Professor Karen Cham is a critical design practitioner who works with technology. With a background in experimental electronic arts, she made her first website and touchscreen in 1994, and is an expert in design methods for complex digital products, services, business models and strategies.
Her research concerns narrowing the 'semantic gap' in the user experience (UX) by developing emotional engagement methodologies. Current R&D is in nudge mechanics, neuro navigation and neuro transformation
I am currently Professor of Digital Transformation Design at the University of Brighton and Academic Lead of the Brighton Digital Catapult Centre. I am also an independent consultant.
DTD is a digital first, design lead, user centred industrial method for engineering transformation of complex human centred systems e.g. multi-platform global marketing campaigns; organizational infrastructures; markets & economies; virtual worlds & simulations. I design holistically, for complex interdependencies, onboarding, deployment & scalable future proofing and overcome historical siloes to migrate socio-cultural and techno-economic legacies by prioritizing the users experience (UX).
I have 23 years experience specializing in human centred design (HCD) for digital - designing innovative and complex products and services, business models and strategies across both the public and private sector. I have forged my UXD practices from a convergence of media and marketing, industrial and product design, and human computer interaction (HCI). Many of these, such as the microbusiness model, Sprint0 and web maintenance contracts are now well established. Prior to this, my background from 1988 was as an experimental electronic media artist and commissions included my first website (Commissioned by FACT for Boddingtons Manchester Festival) in 1994; touchscreen video (Commissioned by LFVU for Video Positive alongside BritPop artists Jane & Louise Wilson) in 1995, live interactive game (in partnership with the legendary Roy Stringer at Amaze https://www.amaze.com ) in 1996 and Artificial Intelligence work (Commissioned by LJMU Learning Methods Unit for the seminal ‘Technocultures No 1 Mnemosyne’ book and CD-Rom) in 1997. Over 30 years, I have worked with celluloid film, analogue and digital audio and video, MIDI, holography (glass plate and digital), stereoscopy, AR, VR, haptics, biometrics including EEG, EMG, EDA, HR, computer vision, machine learning, automatic signal recognition and AI.
Commercial clients have included Absolut Vodka (designed and built customized holographic point of sale), The Ministry of Sound (designed and built customized ‘brain machines’ installation), Playstation (account managed one of the first ever pan-European websites in 12 languages for PS2), Diesel (account managed early international fashion e-commerce site in 4 languages), ITV (account managed a groundbreaking series of regional sites off a central hub Which? (consulted on online persuasion conventions), Evans Hunt Scott (devised and lead the transition from print pipelines to digital eco-systems, now part of FULCRM at Havas Worldwide) and Top Shop (consulted on rapid and virtual prototyping technologies for a global distributed manufacturing model).
My research focus has always been end user engagement and closing the semantic gap between people & machines to create emotional responses and nudge behavior change. I now leverage neural & social plasticities by actuating symbolic cultural capital in the UX, using biometric insights in the agile development cycle and integrating big data analytics and machine learning to design co-evolving singularities. This work contributes to AI & emotional computing where my current concerns include ‘nudge mechanics’, ‘neuro-navigation’ & ‘neuro-transformation'; that is quantifying PET mechanics towards deep learning of the role of symbolic capital in nudging human motives; developing a GUI paradigm for navigating by emotional engagement in virtual environments and developing ‘regenerative’ media content that aims to reverse engineer neurological states.
I am always interested in design methods for new technologies and I am one of only 12 academics in Europe invited to be a Member of Sony Europe’s ‘Playstation First’ Academic Board alongside the seminal computer artists William Latham and I am a Women in Games Ambassador. I am also a pre-publication Manuscript Reviewer for Berg, Palgrave, AVA, Routledge, Taylor Francis (New York), Bloomsbury and on the Editorial Board of the Journal for Cultural Research, Taylor Francis. I have published over 100,000 words for IEEE, Intellect, Routledge, Palgrave and the British Computer Society on the convergence of post structuralism and complexity as a design and analytical method for quantifying meaningful user experiences. This work promises much as a theoretical foundation for an ethical approach to emotion recognition, neural networks, quantum computing and the singularity.
