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More and more governments open their data to the general public in data portals.
Visualizations are embedded in the portals to support utilization for different levels
of skill sets of the users.
However, much effort is needed for citizens to access and use the portal and the visualization.
In light of issues like the climate crisis, such data portals are hardly a sufficient
way to communicate the relevant issues hidden in the open government data
(OGD).
Situated data physicalizations are a promising way to represent data locally and to
make invisible issues graspable. This design study investigates how to situate OGD
within the physical space through data visualization and physicalization. To develop
design goal, a user study evaluating an existing OGD visualization and a co-design
study with domain and visualization experts creating ideas and representations of the
data are conducted.
The design goals show the need to communicate in a situated data physicalization
reasons for and measures against the problem and why one should care about it.
Moreover, it should use visualizations, language, and physicalizations with the aim of
creating an understanding of the issue. The second step is to support the audience in
relating to the data, for which localization, interactions, participation, physicalizations,
and an event-based character are recommended. The design goals are embodied
in a design, which is an installation about the sinking groundwater levels in Berlin.
The thesis shows how investigating an existing OGD visualization leads to essential
design considerations for communicating the underlying data to citizens through
situated data physicalizations.
Re-Framing the Picture presents research from the “Gender Equity Policy (GEP) Analysis” project. Building on a substantial corpus of studies and data evidencing the long history of gender inequity in the international film sector, the international team of researchers located in Germany, the UK and Canada has designed an innovative, interdisciplinary approach with the aim to “assess, understand, and model the impact of gender equity policies (GEP) in the film industry”. To re-frame the picture of gender equity in film industries, they studied the policies, practices and norms that constrain equitable industry structures.
The report presents in-depth insights from three different perspectives: The Policies, the Number, and the Networks. The researchers combine an in-depth analysis of existing gender equity policies, using a specifically designed policy analysis framework and interviews with industry experts, with a quantitative analysis that looks more closely at industry data and the structures it reveals. Finally, a social network approach helps understand how different interventions might reduce the dominance of men in the three case film industries (Germany, the UK and Canada) by modelling the impact of hypothetical policies.
They find that 1) fighting gender inequity remains a long-haul endeavour, 2) no one-size-fits-all solution exists, 3) policies need to be intentional and structural, 4) and we should expand the reach of policies that make access to, for instance, funding or awards nominations dependent on progress towards gender equity.
The Technical Appendix complements the information found in the Re-Framing the Picture report, which offers unique insights into the history of gender inequality in the film industries. It also highlights the limited impact of numerous policy initiatives aimed at addressing this inequality and suggests potential paths forward.
This Technical Appendix provides in-depth information on how data was collected, analysed, and interpreted within the GEP Analysis project. It guides the reader through each subproject, detailing the methodologies and analyses employed. The exploration of gender equity and gender equity policy unfolds from three perspectives, synthesising results from diverse methods:
Firstly, a content analysis of policies and industry interviews investigates how gender equity policies are formulated and utilised by industry professionals and policymakers. The first technical report “The Policies” (Guyan, Eikhof, and Coles 2024) provides technical specifics regarding data collection, analysis of gender equity policies, and supplementary interviews.
Secondly, a statistical analysis examines the numerical representation of women and men in key creative roles. The second technical report, "The Numbers" (Prommer, Radziwill, and Ehrich 2024), outlines the collection and analysis of the dataset mapping European and Canadian film releases along with the key creatives involved.
Thirdly, a social network analysis scrutinises policy interventions' impact on the representation of women and gender minorities in key creative positions. The third technical report, "The Networks" (Jones, Dadlani, and Verhoeven 2024), elucidates the approach taken to prepare and analyse collaboration network datasets generated in the GEP Analysis project.
This report provides a detailed explanation of the technical and methodological aspects of the policies-related work package of the GEP-Analysis project. The “Policies” team identified and analysed recent policies related to gender equity in the film and TV industries of Canada, Germany and the UK. In addition, the Team undertook 34 interviews with film and TV industry experts. This report explains the search methodology used to identify policies included in our analysis; the use of a bespoke Policy Analysis Framework to collected and analyse policy information; the identification of industry experts, design of interview questions and qualitative analysis of expert interviews.
