Tag: outreach

Posted on

An enrichment event with care-experienced young people

post by Cecily Pepper (2019 cohort)

My research surrounds the exploration of how social media can impact the mental wellbeing of care-experienced young people. In June 2023, I ran an enrichment event for young people in care with the help of my supervisor, Elvira Perez Vallejos. As my doctorate journeys into its final stages, it was important to me to consider how I can maximise the impact of my work. Along with public engagements and presentations, Nottingham City Council and I decided that a broadening horizons event at the university would be the most impactful for the young people. With the help of Mark Ball, who has kindly offered advice and support throughout my research regarding safeguarding, Elvira and I set to work on the organisation of an event that would be both enjoyable and offer the opportunity to discuss higher education and research.

Along with Nottingham City Council, we decided to reach out to the Cobot Maker Space: an innovative space that explores human-robotic interaction at the University of Nottingham (https://cobotmakerspace.org/). While this space is not directly linked to my research, it was thought to be an ideal choice for the visitors as it’s an interactive and fun space that would be enjoyable and inspiring. The Cobot Maker Space kindly agreed to hosting the event and providing fun demonstrations, whilst also generously gifting the young people with a robotics kit.

After liaising with the stakeholders, the enrichment event was organised for June 2023. The event consisted of a tour of the Jubilee campus, interactive demonstrations led by the Cobot Maker Space team, and (crucially) pizza and snacks. The young people were encouraged to ask any questions they had regarding university or higher education, which they did indeed take the opportunity to do so. All of the young people asked questions about college or university, asking about different courses and paths into higher education. It was a pleasure to have these discussions with them and we spoke about how care experience might impact this. I spoke about my research with care-experienced young people who have been to university, showing that it is possible for anyone to go to university if they want to, despite the challenges they face and how unlikely it may seem for them.

The young people and their residential carers thoroughly enjoyed the event, with the cobot demonstrations being incredibly well-received. Feedback received from social workers showed how excited the young people were, with them talking about research and robotics with the other young people and staff when they got home. This feedback was greatly appreciated, and we were very pleased that the event had been impactful for the young people. In addition to this, the event also had an impact on the university staff and researchers, as it triggered discussions surrounding further outreach events such as after-school clubs for care-experienced young people and people from other minority groups.

Overall, the enrichment event was successful, and I’m pleased to say it made a positive impact on the young people. I’d like to extend my thanks to everybody involved, but especially the researchers at the Cobot Maker Space who went the extra mile to ensure the event was fun, interactive and inspiring.

Posted on

Participatory methods for digital inclusion

post by Oliver Miles (2018 cohort)

Reflections on values orientated ideation as an outreach activity

I previously reflected on my research internship with digital accessibility and mobility start-up ‘CityMaaS’, focussing on the resulting ‘drivers and barriers to digital inclusion’ report and my own experiences of working in the world of start-ups. In this post I’ll focus instead on the leadership and methods I brought to the work – a participatory ideation workshop drawing on principals of values-sensitive design (VSD) [1] – positioning this as a form of outreach to two key stakeholders: CityMaaS as the host organization and corporate professionals as participants.

As an independent researcher embedded with CityMaaS I was asked to critically uncover the drivers and barriers to digital inclusion services across three diverse B2B organizations from financial, healthcare, and higher education sectors that were current or potential clients.

Figure 1 – Speculative use case ideation

This first entailed understanding the host organization’s perspective on digital inclusion priorities, by listening to CityMaaS software and digital inclusion subject matter experts and building a detailed inventory of their solutions in terms of core features and functions.  These would later serve as card-based options and provocations in a collaborative workshop.

Considering participant organizations, I then spoke to heads of web and digital, interviewing them regarding their journeys and priorities regarding digital inclusion, with a view to uncovering core themes which could be positioned as corporate ‘practical values’ [2]. These were presented alongside software features and functions in later ideation workshops for wider web and digital teams to participate in, with a view to articulating speculative use cases.