As Academic Lead on the Brighton Digital Catapult Centre https://www.digitalcatapultcentre.org.uk/local-centre/brighton/, I am responsible for accelerating University research impact in the local Creative Digital & IT Sector through collaborative R&D. The Brighton Catapult, one of three regional centres in addition to the Central London hub, is focused upon releasing value from realtime location based data, termed 'Internet of Place' - a user centred spin on IoT. As part of this role, I am leading the development of an LGF funded commercially facing cross University research Laboratory focused upon 'Data, Privacy, Ethics & Nudge' and the development of a local 5G Testbed, in collaboration with 5GIC at the University of Surrey, to support product and service innovation to iterate the testbed itself, as part of the Govts 5G Strategy.
As Associate Professor in The Design School, Kingston University, I wrote, won and led £250ks worth of UXD R&D design and build projects with commercial partners, some as Consultancy and others funded by NESTA Digital R&D Fund & the AHRCs Creativeworks / London Fusion; she was the leading recipient from the full 38 partner institutions and featured in the Innovation Powerhouse Showcase http://www.londonfusion.org.uk/CaseStudies/10/Seren
I previously led a HEFCE funded team on the digital transformation of PG teaching, research and enterprise across four faculties in consultation with Sony Computer Entertainment Europe, Samsung Design Europe and Dreamworks. With R&D embedded in the curriculum, students worked under NDA to Sony Worldwide 3D, Playstation and many SMEs; alumni destinations included IBM, BSkyB, Framestore, Extra Mile Studios, Colossal Games & Criterion http://arts.brighton.ac.uk/projects/networks/issue-17-april-2012/changing-the-university-genome-a-case-study-of-digital-media-kingston
Prior to that, as part of the Complexity & Design Research Group, in the 5* RAE Rated Dept of Design & Innovation at The Open University, I was invited to convene and Chair an international symposium on Art & Complex Systems Science, in collaboration with Lighthouse and the University of Brighton, as part of the AHRC/EPSRCs Designing for the 21st Century funded research cluster "Embracing Complexity in Design" resulting in her a book Chapter exploring the affordances of the art image into context of complexity theory https://www.routledge.com/products/9780415497008
2014 £6,000, Design Lead, ‘This Is Digital’, Design & Implementation for The Design School
Internal Enterprise Funding for a case study into running a commercial design consultancy out of The Design School. I undertook a process review of existing University commercial administration systems. I designed a business model that would meet the Schools aims, satisfy commercial requirements and additionally provide a 'long tail' of internal staff development in digital practice as part of Agile Development teams
2013 £150,000 Principal Investigator https://artellite.co.uk, Design & Build for Degree Art funded by the NESTA Digital R&D Fund
Service design for a ‘big data’ digital platform to augment the arts marketplace, an eCommerce engine and hub built in Drupal aiming to support emerging artists to develop a sustainable career. Concept Development, Digital Strategy & UX Design for the system aims to support the careers of emerging artists whilst maintaining the value chains of existing stakeholders, such as galleries and arts organisations. The back end database gathers metrics for AHRC, NESTA & Arts Council to provide an insight into how arts market is evolving.
2013 £10,000 Principal Investigator ‘Image Discovery’, Design & Strategy for iPublishing Ltd, funded by London Fusion
An e-commerce platform for accessing a wide collection of rights-owned images in UK Museums & Galleries through a browser; the system accommodates divergent metadata protocols to expedite the transactions between rights owners, archives and users, and prototypes CBIR (Content-Based Image Retrieval) methods using aesthetic conventions
2013 £10,000 Principal Investigator, ‘How Do Games Feel’, Design & Strategy for Seren Ltd, funded by London Fusion p54 http://imagination.lancs.ac.uk/sites/default/files/news_downloads/london_creative_and_digital_fusion.pdf
Investigating how biometric data might augment evaluating the UX in dynamic immersive experiences such as gameplay, working with commercial neuromarketing experts, this research focussed upon on formulating a commercially applicable methodology to improve gaming userresearch by adapting easy-to-use and setup commercially available biometric tools/utilities such as EEG, EMG, EDA,HR, kinetic activity, combined with established HCI testing techniques and innovative digital video/data capture utilities/software.
