverse outcomes included, a line of honey-based skincare products inspired by ancient Egyptian beauty regiments; an agro-tourism business for the student’s family agricultural ranch in Puerto Rico; a cultural collection of honey recipes; and the design of a children’s community garden in Harlem. The universally positive course evaluations underscored students’ deep desire for interdisciplinary learning. This presentation will share how the studio space was activated through the multiple disciplines; and what specific methods and projects supported this approach.

This research was presented at the Design Incubation Colloquium 7.2: 109th CAA Annual Conference on Wednesday, February 10, 2021.

afFEMation.com

Scholarship: Creative Works Award Runner Up
Jury Commendation for Diversity, Equity, and Inclusion
Scholarship: Creative Works: Expanding the Canon

The afFEMation.com online, interactive, archive addresses the previous invisibility of women in the history of women in Australian graphic design.1 This problem was demonstrated in the low representation of women in the Australian Graphic Design Associations (AGDA) Hall of Fame which had only one-woman inductee prior to the site’s launch. However, since the launch three more women’s biographies have been added, one which cites afFEMation.com.2 The data set demonstrating this was published in the appendix of The View from Here.3

CONTRIBUTION

#afFEMation – demonstrating a framework for gender-equitable histories, is an article outlining a methodological innovation that emerged from an analysis of the site’s build.4 This framework consists of five steps designed to assist researchers, historians and archivists consider gender-equitable histories. The steps include systemized privilege checking and the prioritizing of recent histories.

AIM

Filling the gendered gaps in Australia’s graphic design history and increasing the visibility of women was the aim of afFEMation.com. Right through the UK, US and Australia women are graduating from graphic design qualifications in a high majority.[5] afFEMation.com was designed to make this new knowledge available as accessible and sharable portraits, biographies, galleries of work, videoed interviews and visualised networks.

SIGNIFICANCE

The significant and interactive design of afFEMation.com was reviewed by HOW Magazine as one of the ‘10 Best Design Websites’.6 The site was also launched at the Women in Design symposium and reviewed on-line as “thought-provoking”.7 Design industry blogs also published articles demonstrating the interest in equitable design histories, citing afFEMation.com.8