In the example above, participants reason that the accessibility questionnaire feature of the web-page personalization tool ‘Assist Me’, considering its user data dashboard functionality, might be applied to the everyday internal practice of raising support tickets for the end-users. Conceivably, this might fulfil the chosen practical value of ‘deriving knowledge of end-users through their interaction data’ (Figure 1).

This process was repeated for three practical values chosen as priority issues across three existing software solutions using a card-based framework inspired by VSD, presented in Miro[1] (Figure 2). This resulted in a final ‘wildcard’ digital inclusion software solution being incrementally articulated, tailored to the needs of the participant. Aside from these research output, I would outline the following two benefits of the approach I took as relevant to outreach objectives.

Sharing a replicable, inclusive methodology: The VSD ideation workshop is inclusive as a practice, and in terms of the method, and can easily be reappropriated in future projects requiring participatory or deliberative approaches.

Advocating for an important equality, diversity, and inclusion issue: I was able to participate in CityMaaS’ broad stated agenda of improving ‘…the way the disabled community consumes accessibility data and services’ by contributing to raising corporate awareness of the challenges of web-accessibility, digital mapping and real-world navigation, and alignment to global web-accessibility standards [3]. As participatory methods emphasise the importance of all stakeholders working toward a shared objective, which in this case was ‘journeys to digital inclusion’, I felt this enabled constructive interactions that did not conflict with my ability to critically reflect on strengths and weaknesses in either the participant’s responses, or CityMaaS’ offering more broadly.

References

[1]        T. Winkler and S. Spiekermann, “Twenty years of value sensitive design: a review of methodological practices in VSD projects,” Ethics Inf Technol, vol. 23, no. 1, 2021, doi: 10.1007/s10676-018-9476-2.

[2]        T. Nilsson, J. E. Fischer, A. Crabtree, M. Goulden, J. Spence, and E. Costanza, “Visions, Values, and Videos: Revisiting Envisionings in Service of UbiComp Design for the Home,” 2020, doi: 10.1145/3357236.3395476.

[3]        CityMaaS, “Homepage,” https://www.citymaas.io/, Jun. 03, 2022.

 

 

 

Posted on

Digital manufacturing, say what?

Reflection on developing a digital manufacturing toolkit for children

post by Natalie Leesakul (2018 cohort)

What is the first thought that comes to your mind when you think of manufacturing? Assembly lines? Boring and repetitive tasks? Loud noises?

Over the years, the manufacturing sector has evolved and moved more towards the age of digitalization. However, as the sector entered the era of Industry 4.0, skilled-labour shortages started to become a problem. The sector is experiencing the phenomenon where current employees are retiring while failing to attract new skilled employees. The manufacturing sector was not on my radar until I started my PhD at Horizon CDT (Grant No. EP/L015463/1) working in partnership with DigiTOP (Grant No. EP/R032718/1), and that has completely changed my perspective. This sector is filled with innovation. It is about forward thinking. At the core, there is a major element of maximizing productivity and efficiency by utilizing advanced technologies but also a shift towards ensuring seamless human-machine collaboration and contributions to sustainability and the Net Zero movement. After getting more involved in this sector in the past three years, the question that always comes up is how do we make manufacturing sexy? How do we inspire future generations to be interested in manufacturing?

As part of DigiTOP’s work, we are developing a toolkit to help organizations implement and integrate digital technologies. We provide research on the role of human factors and the impact of technology on the workforce along with use cases and recommendations on the technology adoption and design. One of the on-going toolkit developments is an educational set of resources focusing on the introduction to digital manufacturing aimed at a younger audience (primary and secondary children). I had an opportunity to be a part of the team in charge of developing the content from the start of the video production to running our very first workshop with students in collaboration with Speakers for Schools.