This report offers a comprehensive overview of the technical and methodological aspects of the network analysis segment within the GEP Analysis project. It describes in detail the process of preparing and examining collaboration networks within the three case study countries: Germany, the UK, and Canada. The report addresses key methodological considerations for employing both "What is?" and "What if?" analyses to simulate the effects of various hypothetical equity interventions on the networks. We report on the three steps involved in preparing this analysis: adapting the annotated Lumiere dataset (see Prommer, Radziwill, and Ehrich 2024) into structured tables for films, people, and their respective roles, followed by disaggregating these datasets for each country and then constructing collaboration networks using affiliation and adjacency matrices. The report then elaborates on the diverse analytical approaches applied to these networks, including assessments of gendered homophily, recurring cohesion, and key dyads. It concludes by presenting how we undertook an evidence-based evaluation of the intervention impacts on the networks through centrality analysis, focusing particularly on measures such as degree, eigenvector, betweenness, and closeness.
This report offers an in-depth elucidation of the technical and methodological aspects concerning the numerical aspects within the GEP Analysis project's work package. The objective of the "Numbers" team was to investigate how the numerical underrepresentation of women professionals in crucial creative roles within the film industry has evolved over the past ten to fifteen years across Eurimages countries. Furthermore, our aim is to determine the extent to which industry-specific factors, such as gendered team structures or film funding mechanisms, impact the numerical underrepresentation of women in the film sector. In doing so, we seek to present empirical evidence that can contribute to informing policy changes at both the national and European levels.
Das Ziel dieser Arbeit ist es, basierend auf dem aktuellen Stand und der Entwicklung der KI-Animation die KI-Charakteranimationsgenerierung genauer zu betrachten, um das kommerzielle Potenzial der KI-Animation, aber auch die Unzulänglichkeiten der Kunstform und ihre Auswirkungen zu analysieren, die die Technologie auf die traditionelle Animationsindustrie haben kann.
Diese Arbeit untersucht die Möglichkeiten von Animation als Medium für die Konstruktion von Welten und den Aufbau von Erzählungen zur Darstellung des Phänomens ‚Queerness‘. In den Mainstream-Medien ist das Thema Queerness Regulierungsmechanismen unterworfen, welche gleichzeitig positive Darstellungen behindert und Geschichten einschränkt, die sich um Queeroder LGBTQIA+ Figuren drehen oder in deren Mittelpunkt stehen. Anhand der Analyse kurzer unabhängiger Animationsfilme und ihrer künstlerischen Freiheit zeigt diese Studie unterschiedliche Erzählmöglichkeiten und verschiedene visuelle Sprachen auf, die angewendet werden, um authentische Geschichten über verschiedene queere Lebenserfahrungen zu erzählen. Durch die Betrachtung dieser Geschichten aus dem Blickwinkel der Queer-Theorie zeigt dieser Text, wie die Filme die in unserer Realität existierenden Systeme der Unterdrückung von queeren Menschen aufdecken und dagegen argumentieren. Abschließend wird die Bedeutung und Relevanz dieser imaginierten Welten im Verhältnis zu unserer eigenen herausgearbeitet.
Animierte Raumwelten
(2024)
Dies ist eine Masterarbeit mit dem Thema Animierte Raumwelten. Die Arbeit gibt einen kurzen Überblick über die Geschichte der Videokunst und vertieft sich dann in einige Künstler und ihre immersiven und animierten Videoinstallationen. Die Arbeit befasst sich mit Themen wie Projection Mapping, immersive animierte Videoinstallationen, Expanded Cinema, Time Based Art - zeitbasierte Kunst, Videoprojektionen als Szenografie und dem Unterschied zwischen Kunst und Spektakel. Unter den Künstlern, deren Werke und Arbeitsprozesse in dem Werk beschrieben werden, sind Nathalie Djurberg och Hans Berg, William Kentridge, Ayako Tabata - Tabaimo, Nam June Paik, Studio Azzurro, Tony Oursler, Lis Rhodes, Omer Fast, Ed Atkin, László Moholy-Nagy, Josef Svoboda, Suzan Pitt, Pipilotti Rist und Refik Anadol.