2013 £15,000 Principal Investigator ‘BagEngine’, Design & Strategy for BagServant Ltd, funded by CreativeWorks London
Service design for a digital platform to augment the design and manufacture process for high-end handbag designers enabling a co-design service that integrates social media and user-generated content at various and designer-specific points in design process. This included participatory design frameworks, product parametrics, brand semantics and generative design principles. Online co-design of high-end fashion accessories needs to maintain brand value, which meant brand-specific mechanics and shape grammars had to be defined. We used EEG to evaluat emotional engagement in aspects of the brand experience to define product semantic ‘memes’ such as being invited to ‘queue’ for a Mulberry
2010 £70,000, Co-Supervisor, "CRuNO" for Faculty of Computing, Information Systems & Maths, Kingston University “Content Retrieval Using Narrative Ontologies” PhD Scholarship using rhetorical semiotics for CBIR systems using computer vision, in collaboration with the British Film Institute (BFi), to develop methods and methodologies to investigate the automatic extraction of semantic concepts out of produced video content. This research project investigated techniques for automatic analysis of content and developed appropriate representations for the task by testing established methodologies from theoretical analysis to allow machine learning of the relationship between the two. The aim being to allow automatic tagging of video content using high level semantic concepts, which are intuitive to users, and can then be used to effectively search for video content
2006 Invited Chair, £13,500 AHRC/EPSRC ‘Designing for the 21st Century”, The Open University & University of Brighton, for ‘Art & The Science of Complex Systems’ three day International Symposium, Lighthouse Media Centre, Brighton http://artandcomplexity.wordpress.com/2008/03/06/art-‐in-‐the-‐science-‐of-‐complex-‐systems/ Embracing Complexity in Design was a research cluster funded by the AHRC/EPSRC ‘Designing for the 21st Century’ initiative with the objective of understanding the part played by complexity science in design, and increasingly, the potential for design to play a major role in the emerging science of complex systems. In June 2007, a three day event was convened, in collaboration with the University of Brighton, to explore the question of what contribution the arts might make to the science of complex systems. An international, interdisciplinary group of artists, scientists, mathematicians, musicians, poets and performers were invited to explore the question from an academic research perspective and were given an open opportunity to describe, present, install, perform, screen, sing or dance their response to the brief below for open debate.
2017 Cham, K.L., ‘Consumer as Producer; Value Mechanics in Digital Transformation Design, Process, Practice and Outcomes in 'Cultural Policy, Innovation and the Creative Economy, Creative Collaborations in Arts and Humanities Research’, Editors: Shiach, Morag, Virani, Tarek (Eds.) Palgrave McMillan http://www.palgrave.com/de/book/9781349951116 Digital Transformation Design relies on successful migration of legacy systems of all kinds, personal, social, cultural and technical and it does this by designing, first and foremost, for the ‘emotional engagement’ of end users, without which there is no agency to the system and no change will result. Measuring this type of engagement is long established, beginning with the use of eye tracking in HCI many years ago, and it provides actionable user insights as part of the ‘agile’ user centred iterative digital development process. This emotional capital provides an indication as to the human ‘value mechanics’ that must be isolated and incorporated into the User Experience (UX) as affordances to accelerate any successful DTD process.
2016 Cham, K.L., & Webley, S.J., “Designing for The Play Instinct; Gamification, Collective Voodoo and Mumbo Jumbo”, Chapter in “The Business of Gamification’ (eds) Dymek & Zackariasson , Routledge https://www.routledge.com/products/9781138824164
In its simplest sense, ‘gamification’ is a recently established ‘user experience design’ (UXD) method that aims to increase user engagement by implementing game style incentivisation mechanics into non-game environments, contributing to closing the ‘semantic gap’ in the user experience (UX) by providing a higher level of engagement for people using machines. Yet this has somehow lead to an over complicated, evangelical and mystified manifestation of gamification as an ideology in and of itself. This paper posits that all that is actually needed for successful and ethical gamification is a dialectical construction of motivation, jeopardy, and reward within an ideological architecture that synchronises brand values in an internal and external facing feedback loop; one that unites the Employee Experience (EX) with the Customer Experience (CX) and the Shareholder Experience (SX).