At the start, the first question to answer was how to transform a complex topic into something that is easy to comprehend by the children. We see digital manufacturing as “the use of smart, digital, autonomous and intelligent technologies within the manufacturing sector. These technologies include robotics, virtual and augmented reality, sensors and distributed data networks.” Certainly, there was quite a bit to unpack from this definition. Putting ourselves in the shoes of a 7-year-old, a short animated film was chosen as a communicational medium. Acknowledging that there was not any other existing child-focussed videos on manufacturing at the time, we decided to go forward with the plan and the video was produced in collaboration with Cloudifacturing and Digitbrain projects. The video production kicked off with choosing the right supplier. We searched for a video producer who really understood the brief and the video style of our preference and that required reading through multiple proposals as well as extensive discussion on animation style, colour schemes, voiceover artists, etc. Once we decided on the proposal, we provided the producers with an initial script that covered the objectives and key messages of the video including:

        • Introduction to general changes in industry 4.0/digital manufacturing
        • Cloud-based technologies and human factors considerations
        • Digital twin
        • Human physiological sensing
        • Human robot collaboration
        • Virtual reality in manufacturing and design
        • Responsible technology development and adoption

The challenge we had was explaining all of the above topics in a 3-4 minute video. We consulted with experts in child education to translate (boring) academic language into child-friendly and exciting dialogue. After many editions and revisions of the script, here is the final cut of the video:

The project did not stop at the video production. We are continuing to develop further content to support the use of the video as part of a school curriculum. For our first trial, we were invited to run a workshop through Speakers for Schools program under the weekly theme of digitalization. The workshop dove into the topics mentioned in the video in an interactive manner. We wanted to hear from the students while still making it fun and educational. The workshop was divided into three sections: 1. Subject and skills for digital manufacturing; 2. Sensors; 3. Humans & Robots. I was responsible for the third section. Creating workshop content for younger audience required a completely different approach to a preparation for a conference presentation. How do we gain their engagement especially in a virtual environment? What kind of activities needed to ensure positive engagement? How do we keep them entertained instead of dozing off? How do we make it simple but still interesting? We had various brainstorming sessions to find different ways to run this workshop. We found that to keep the same narrative in all three sessions, creating a fictional character called ‘Amy’ who is a digital factory manager was the way to go. Throughout the workshop, Amy faces different scenarios where she needs helps from the students to make decisions. We used tools such as running polls, storytelling, yes/no questions, and lots and lots of pictures!

In my session of human-robot collaboration, I asked the students to help Amy assign tasks to either human operators or robots.

I was very surprised by some of their answers. The answers were mostly robots even for making coffee! To me, this demonstrates the pro-technology nature of the younger generation. They seemed to be quite comfortable with the topic and it was quite refreshing to see positive engagement from the students. Although we are now living in the world of digitalization, the final note that we left the students with was data and ethics. It is important that we are aware of potential issues and impacts that may arise from technology in order to balance the interests of all stakeholders. Special thanks to the team: Dr. Glyn Lawson, Debra Fearnshaw, Dr Adrian Marinescu, Dr Setia Hermawati, and Siobhan Urquhart.

Thank you for taking the time to read my blogpost. I hope this sparks your interests in digital manufacturing and public engagement. My name is Natalie, Horizon 2018 cohort, and my PhD focuses on the adoption of collaborative embodied autonomous systems in the case of digital manufacturing from legal perspective. 😊

 

 

Posted on

Panel Discussion at the Interrogating Audiences event

post by Kadja Manninen (2018 cohort)

Coming from an arts management background with over a decade’s worth of work experience, for me, one of the main reasons for applying to the Horizon programme, was the course’s strong industry focus. This means that already in the application phase, students are matched with industry partners, with whom they collaborate actively throughout the PhD. My industry partner is The Space, a digital agency funded by the BBC and Arts Council England, whose mission is to help arts and cultural organisations to reach new audiences online. Particularly during the third year of my PhD, I have worked closely with my industry partner on various projects they are partners in. Through these projects and my own PhD research, I have had the opportunity and privilege to talk to around 40-50 arts organisations and independent arts professionals. The conversations have mostly centred around digital transformation, new digital business models, the needs of digital  arts audiences, and more recently, the impact of Covid-19 on the arts and cultural sector.

