Connections not boundaries: Future learning and physical spaces

In the developed world, we feel the effects of "digital disruption" in our experiences of the spaces of retail, hospitality, entertainment, finance, arts and culture, and even healthcare. This disruption can take many forms: augmentation of physical experience with a digital complement such as the use of a bespoke mobile application to navigate an art museum, ordering food on digital tablets in a restaurant, recording our health data to share with a doctor. We also rate and review our experiences of a wide range of services and share these opinions with diverse others via the social web.

Dining experience in elsewhere

Globalisation leads people getting a chance to move to a different place, to dine in a different context and to experience a different lifestyle. This paper evaluates the designs which offer dining experience in elsewhere, a changed context. A logical narrative review of literature has been conducted to clarify the patterns that restaurant practitioners, designers and social science researchers used for developing dining experience in elsewhere. The paper defines two hourglass balance pattern via food between diner and dining experience providers, as well as a set of interactive strategies in dining experience design. The former can be regarded as an example of the latter pattern. The findings indicate an empathetic setting design framework is needed in future research. This is the first paper that examines the dining experience in light of the atmosphere caused by people’s physical and psychological mobility flow in modern society. The findings provide an access to establish dining experience design framework in future research, that is, achieve various levels of diners’ needs in dining setting design by distributing the multisensory effects to activate diners’ involvement in the dining experience.

My robot Valentine: Could you fall in love with a robot?

Imagine it’s Valentine’s Day and you’re sitting in a restaurant across the table from your significant other, about to start a romantic dinner. As you gaze into each other’s eyes, you wonder how it can possibly be true that as well as not eating, your sweetheart does not – cannot – love you. Impossible, you think, as you squeeze its synthetic hand...

Reengaging, reenacting and reenvisaging discourses of disaster through public space performance: Austerity, art, and the art of protest

This paper offers a mediation on disaster, recovery, resilience, and restoration of balance, in both a material and a metaphorical sense, when ‘disaster’ befalls not the body politic of the nation but the body personal. In the past few decades, of course, artists, activists and scholars have deliberately tried to avoid describing personal, physical and phenomenological experiences of the disabled body in terms of difficulty and disaster. This has been part of a political move, from a medical model, in which disability, disease and illness are positioned as personal catastrophes, to a social model, in which disability is positioned as a social construct that comes from systems, institutions and infrastructure designed to exclude different bodies. It is a move that is responsible for a certain discomfort people with disabilities, and artists with disabilities, today feel towards performances that deploy disability as a metaphor for disaster, from Hijikata, to Theatre Hora. In the past five years, though, this particular discourse has begun rising again, particularly as people with disabilities fact their own anything but natural disasters as a result of the austerity measures now widespread across the US, UK, Europe and elsewhere. Measures that threaten people’s ability to live, and take part in social and institutional life, in any meaningful way. Measures that, as artist Katherine Araniello notes, also bring additional difficulty, danger, and potential for disaster as they ripple outwards across the tides of familial ties, threatening family, friends, and careers who become bound up in the struggle to do more with less. In this paper, I consider how people with disabilities use performance, particularly public space interventionalist performance, to reengage, renact and reenvisage the discourse of national, economic, environmental or other forms of disaster, the need for austerity, the need to avoid providing people with support for desires and interests as well as basic daily needs, particularly when fraud and corruption is so right, and other such ideas that have become an all too unpleasant reality for many people. Performances, for instance, like Liz Crow’s Bedding Out, where she invited people into her bed – for people with disabilities a symbolic space, which necessarily becomes more a public living room restaurant, office and so forth than a private space when poor mobility means they spend much time it in – to talk about their lives, their difficulties, and dealing with austerity. Or, for instance, like the Bolshy Divas, who mimic public and political policy, reports and advertising paranoia to undermine their discourses about austerity. I examine the effects, politics and ethics of such interventions, including examination of the comparative effect of highly bodied interventions (like Crow’s) and highly disembodied interventions (like the Bolshy Diva’s) in discourses of difficulty, disaster and austerity on a range of target spectator communities.