2014 Cham, K.L, & Ibi, A., “Design By Spambot ? How Can Social Interaction Be Successfully Integrated into High End Fashion Design Process ?”, Digital Research in Humanities & Arts, Greenwich University, London http://www.drha2014.co.uk/?cat=8
This paper documents research and development work funded by the Creativeworks London call, “Producer as Consumer”, that aimed to explore the potential for interaction between high end fashion accessory designers and their customers in the design process as part of a prototype handbag customisation platform. This project aimed to ‘differentiate co-design and mass customisation from a user completion model within the realm of product design’ and inevitably revealed significant issues such as how to maintain the dynamics of high end fashion value in a user generated context, what elements of a product hold the most brand value and how desirability and attainment can be translated into incentivisation mechanics and built into the system
2014 Cham, K.L. “"Virtually An Alternative ? The Medium, The Message and The User Experience; Collective Agency in Digital Spaces and Embodied Social Change", 5th LAEMOS Colloquium on Organization Studies Constructing Alternatives: How can we organize for alternative social, economic, and ecological balance?, Havana, Cuba http://laemos.com
This paper begins to looks at the digital realm as an alternative space of self organization; one where communities, collective agency and social change are in a co-evolving feedback loop - by design. Firstly, by outlining a methodological basis from which to address the topic, setting out why we require new methodology to understand human agency in digital space based on the concept of ‘user experience design’ (UXD). Then by giving examples from current practice, to demonstrate how UX design parameters are often unintentionally subverted in the social use of digital spaces, giving rise to a type of collective agency that would have conventionally been understood in media theory as ‘aberrant decoding’. However, it is argued that collective agency in digital space is better understood as a type of 'human noise', a bi-product of the medium of transmission, as it is as often as undesirable as it is beneficial. It is concluded that in digital space, ‘user experience’ is a part of a converged medium/message/effect transaction and proposes how to design responsibly for this, in the knowledge that engagement with the message, via this medium, will result in embodied social change
2012 Cham, K.L., ‘A Semiotic Systems Approach to User Experience Design’, 1st International Conference on Semiotics & Visual Communication, the Department of Multimedia and Graphic Arts, Cyprus University of Technology, Cyprus http://www.cut.ac.cy/icsvc/
This paper argues that the designer must successfully integrate visual communication design, information architecture and usability by purposefully designing for semiotic autopoesis; a fundamental dialectic between structure and function must be designed into the system and its use. This proposal requires good UX designers to design diachronic grammatical structures that can adapt and evolve whilst consistently providing a coherent synchronic experience under multitudinous variables. Good user experience design for digital media visual communication systems requires designers to paint with language and leave it wet.
2011 Cham, K.L. ‘The Convergence of Complex Systems Theory & Arts Practice in the Digital Arts, Rewire - Fourth International Conference on the Histories of Media Art, Science and Technology, Liverpool John Moores Art & Design Academy, Liverpool http://www.mediaarthistory.org/mah-conf-series/rewire
What is unique about the computational arts is the capacity for interaction, either in production or in use, and there are numerous divergent theories about digital interactivity across an entire spectrum. However, creating a work of computational art always involves the either the use or design of some sort of rule based system that can be implemented beyond the conceptual. Artistic compositions of dynamic systems that can be tangibly implemented finds its roots in the participatory performances and installations of systems art, yet in digitally interactive artifacts, there is also a virtually tangible, live mediated exchange of elements which constitutes both an entirely new medium and an entirely new form of systems art. In the sciences this type of dynamism or capacity for unpredictable change in systems is a recognized characteristic of complexity; a new type of scientific thinking concerned with systems that display a capacity for self organization and emergent behaviour. Thus the dynamic capacity of digitally interactive systems in use, places the digital interactivity of the computational arts well within the realm of complex systems science.