Therefore, I was thrilled, when the wonderful Helen Kennedy, Professor of Creative and Cultural Industries at University of Nottingham, invited me to take part in a panel discussion at the Interrogating Audiences online event the Institute for Screen Industries Research (ISIR) was organising on July, 9th, 2021.

The event brought together around 60 participants, both academics from different fields as well as representatives of various cultural organisations. The programme was composed of three panel discussions around the following questions:

      1. What questions do we have about audiences?
      2. How do we gather evidence to answer these questions?
      3. How would the answers be used to help design content production and distribution/ marketing strategies?

Below, I highlight some key takeaways from the three panels and my own experience as a panel member.

I was part of the first panel alongside Steward Terry from Broadway Cinema and Jennifer Hessler from University of Huddersfield. Our discussion focused on the many questions we have about audiences. Drawing on the interviews I have recently had with arts and cultural organisations, I decided to approach the topic from arts producers’ perspective.

It is increasingly clear that the Covid-19 pandemic has accelerated digital transformation and organisational decision-making within arts organisations. While the strict social distancing restrictions imposed by the UK government closed cultural venues repeatedly over the pandemic peak year, they also created room for change by allowing arts producers to stop and take time for rethinking their ways of operating and exploring new forms of digital engagement with their audiences.

During my interviews with arts organisations, many described the diverse and often experimental ways of audience engagement they were undertaking under the new circumstances, where in-person encounters were not allowed. The organisations that were already digitally mature at the start of the pandemic, were in the best position to tackle the challenge of reaching digital audiences. They were, for example, able to rapidly repurpose their existing digital content and broadcast it, which enabled them to remain relevant and not to be forgotten by their core audiences. These organisations also tended to be the ones that saw the pandemic as an opportunity to reach new, more geographically dispersed audiences, and thus began creating new types of content specifically designed for digital delivery. There are many examples in the sector, but I think one that is definitely worth mentioning is Opera North’s From Couch to Chorus project, which gathered over 6000 people from all over the world on Zoom to sing opera.

(https://www.operanorth.co.uk/whats-on/from-couch-to-chorus/)

Some arts organisations engaged in unprecedentedly bold experimentation with digital content, and launched new digital products such as online escape rooms or at-home XR experiences. Organisations also upskilled internally, i.e. staff members rapidly learned, for example, the art of online teaching or performing to the camera. More recently, there has been an emergence of digital platforms introduced by arts and cultural organisations, a phenomenon that I think no one could have anticipated pre-pandemic. Another successful example from the sector is Rambert Dance, who have done particularly well with their Home Studio platform, creating an inclusive, global online community around their work, and Darkfield, who through an app-based approach have reached large international audiences for their at-home immersive audio experiences.

Steward Terry from Broadway Cinema agreed that also in the film industry, the engagement with new and existing digital audiences has been something that they have been actively developing, and they as well, launched their own on-demand platform, where selected films can be rented. He underlined that is has been key for Broadway Cinema to determine what makes them unique to motivate audiences to engage with them particularly during the pandemic. Interestingly, he also observed that after the re-opening, their audiences have returned, however, many seem to be somewhat younger than the audiences they had pre-pandemic.

The second panel centred on the different techniques of collecting data from audiences. It was great to see how mixed methods research is now becoming much more frequent in the arts. For example, Bridgette Wessers described the AHRC-funded “Beyond the Multiplex” project, which through a mixed-methods approach aimed to understand how audiences engage with main stream film and how can the cultural value of not-so-known films can be optimised. She emphasised that one dataset does not give you the whole picture, but its importance to approach the phenomenon from different viewpoints.

Richard Broughton from Ampere Analytics shared his knowledge on commercial data collection methods, which they use to evidence audience behaviour. These included financial information on how much audiences are spending, large-scale quantitative surveys and interviews as well as collection of title-level tracking. Listening to Richard’s presentation I couldn’t help wondering that it would be great if there was more collaboration between academics and commercial analytic agencies so that these efficient methods could be also accessible to academic researchers. Erin Sullivan from The Shakespeare Institute described interesting social media research data collection methods such as sentiment analysis and particularly the Netlytic software for collecting and analysing tweets and YouTube posts. This is something that I plan to explore more in detail in the near future.

