Centre for Design Research

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https://hdl.handle.net/10292/14930

The Centre of Design Research is hosted in Te Kura Toi a Hoahoa, the School of Art and Design at Auckland University of Technology. Our aim is to expand interdisciplinary research, engagement and discourse surrounding the theoretical, practical and commercial frameworks that embody design, art, media, and the creative industries.

We are profoundly engaged with makers and making, connecting academia to industry so that research makes a difference in the wider world through writing and writers, painting and pixels, the hand-made and the automated. Through our projects, public engagement and published research, we seek to challenge and redefine what it means to be a designer.

The projects we showcase have a strong commitment to inclusion and diversity. They are intersections: between design and art; Māori, Pacific and Indigenous knowledge and world views; science and technology. They connect with communities and celebrate the diversity, culture and methodologies of indigenous design practice.

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Now showing 1 - 16 of 16

Machine crafted: 3-dimensional machine knitted forms
(Auckland University of Technology, 2013) Kalyanji, Jyoti; Amanda, Smith; Evans-Mikellis, Sharon
Unrealised design capacity in computerised seamless knitting technology is highlighted in emerging research. The adoption of this technology, both in New Zealand and internationally, is largely driven by the economic gains it affords knitted garment manufacturers rather than the opportunities it presents for new design (Challis, Sayer, & Wilson, 2006; Evans-Mikellis, 2011; Smith, 2013; Yang, 2010). Complexities of the machinery and its user interface have constrained textile designers, impacting on their creative output, leaving the technology largely unexplored (Black, 2002; Mowbray, 2002). By acquiring technical skills and understanding of the seamless environment through practice-based enquiry, this research integrates computerised seamless knit technology into small-scale textile design practice; the goals are to exploit the creative potential of the technology and realise crafted design outcomes. This research results in prototypical soft furniture and homeware products.
Paradox: how New Zealand culture enables creativity, yet mitigates against its spread
(Auckland University of Technology, 2015) Hutcheson, Mike; Ings, Welby; Woods, Christine; Shepherd, Deb
This practice-led thesis examines the concept of creativity in the context of contemporary New Zealand business. The thesis project comprises two complementary components. The first is a 30-minute video documentary that constructs interviews with four prominent creative business people. It can be seen on Youtube. https://www.youtube.com/watch?v=uN1TLQl8aow This text is designed specifically for non-commercial television broadcast, On-Line or Intranet Video and business or business school audiences. The documentary is accompanied by a series of three short video podcasts (for on-line viewing by business and business-school audiences). These podcasts reconstitute key insights from the interviews. Drawing on interviews with significant New Zealand business leaders and existing literature, it considers how creativity is fostered, if it exists as a distinctively national phenomenon, and if so, how. The thesis project is accompanied by this exegesis that unpacks critical ideas from the practice, discusses the methodology developed for their realisation, and contextualises the ideas in relation to existing academic and professional knowledge.
Veitalatala: Mātanga ‘o e Talanoa
(Auckland University of Technology, 2015) Toluta'u, Talita Kiume; Ings, Welby; Tu'itahi, Sione; Manu'atu, Linita
This study is concerned with representation. It considers the nature of a culturally located, discursive form called veitalatala and its creative translation into designed artifacts that consider the lyrical and graceful nature of Tongan women’s talanoa. The designed outcomes of the project consider the memories of three hou’eiki fafine (Tongan women) who left their homeland to settle abroad. Veitalatala: Mātanga ‘o e Talanoa is a creative synthesis of their talanoa, into new forms of artistic narrative, designed to capture the cultural and emotional resonance of their identities. The lyrical works orchestrate photography, animation, musical composition, sound design, filmed interviews, graphic design, sublimation printing on ngatu, and extensive postproduction experimentation, into unique texts that move the parameters of traditional documentation beyond conventional audio/visual interview. In so doing, the ngatu portraits and filmic veitalatala conceptually, contribute to the Tongan concept of luva (giving). Although Churchward (1959) defines veitalatala as a distinctly poetic form of talanoa, recent interviews with Havea (2014), Puloka (2014), Taliai (2014), Manu’atu, (2014), Taufa (2014), and Taumoepeau (2014) suggest that veitalatala is a complex and nuanced form of communication with diverse origins. Significantly, Tongia (2014) associates the term veitalatala with hou’eiki fafine. He suggests that it is a harmonious form of communication historically and socially related to the female gender. This thesis proposes through practice, that the tenets of veitalatala may be extended into artistic artifacts to create a contemporary, lyrical, yet culturally consistent means of representing histories and memories of Tongan hou’eiki fafine.
Illuminativa - The Resonance of the Unseen
(Auckland University of Technology, 2017) Ventling, Friedrich Derek; Ings, Welby; Bathurst, Ralph
This practice-led creative arts thesis investigates the metaphysical notion of light as an activating principle and how this is subjectively experienced. Light is phenomenologically explored as a catalytic agent that is interactive yet ephemeral, influencing perception and consciousness. Light is also the research tool used to capture, develop and articulate personal discoveries through designed environments. Philosophically, the research is founded upon the medieval spiritual concept that illumination is a key transformational aspect of our cognitive journey (Bonaventure, 1996; Hayes, 1996; McAdams, 1991; Miccoli, 2001; Schumacher, 2009). This process begins with a sensory experience from making, and leads through philosophical thought to wisdom. In metaphysical terms, light may be understood as a connective agent and a force that provides stimulus and developmental capability. Of particular interest within this context is lumen, described as a state where archetypal light activates beings and radiates through them. This threshold between metaphorical and visible light is explored from the personal perspective of the contemporary artistic researcher. By conceiving material arrangements as sedulous yet unstable conjunctions of texture and light, I seek to creatively apprehend the vestiges of the unseen. As the observer and the observed, I am physically immersed in these experimental arrangements, actively probing and apprehending the deliquescent relationship between making, an embodiment in light and the conscious self. As resonant moments surface, these are captured as photographic documents. Selected images are then reorchestrated as a filmic narrative of sensory expression. Light then carries this projection within a designed installation, engaging viewers through an embodied experience of their own. The aim of this research is to invite a discourse on the potential of light, its generative manifestation and its tangible influence on our creative consciousness within contemporary artistic practice.