2011 Cham, K.L., ‘Architecture of the Image’, Electronic Visualisation in the Arts, EVA Conferences International, British Computer Society, London http://ewic.bcs.org/content/ConWebDoc/40614
It is ‘post structuralism’ that offers us a working notion of images as systems of signs whose ‘semantic spaces’ are defined by networks of changing conceptual relationships. As a dialectical method it has provided useful paradigms for addressing our conceptual interaction with, and interpretation of, diverse art, design & media visualisations. However, it is limited in effectively accounting for the significant interaction between the abstractions that are media images and actual behaviours and in the sciences, it is ‘systems thinking’ that emphasizes a concern with relationships, systems and networks. Here, ‘emergent behaviour’ is accounted for as a recognizable characteristic of ‘complexity’ and it is argued here that as the abstractions of synergetic brand architectures and designed identity systems are used more and more to underpin user experiences, this type of distributed, networked, ‘cloud semantics’ can be recognised as the soft engineering of participatory semantic systems where the emergent actual behaviours are the intentional result of generating metaphoric ‘virtual’ avatars for us all to involuntarily inhabit as part of the natural ‘autopoetics’ of the digital age.
2011 Cham, K.L., ‘A Proposal for An Aesthetics of Engagement in Intelligent Environments’, Scientific Theatre; International Workshop on Multidisciplinary Approach to Designing Intelligent Environments (SciT’11), 7th International Conference on Intelligent Environments (IE’11), Nottingham Trent University, Nottingham http://www.intenv.org/?q=conferences/ie11
This proposal concerns design methods for aesthetic user experiences in intelligent environments by drawing upon over twenty years of practice as an installation artist and digital designer. This paper sets out the case for a ‘systems aesthetic’ approach to the multidisciplinary field of designing intelligent environments, though anchored in the ‘thorny issue of aesthetics’, anchored in subjectivity, all art, performance, and creative work are expressly designed to address subjectivities and all artists’ works go some way towards ‘predicting spectators' reactions, influencing and affecting ‘peoples' views, mind, life, and the future’ by means of aesthetic engagement. In the most engaging work, art practice and creative processes are strategic, refined and focused even if not entirely tangible. Key concepts from art and design theory can help us apprehend these practices and are some are integrated here. Indeed, in the commercial practices of marketing & advertising we can perceive a causal link between design, engagement in aesthetics and future behaviors. This proposal argues that ‘to positively and therapeutically influence users’ life style, health, and spirit’ we must do it by creative design.
2011 Cham, K.L., ‘The Cybernetic Interface to the Human Bio Computer’, Virtual Futures International Conference, University of Warwick http://virtualfutures.co.uk/conferences/2011/programme/cybernetic-interface-biocomputer/
Norbert Weiners original definition of cybernetics as ‘messages between man and machines, between machines and man, and between machine and machine’ places interactive digital media practices at the heart of cyberculture. Whilst by this definition, interacting with machines in any way is a cybernetic act in itself, it is here proposed that interacting with machine based media , is a demonstration of virtual consciousness beyond the brain. For McLuhan of course, any medium is indeed "any extension of ourselves" and this author herself has previously argued that signification is a dynamic intermediate realm between the real and the imaginary which must be understood as a realm of invocation.This paper argues that if we can understand interactive digital media as a cybernetic interface where human consciousness and the machine are integrating, we may be then able to take more control over what we feedback in to our neurology. It is worth considering that even into old age, environmental signals trigger changes in the epigenome itself, allowing cells to respond dynamically to the outside world. In this light any proposal for 'self meta programming' may appear more virtually tangible than ever before by means of a cybernetic interface to the human bio-computer"
2011 Mytilinaiou, S, Cham, K.L., & Hutchison, C., ‘Experience Design, Interactive Art Environments and the Sense of Becoming’, IEEE International Symposium On Mixed and Augmented Reality -‐ Arts, Media, and Humanities (ISMAR-‐AMH) http://dl.acm.org/citation.cfm?id=2120722
Experience Design is a contemporary form of design, which appertains to the field of interaction design. In relation to Interactive art environments, it suggests that potentialities are actualized by those actively participating within physical, virtual and mixed works. In the frames of digitally interactive artworks people interact and actively participate in the course of an event. As there is little consensus as to what constitutes effective experience design, this paper argues that understanding both design and experience as verbs, rather than nouns, could help our understanding of the practice. This paper transcends the boundaries of art and design theory; it puts emphasis on the fact that becoming cannot be predetermined, and how the notions of design, art, experience, becoming and space are intertwined in the subjective experience of interactive artworks
2009 Cham, KL., ‘The Art of Complex Systems Science’ In: Alexiou, Katerina , Johnson, Jeffrey and Zamenopoulos, Theodore, (eds.) Embracing Complexity in Design. Abingdon, U.K.: Routledge. pp. 121-‐142 http://www.routledge.com/books/details/9780415497008/
The scientific study of complex systems encompasses more than one theoretical framework, as it is has had to be highly interdisciplinary in seeking answers to fundamental questions about adaptable, changeable systems. Representing this knowledge in a usable way is one of the key ways of understanding complex systems behaviours and developing a workable complex systems science. It is in the arts that one finds expert knowledge and practices for innovation in representation; documentation, visualisation, simulation and embodiment are all artistic methods that can represent complex systems. This paper aims to set out the proposal that a post-structuralist approach can deliver ontological bases that will provide complex systems science not simply with diagrams and maps, nor even with the workable metaphors of visualisation, simulation and embodiment but with visualisability; that most elusive and 'scientific' of representations that shares a generative semantic relation with that which it represents.
