Creating Creative Technologists: playing with(in) education

Since the industrial revolution, the organization of knowledge into distinct scientific, technical or creative categories has resulted in educational systems designed to produce and validate particular occupations. The methods by which students are exposed to different kinds of knowledge are critical in creating and reproducing individual, professional or cultural identities. (“I am an Engineer. You are an Artist”). The emergence of more open, creative and socialised technologies generates challenges for discipline-based education. At the same time, the term “Creative Technologies” also suggests a new occupational category (“I am a Creative Technologist”). This chapter presents a case-study of an evolving ‘anti-disciplinary’ project-based degree that challenges traditional degree structures to stimulate new forms of connective, imaginative and explorative learning, and to equip students to respond to a changing world. Learning is conceived as an emergent process; self-managed by students through critique and open peer review. We focus on ‘playfulness’ as a methodology for achieving multi-modal learning across the boundaries of art, design, computer science, engineering, games and entrepreneurship. In this new cultural moment, playfulness also re-frames the institutional identities of teacher and learner in response to new expectations for learning

Gaming the system:Practices against the algorithmic makeover of everyday life

The introduction of technical, algorithmically-controlled interactive medial systems into virtually all contexts of everyday life is a relatively recent phenomenon. Implications, for instance, for social and political contexts are still emerging. One probably unexpected but certainly unintended effect is the emergence of gaming the system behaviours. Gaming is seen here as participants taking advantage of systems by interacting with them in unintended ways to gain unjustified benefits. These behaviours are regularly seen as problematic, and measures to prevent or to detect and to react to them are discussed in the academic discourse. This study aims to establish characteristics, practices and causes of such behaviours, exemplatory in the area of interactive, educational tutoring systems. The study is informed by positions from Game Studies, Cognitive Evaluation Theory (CET; Deci, Ryan) and the (post-) phenomenological discourse on the intentionality of non-human actors. It finds that users feel disenfranchised rather than empowered by the intentionality embodied in algorithmic systems; that those systems afford play; and that gaming behaviour can be read as defensive and evasive, rather than aggressive and criminal.The introduction of technical, algorithmically-controlled interactive medial systems into virtually all contexts of everyday life is a relatively recent phenomenon. Implications, for instance, for social and political contexts are still emerging. One probably unexpected but certainly unintended effect is the emergence of gaming the system behaviours. Gaming is seen here as participants taking advantage of systems by interacting with them in unintended ways to gain unjustified benefits. These behaviours are regularly seen as problematic, and measures to prevent or to detect and to react to them are discussed in the academic discourse. This study aims to establish characteristics, practices and causes of such behaviours, exemplatory in the area of interactive, educational tutoring systems. The study is informed by positions from Game Studies, Cognitive Evaluation Theory (CET; Deci, Ryan) and the (post-) phenomenological discourse on the intentionality of non-human actors. It finds that users feel disenfranchised rather than empowered by the intentionality embodied in algorithmic systems; that those systems afford play; and that gaming behaviour can be read as defensive and evasive, rather than aggressive and criminal

Re-Volution Sampler – The Aesthetics of a Participatory Archive of Political Songs

This article describes and reflects upon the Re-Volution Sampler installation; an exploratory work to investigate how sonic archival material can be disseminated in engaging ways. The Re-Volution Sampler is a participatory installation which consist of a multi-layered assemblage of sonic documents. Ten political songs represent a multi-lingual mix of international, European and local Danish titles from the last decades. Participants can listen to songs and sing along, applaud, cheer or add verbal comments; they can also start new recordings. During an evaluation period of one week at a semi-public location, qualitative and quantitative methods are employed to collect data on the installation's engaging properties. We observe lively, shared and constructive interactions; that the participation is at the same time restrained; and that questions of power relationships surface as an essential aspect to navigate. The intended empowering effect of the installation appears uncertain and requires further investigation.<br/