The final panel focused on the data-driven approaches that inform content production and distribution strategies. Ayesha Taylor-Camara, PhD candidate from University of Nottingham gave a wonderful introduction to her research that explores the value of the BBC. Her presentation helped to understand the role media plays in people’s lives and how a cultural organisation’s value is formed based on the interactions and experiences with their audiences. Matt Locke from Storythings introduced a new (at least to me) concept of “anectdata” that is not necessarily captured by traditional data collection methods, but bears an increasing importance to broadcasters. He also underlined the significance of understanding the churn caused by digital technologies in audience behaviour. Rachel Shaw from the BBC agreed that the pandemic has accelerated change in the TV industry. For instance, the way BBC assesses value of content has changed from vertical to horizontal, since the distribution method has changed from a singular moment to a continuous event.

As the three-hour event approached its end, the closing discussion concluded around the overarching theme of change. Liz Evans from University of Nottingham drew attention to how change and trends impact audience research, and whereas in the industry audience research can be fast-paced, change and trends are often difficult to capture through academic research. Liz also made an important point about cultural audiences not being siloed in one sector, as people who watch television also commonly go to cinema and theatre. Therefore, she called for more inter-sectoral collaboration and understanding that changes in the film and TV sector can also impact other sectors, such as the performing arts.

Indeed, I think there are important lessons we can learn from understanding different audiences from different sectors. There are universal challenges and common issues that Covid has made more apparent, as Liz stated, pushed certain sectors, such as performing arts to a direction they wouldn’t have gone naturally.

To finish, Helen Kennedy pointed out another important question that is pertinent to all cultural sectors and has repeatedly come up in my own research: How can we reach audiences we know nothing about, and how can we create content for them? During the course of the pandemic, it has been easier for audiences to try something new and suddenly become, for example, dance audiences or opera audiences. If new audience demographics keep turning up at online events – whereas they wouldn’t attend this event in a live setting – what does that tell us about the barriers of access to these art forms or cultural institutions?

 

 

Posted on

Engaging children with STEM

post by Neeshé Khan (2018 cohort)

Last year I decided to partake in a program that engages primary school children from disadvantaged backgrounds to engage with students from the local university. This provides an opportunity for children to have positive role models or Mentors that can provide support and some sort of a roadmap to whatever they might dream to be when they grow up. I decided to do this to encourage a child to dream about a life in STEM.

As young adults, it is easy and intuitive to explore, experiment, and discover the right choices for your future career. Despite having an aptitude for STEM you might want to explore Arts or Business which is perfectly acceptable. However, when you change your mind STEM doesn’t welcome you back into the fold. There are stringent requirements for the combinations of subjects you must have and the grades you need to be able to start an undergraduate degree. If you have Physics at A-levels (anyone who has done this will tell you that Physics contains more Mathematics than A-Level Mathematics subject) it is required that you must also have Mathematics in A-levels. So if like me, a student also wants to explore economics, business studies, and a language, it means you can no longer enter an Engineering undergraduate degree regardless of your grade in Physics. However, this poses no issues for pursuing a degree in any non-science subjects as all undergraduate degrees will make you relearn the basics, and often lecturers will tell you to forget what you learnt in previous years as it’s mostly inaccurate for truly understanding the subject. Unsurprisingly, I believe that this ‘locking out’ of bright young minds for STEM fields based on ‘desirable combinations’ is in large the main contributor towards the STEM skills crisis that the western world is now facing.

But coming back to the point, I wanted to help a young child strengthen their academic STEM foundations and generate interest where they can see an exciting future in this space. In a few days, I was matched to an 11-year-old (let’s call her “Tara”) who’s interested in STEM and aspires to become a doctor.

While there are several programs available, I really enjoyed this one. It was structured, transparent, had clear expectations and outcomes, and well organised. It offered training and support for the Mentors which meant I would enjoy speaking to Megan (project co-ordinator at the venue) about what my meeting plans were or if I wanted some insights or advice.