2008 Cham,K.L., ‘Reality Jamming; Beyond Complex Causality in Mediated Systems’; ISEA 08, Singapore http://www.isea2008singapore.org/abstract/i-l/p338.html
It is clear through experience that there is some significant relationship between media representations and cultural effects. Yet as practice leads theory through the sheer velocity of technological change, experience outstrips theoretical understanding of the relationship between the sign and the signified, the simulation and the social, the model and the real. For example, the international crisis provoked by the publication of a cartoon of the prophet Mohammed as an unexpected result of networked global media; or the pre-mediated violence of the ‘trenchcoat mafia’, where signification was an intentional precursor to real effects; or the trajectory of ‘celebrity’, where the ‘virtually real’ is designed, acted out, consumed and fed back in a co-evolving eco-system of signification. The proliferation of digital media means it is increasingly important to understand interaction per se, especially the interaction between systems of signification and the real. This paper argues that all representational systems have a performative capacity for transformation of the real and that signification is a dynamic intermediate realm between the real and the conceptual which can be best understood as a realm of invocation
2008 Cham, K.L., ‘Aesthetics of Interactive Art’, in: Anna Bentkowska-‐Kafel, Trish Cashen & Hazel Gardiner (eds) ‘Digital Visual Culture, Theory and Practice’, CHArt Yearbook 2007 Computers & The History of Art, Vol 3. Journal paper http://www.intellectbooks.co.uk/books/view-‐Book,id=4642/
A digital artefact, by conventional standards, is even less authentic and original than a mechanically-reproduced one; a true simulation, a mathematical model of the real it has no original, and is therefore often ‘not even’ a copy. Furthermore, not only is the digital artefact accessible by the masses, it is very often interactive, i.e. shaped by audience input; a product of ‘the mass’ itself. Yet these material factors should not inhibit an academic discussion of the aesthetics of interactivity. An aesthetic value is always established by the consensus of an elite. In media studies for example, textual analysis of televisual artefacts clearly demonstrates that, whilst television might appear generally accessible and understood by everyone, there is quite clearly a relative, yet elaborate, aesthetic code operating within a wider, still elite, cultural context.