Click to access afFEMation.com-Jane-Connory.pdf

References
  1. afFEMation.com was a collaborative project which profiled Michaela Webb, Annette Harcus, Lynda Warner, Rita Siow, Lisa Grocott, Abra Remphrey, Dianna Wells, Sandy Cull, Sue Allnutt, Fiona Sweet, Gemma O’Brien, Jenny Grigg, Jessie Stanley, Kat Macleod, Simone Elder, Chloe Quigley, Kate Owen, Laura Cornhill, Rosanna Di Risio, Suzy Tuxen, Zoe Pollitt, Natasha Hasemer, Fiona Leeming and Maree Coote. Research, writing, art direction, and design was by Jane Connory, photography, sound, and image recording by Deborah Jane Carruthers and Carmen Holder, assistance from William Aung, and website development by Danni Liu. Jane Connory (2017) “#afFEMation. Making heroes of women in Australian graphic design”, http://affemation.com (website accessed April 9, 2020). See more in Figures 1-12 in Documentation of the work itself. For evidence of the public launch at the Women in Design conference in Design Tasmania, 2017, see Document1_WomenInDesign.pdf in Other Uploaded Documents.
  2. The AGDA Hall of Fame began in 1992 and was published in the AGDA award compendiums before being compiled on their current website. afFEMation.com is cited in Graham Rendoth (2018) “Annette Harcus”, https://www.agda.com.au/hall-of-fame/annette-harcus (accessed April 9, 2020). See more in Figure 13 in Evidence of Publication and Significance.
  3. Jane Connory (2019) The view from here: Exploring the causes of invisibility for women in Australian graphic design and advocating for their equity and autonomy, Thesis, Monash University, pp. 176. https://trove.nla.gov.au/work/237518812?q=Jane+Connory+the+view+from+here&c=book&versionId=265087902 (accessed April 9, 2020).
  4. Jane Connory (2017) “#afFEMation – demonstrating a framework for gender-equitable histories.” Community Informatics Research Network (CIRN), Conference, Prato, Italy, October, pp 41-47. https://www.monash.edu/__data/assets/pdf_file/0011/1397018/prato_proceedings_2017_final_edited1July2018.pdf (accessed April 9, 2020). Also see Document2_CIRNConference.pdf in Other Uploaded Documents.
  5. Jane Connory (2017) “Plotting a Historical Pipeline of Women and Design Education.” Design History Australian Research Network (DHARN) http://dharn.org.au/plotting-the-historical-pipeline-of-women-in-graphic-design/ (accessed April 9, 2020). Also see Document3_PlottingThePipeline.pdf in Other Uploaded Documents.
  6. https://www.howdesign.com/web-design-resources-technology/website-and-responsive-design/top-10-sites-for-designers-october-2017-edition/ (attempted accessed April 9, 2020). Unfortunately, this online magazine has since gone into receivership and this link is no longer live.
  7. Penny Craswell (2017) Women in Design at Design Tasmania, The Design Writer, July 3. https://thedesignwriter.com.au/women-design-design-tasmania/ (accessed April 9, 2020). See more in Figure 14.; Anita Pava (2017) Colloquium includes Graphic Design, Stream, July 31. https://www.streamdesign.com.au/graphic-design-tasmania-colloquium-includes-graphic-designer-speaker/ (accessed April 9, 2020). See more in Figure 15.
  8. Mirella Marie (2018) afFEMation.com, Women of Graphic Design https://womenofgraphicdesign.org/post/165087420998/jane-connory-melbourne-australia (accessed April 9, 2020). See more in Figure 16.; Jane Connory (2018) Invisible women in Australian graphic design, Eye Magazine, July 4,

http://www.eyemagazine.com/blog/post/invisible-women-in-australian-graphic-design (accessed April 9, 2020), (Figure 17); Jane Connory (2019) The Invisible Women of Australian Graphic Design, Parlour, October 17, https://archiparlour.org/the-invisible-women-of-australian-graphic-design/ (accessed April 9, 2020) See more in Figure 18.; Jane Connory (2020) Change, Word—Form, https://word-form.com/words/index/view/category/change/article/dr-jane-connory (accessed April 9, 2020). See more in Figure 19.

Dr Jane Connory has a PhD from Monash University, Art, Design, and Architecture, which worked towards a gender-inclusive history of Australian graphic design. She was awarded a Master of Communication Design (Design Management) with Distinction from RMIT and has been a practising designer in the advertising, branding, and publishing sectors, in both London and Melbourne, since 1997. She has also lectured in and convened communication design programs in both the VET and Higher Education sectors since 2005. Alongside her research exploring the visibility of women in design, she is currently a lecturer in Design Futures and Design Strategy at Swinburne University of Technology.

Thank you to all the women profiled on the website including: Michaela Webb, Annette Harcus, Lynda Warner, Rita Siow, Lisa Grocott, Abra Remphrey, Dianna Wells, Sandy Cull, Sue Allnutt, Fiona Sweet, Gemma O’Brien, Jenny Grigg, Jessie Stanley, Kat Macleod, Simone Elder, Chloe Quigley, Kate Owen, Laura Cornhill, Rosanna Di Risio, Suzy Tuxen, Zoe Pollitt, Natasha Hasemer, Fiona Leeming and Maree Coote.

Photography, sound & image recording: Deborah Jane Carruthers & Carmen Holder, assistance from William Aung.

Website development: Danni Liu & ClickTap Digital Media.

Research supervision: Pamela Salen & Gene Bawden.

Research assistants: Rachael Vaughan, Luke Robinson, Kristy Gay & Nick Fox.

Design Incubation Communication Design Awards 2020 recipient