I started off the program by providing continuity. I became a staple figure in her life which meant we would meet at a fixed schedule, for the agreed duration, at the agreed time, and follow the agenda that we had agreed in our previous meeting. I always showed up. Much like the gym, showing up (to see this little person waiting for me) meant more than half the effort was already done. We had decided to work on subjects that Tara identified she needed help with, particularly focusing on SATs (Maths, Science, and English). I also allowed Tara to decide what our meetings would look like, empowering her to be in control of our progress. This meant that while she performed very well on tests, we also reflected on what factors contributed to the mistakes and explored tools to overcome them. After a year, Tara ended up achieving one of the top scores in her school and got one of the two scholarships for a private secondary school in the area.

There were also some difficult times. I sometimes struggled to get her attention or interest. Many times this was because she had other things on her mind. Her mom was a qualified nurse from another country who couldn’t practice in the UK without an equivalence which takes time and money, two of the biggest resources for any immigrant. She ended up working two jobs in a profession outside her qualification. Tara discussed her challenges in trying to study in close quarters with her younger siblings. At a young age, she was wise beyond her years and I would often catch myself remembering how little she actually was. We put in the effort to developing skills to overcome the pressure and stress SATs bring to their young lives. We practised exercises to help retain focus in busy environments and relieve stress which included slime making and controlled breathing.

I really enjoyed discovering how the current education system uses new techniques to teach children. For instance, the way we would multiply was completely different! Thankfully our answers almost always matched! When they didn’t, I had to learn her system of understanding and convert my reasoning to fit Tara’s model so it would a) be correct/spot her mistake in her workings and b)make sense to her. I took this as a challenge and found this quite a fun exercise on most days.

Overall, I feel that I made some difference towards Tara achieving her goals and hopefully contributed towards making her STEM career aspirations a real option in her future. I would really encourage everyone to take up this as a rewarding experience to engage the future in any discipline and field you personally care about. Just be consistent and dedicate as much time as you think you can spare. Even a half-hour a week can help contribute to a young life that might need skills you might not know you have.

–originally posted on Neeshé’s blog

Posted on

Working with Inspire Foundation Nottingham

Post by Symeon Dionysis (2017 Cohort)

 

In a society that seems to be increasingly motivated by personal gain, be it financial or otherwise, altruistically offering your energy, knowledge, and more importantly your time, towards a cause you find meaning to is a refreshing deed for the soul. Although I have participated in voluntary work before, the academic workload over the past three years has not allowed me to do so. Until now! Inspire Foundation was established in early 2019 by a group of researchers/employees of the University of Nottingham as well as individual from across the city. The goal? To bring together and integrate new and established communities through cultural and educational events and activities.

(Inspire Foundation at the Signpost to Polish Success (SPS) Event – November 2019)

Back in April, during a conversation with a friend (and one of Inspire’s founders), he informed me about the project they were putting together and the STEM club for young people they had just start running. I have always enjoyed working with kids (I have spent more than two years doing work on the social-emotional development of pre-schoolers) and I thought it would be a great opportunity to get involved, once again, in voluntary work. I decided to attend one session which was a broad and palatable introduction to computer science. The youngsters were enthusiastic and after the presentation, we spend some bonding time together. It was apparent to me at this point that this was an initiative worth getting involved with.

The main project of the foundation is the “Victor Tudorica” Bursary and Saturday Club, in memory of Victor Tudorica, a student at The University of Nottingham how unfortunately passed away back in 2016. With the goal of promoting and delivering educational activities and workshops in the STEM (Science, Technology, Engineering & Mathematics) fields this initiative is aimed at young people between 11-15 years of age from disadvantages and potentially vulnerable backgrounds. The club ran for 6 months (March 2019 – August 2019) and it included a vast array of activities ranging from building LEGO robots to discussing skills for the future and from creating short movies to dismantling old computer hardware. The club also paid a visit to our own Mixed Reality Lab where we had the chance to talk to researchers, have fun at the VR playground and get our personalised laser-cut tags.