2007 Cham, K.L., ‘Reconstruction Theory, Designing the Space of Possibility in Complex Media’; in Special Issue: Performance Play: Technologies of presence in performance, gaming & experience design, International Journal of Performance Arts & Digital Media, Vol 2&3: 3, Lizbeth Goodman, Deverill, Esther MacCallum-Stewart & Alec Robertson (eds), Intellect http://www.tandfonline.com/doi/abs/10.1386/padm.3.2-3.253_1?journalCode=rpdm20
Structuralism, post structuralism and semiotics underpin core methodologies in art, design, media and cultural studies and crucially, provide common ground for the analysis and design of divergent cultural artifacts.However, there are as yet, no established paradigms stemming from this methodological approach to allow the reflexive practitioner to address the nature of digital interactivity. The design of structural relations rather than closed objects or finds its roots in the participatory performance and installations of systems art, yet the dynamic capacity of digitally interactive systems in use, also places digital interactivity well within the realm of complex systems science. A digital interface may, for example, allow multiple ‘authors’ and multiple ‘readers’ to participate in a simultaneous and instantaneous reproduction and dissemination of their divergent interpretations of an artifact as part of a networked participatory process. This paper proposes a ‘reconstruction theory’ as a design methodology for the ‘space of possibility’ in such ‘complex media’ in order to underpin critical practice in digital media arts, providing a theoretical continuum from established art, design & media theory to the divergent manifestations of digital culture
2007 Cham, K.L. and Johnson, J.H., ‘Complexity Theory; a Science of Cultural Systems?’, ‘M/C Journal’, Complex, 10: 3, J. Cahir and S. James (eds.), http://journal.media-culture.org.au/0706/08-cham-johnson.phpInternational open call peer reviewed journal paper
In popular dialogues, describing a system as 'complex' is often the point of resignation, inferring that the system cannot be sufficiently described, predicted nor managed. Transport networks, management infrastructure and supply chain logistics are all often described in this way. In socio-cultural terms 'complex' is used to describe those humanistic systems that are ‘intricate, involved, complicated, dynamic, multi-dimensional, interconnected systems [such as] transnational citizenship, communities, identities, multiple belongings, overlapping geographies and competing histories’ . Academic dialogues have begun to explore the collective behaviors of complex systems to define a complex system specifically as an adaptive one; i.e. a system that demonstrates ‘self organising’ principles and ‘emergent’ properties. By introducing generic principles of complex systems, and looking at the exploration of such principles in art, design and media research, this paper argues that a science of cultural systems as part of complex systems theory is the post modern science for the digital age. Furthermore, that such a science was predicated by post structuralism and has been manifest in art, design & media practice since the late 1960s.
2015 £40,000, Design Strategist, www.greenwichmeantime.com , Redesign & Full Site Migration, Greenwich2000 Ltd
Redesign and automated content migration of 5000 pages of global timezone sites from Front Page to PHP via HTML5, Flask and Jinja. Worked in partnership with the UKs only Google-certified AdSense provider to minimize the impact on the SEO returns and conversion rates by maintaining historic page impressions and back links using reloads and redirections etc
2014 £3,000, Design Strategist, ‘Transmute’, Design & Build for Kingston Business School, London
A ‘blog of blogs’ for global commuters, with customized PHP Plug Ins to assist social scientists with semantic discourse analysis of individual blog posts and bloggers activity. The PlugIn functionality is based on automatic recognition of three words clusters and offers a semantic extension of the seminal WMatrix2 tool from Lancaster University
2014 £45,000, Design Strategist, ‘Critica’ https://vimeo.com/93406131, Design & Build for The Centre for Higher Education Research and Practice (CHERP), Kingston University, funded by HEFCE
A multi-partner international research project that culminated in an early stage cloud-based tool for the purpose of enabling the practice of critical thinking skills in an online environment. With an architecture based upon on Faciones six stage model, the software is designed as an open source MOOC (Massive Open Online Course), built in Drupal and with a big data back end in Cassandra, like Facebook, it is designed with scalability in mind to generate insights into learning processes by means of accessible metrics
2011 £5,000, Design Strategist, Keebo; https://www.keebo.com £2,000 KUEL consultancy
Service design for a digital platform to augment the existing marketplace, and expedite existing practices for accounting services. Concept Development & UX Design for an online accounts service that crowd sources the processing of receipts and invoices to provide online accounts and data analysis services. Receipt is via postage, scanning and MMS and processing is distributed and crowd sourced, so anyone anywhere with a smart phone can work for Keebo. Centralized data analysis services include purchasing patterns, benefits and streamlining.
2011 £4,900, Principal Investigator ‘Cinema On Request’, matching service funded by SEEDA
Service design for a digital platform to augment the existing marketplace, and expedite existing practices for the cinema distribution model. Concept Development & UX Design for an online matching service for cinema audiences, venues and rights owners, that includes licensing, contracts and fulfillment management systems.