The most memorable activity for me was the movie-making session. At the previous meeting, we formed groups of 3-4 people and decided the theme of the short movie as well as set up our storyboards. We had, therefore, the structure of the story ready and upon our arrival, we decided what roles each one will play, where we are going to shoot our scenes and what kind of props we will need. After finishing with shooting, we spend a good amount of time editing our movies which we then presented to the entire group. It was an excellent activity for the young ones, being both engaging and informative since they learned how to use a camera and editing software as well as solving problems on the spot.

(Video Making Session at the Saturday Club – July 2019)

After the completion of the Saturday Club, I was wondering whether to get more involved with Inspire Foundation in the upcoming year and a couple of weeks ago I received a message regarding Inspire’s annual general meeting. Walking into the meeting, I was still not sure whether my academic work will allow me for a more committed role in the charity. These doubts, however, were waived away after experiencing first-hand the commitment and engagement from all other members. I decided, consequently, to become a trustee for this year. It is, indeed, the first time I become involved in this way with a charity and I very much looking forward to this journey.

(Inspire Foundation Annual General Meeting – October 2019)

Inspire Foundation has already several plans for the upcoming months, ranging from events with communities around Nottingham to re-initiating the Saturday club and engaging with the University of Nottingham in promoting STEM activities. Last week, for example, we participated in an event organised by the Polish community in which we set up an exhibit with our Lego Mindstorms Robots. Three kids from the Saturday Club were also present and helped out with the event. I will try to keep you updated on our activities with another blog post in the near future.

My overall experience with the Inspire Foundation has been nothing less than fantastic. Engaging with an organization that provides teenagers with the opportunity to explore new routes for their future as well as allowing me to meet new people and interact with local communities is one of the best decisions I have made this year and I would highly recommend for everyone to get involved.

Posted on

The GIFT project

Post by Harriet Cameron (2018 Cohort)

The GIFT Project is an international project funded by Horizon 2020, which explores new ways of engaging with cultural heritage through gifting . The scope of the project is huge, and draws together researchers, artists, designers and museum professionals from across Europe, including the University of Nottingham’s Mixed Reality Lab . GIFT has developed and deployed various experiences with museums in Denmark, Italy, Norway, Spain, Serbia, the UK and the USA since it began in 2017. It has several different ‘tracks’ within it, each of which explores different elements of gifting, interactivity and cultural experiences. For example The Gift Experience allows the user to choose objects or places within the museum; photograph them; personalise elements of it, for example with a written note or audio comment; and then gift it to someone to experience for themselves. Another example is The One Minute Experience, which uses templates and guidelines to enable visitors to write short texts about objects viewed in the museums, which they can then leave as gifts for other visitors. I was lucky enough to meet the wonderful Dr Jocelyn Spence, the lead Research Fellow at the University of Nottingham for the GIFT project and originator of VRtefacts (developed alongside the equally wonderful Dr Dimitrios Darzentas), early on in my PhD. Through her, I learned about the GIFT project and the amazing work they were doing.

My PhD project is working with the Nottingham Contemporary art gallery  to explore relationships between audience, art and venue, and how those relationships can be better understood and developed into something more long term, personal and meaningful, through the use of novel technologies. Naturally, the GIFT project offered a fantastic insight into some of the ways work like mine is already being undertaken, and a chance to see how this work is received by the public users. When I was given the opportunity to help with a two day deployment of the VRtefacts experience as part of the GIFT project, I was delighted to get on board.

In late May 2019, at the Derby Museum and Art Gallery  we showed VRtefacts to the public for the first time. The project, without spoiling anything for any reader who may yet get a chance to experience it themselves, used virtual reality (VR) to encourage visitors to donate personal stories to the Derby Museum. Enabled by a combination of tactile and digital technologies, and a beautiful VR environment created by Dr Dimitrios Darzentas, visitors were able to interact with artefacts in a thoroughly immersive and novel way. My role for the course of the deployment was to get the visitor settled into the VR environment, set the scene for their donation experience, and then to guide them through their storytelling. We heard from a broad array of people, who donated an even broader range of stories. From hypothesising what the artefact may have been used for, to memories of related objects and places, to tangential personal anecdotes and fictional hyperbole, we were gifted with some fantastic tales that added a resonant, human layer to the objects displayed. The value of this to the museum, the visitor, and the research project are multiple. For example, for the museum, it gave a new avenue to understanding their audiences, and the meanings they take from the exhibits shown. For the visitor, it allowed them a deeper way to engage with the exhibits, a space to reflect on their own experience or expertise, and a platform to share those reflections with others. Finally, in terms of research, it demonstrated a novel, exciting way of accessing audiences, as well as the importance of inter-disciplinary projects in contemporary research.

The future for museums and galleries comes, in part, in a technologically driven, interactive format, which enables visitors to experience not just the exhibits, but the museum experience as a whole in novel and exciting ways. VRtefacts is a timely and exhilarating glimpse at what future museum visiting may entail, and the feedback from the public who engaged with the project was overwhelmingly positive. By providing a way for visitors to interact with artefacts and exhibits in a tactile, personal way, it became apparent that each visitor had their own interpretations, reflections, and indeed stories for each piece, brought to the fore by the enoblement of the technologies involved, that they were excited to share with the museum as well as each other. Enabling the visitor to share their stories was not only well received by them, but also by the museum who were pleased to learn about the histories of each piece, or the personal relevance of the artefacts to the individual. VRtefacts represents one face of the future for museums and galleries, in which personalised interactivity forms an important part of the visitor experience.

On a more personal note, the project demonstrated just one way that technologies can be utilised to enable and encourage connections between visitors, cultural venues, and exhibits. Despite my involvement beginning late in the process, just a few weeks before the date of the intervention, I was delighted that my feedback on the human engagement element was integrated into the final experience, and it provided a valuable insight into how these kind of projects are developed and deployed in a museum setting. Running the experience also allowed me to revisit storytelling skills I had established during my time working at an escape room, and develop those skills in a new context. Most importantly I think, it gave me an insight into the practicalities of running an intervention; potential pitfalls and opportunities, the value of a strong team, and the importance of foresight (like bringing spares for your spares!). I’m looking forward to being involved in more projects like this in the future, learning more and offering more back, even at some point using these skills I have been developing to stage my own interactive experience within a cultural institution as part of my PhD.

Posted on

Teaching Python Programming at Nottingham Girls High School

Post by Jimiama Mafeni Mase (2018 Cohort)

I participated in the outreach activity of teaching python programming language to students of Nottingham Girls High School organised by a social enterprise called Codex. Codex is a social enterprise run by students from the University of Nottingham. Selected candidates had interviews with Codex management team who were interested in the candidates’ python coding skills and their passion in teaching children. Fortunately, Codex selected a small team of computer scientist including myself to teach introduction to python for 5 weeks (i.e. 1 hour every week) from the 1st of March to the 29th of March 2019.

The syllabus for the course consisted of the fundamentals of python programming i.e. inputs, outputs, data types, maths operators, conditional statements, while loops and for loops. Each class was made up of about 15 to 20 students and lectures took place in the school’s computer lab. We taught using power point lecture notes and hands-on programming exercises. These required us to be extremely audible and patient with the students as most of them didn’t have any programming experience or knowledge. We were also required to speak fluently and make sure all the students understand the concepts and complete the exercises.

We successfully completed the course on the 29th of March and provided a link for the students to fill out surveys about their experiences and rate the teachers. I learnt some teaching skills from this outreach activity, as it was my first experience as a teacher. In addition, it enhanced my problem solving skills as we received a lot of challenging questions about certain concepts in the lecture notes and exercises. It was a great experience and opportunity to transfer some of my knowledge as a computer scientist to the younger generation, which we consider “Future leaders”. Lastly, I will love to thank Codex and the University of Nottingham for this opportunity and wish that they create many more outreach activities for children to learn computer science.