Mourning Sites ________ Performing Ineffable Spaces of Ruin
(Auckland University of Technology, 2018) O'Hara, Emily; O'Connor, Maria; Nikolai, Jennifer
This practice-led PhD explores spatio-temporal conditions arising in processes of mourning, attuning these processes to the project’s spatial-poetics or site-writings. In doing so my PhD relates the experiences of death and mourning to language and its other (silence or ineffability), providing an existential ground to my practice. Language becomes a performance ground for translating (its) spatial structural cues into my performance installations: A practice that resides most formally within disciplines of spatial design and visual arts and their discourses of architecture and art. The philosophical thinking of Martin Heidegger circulates around language as a human dwelling and the ontological disclosure of truth as unconcealing in the withdrawal of being (Aletheia). Heidegger’s thinking on the everyday sites Being’s withdrawal in ‘her’ movement of unconcealing, and deepens the thesis’ analysis of death and mourning. The feminine signifying of Being’s withdrawal as Aletheia’s movement constructs my conceptual personae through dialogue with the philosophical psychoanalytic terrain of Luce Irigaray: Irigaray sounds the language event of Being otherwise to a masculine self-sameness, locating within language structural fissures and gaps for detouring feminine otherness. In listening to these others (of Heidegger and Irigaray) my research locates a deeply feminine trace of my own mourning-song in its matrilineal voice. Aletheia’s movement becomes my feminine truth for unconcealing this mourning legacy. It is a maternal mourning legacy mined in the philosophical and textual practice of Roland Barthes, subjectively expressed in unexpected and uncanny arrivals within the details of everyday life. These mourning arrivals are set against a wider conversation on the everyday, conceived as a site of disappearance through the work of Maurice Blanchot in dialogue with Juhani Pallasmaa: Arrivals and departures express ontological movements of Aletheia in her truth of everyday mourning. This movement is deepened in dialogues (across Heidegger and Françoise Dastur) to distinguish ontological differences between death and mourning. Yve Lomax brings sharper focus to ineffability as a dialogical spatio-temporal ontological event. This research practice expresses its performative (shifting) ground through processes gathered as site-writings. It is a term conceptually and methodologically put into research play in dialogue with Jane Rendell and Walter Benjamin, both of whom work across sites of ruin. Further, this term refers to my performance and installation approach to poetics as a spatial condition activated ‘silently’ in syntactical structures, which provide moments of absence, difference, eclipses (and ellipses), interstitial gaps and aporia. The project sharpens its spatial poetics as these ‘relational’ lacunae open onto two distinct conceptual moments: ‘without alibi’ and ‘umbra-writing’ (or dark-writing). ‘Without alibi’ reveals ec-static spatio-temporal expression within my practice, opening an invitation for visitors to enter into (their) fundamental (existential) solitude without firm grounds for representing wherein or when this solitude dwells. Its philosophical ear comes by way of the writing of Jacques Derrida. ‘Umbra-writing’ expresses relations between our essential solitude through bringing close proximity between cosmological and everyday life: It is a proximity made explicit in the specific sites of urban ruins that hold correspondences to mourning expressed within my performance installation practice. Installation performance practitioner Lee Mingwei is key for bringing attention to the everyday as a site of mourning. John Cage’s sound practice draws proximity for existential silence within site-specific programming. Further, the creative practices of James Turrell (specifically his Skyspaces project), Katie Paterson’s Future Library project, Antony Gormley’s Another Place, Olafur Eliasson’s Ice Watch and Wolfgang Laib’s Pollen from Hazelnut all hold significance for their ecological and cosmological resonance. The performance work of Marina Abramovic brings insight into relations of extended durational and participatory practices within everyday contexts. Significant resonance for my ‘umbra-writing’ is located cinematically in the practices of Michelangelo Antonioni and Douglas Gordon. With the ear of the other, the PhD listens to ineffable sayings of mourning dwelling within urban ruins, materialising its processes of performance installation that culminate in a final ‘dual site’ exhibition: Between two________.
Paradoxical Realities: A Creative Consideration of Realismo Maravilhoso in an Interactive Digital Narrative
(Auckland University of Technology, 2019) Tavares, Tatiana; Ings, Welby; Nelson, Frances; Harris, Miriam
This artistic, practice-led thesis is concerned with the potentials of polyvocality and interactive digital narrative. The practical project, Saints of Paradox, is formatted as a printed picture book that can be expanded through the use of AR (Augmented Reality) technology. The technical structure of the book allows for the reading of different versions of a story told by three distinctive narrators (saints). These saints are syncretic and they interpret a story through changes in illustrative content and monologue. The artistic artefact is formatted as a series of pictorial sets 'in potentia'. Once engaged with through a mobile device, animated characters populated a luxuriously illustrated world accompanied by a complex cinematic soundscape. In the development of the illustrations, I draw syncretism and photomontage into artistic relationality and explore ideological tensions and mysteries resulting from decontextualisation and recontextualisation. Conceptually, the research project is concerned with storytelling and realismo maravilhoso (a distinctive form of Latin American magical realism), so the exegesis reflects on certain socio-cultural constructs that permeate divisions between belief and actuality. Methodologically, the project emanates from an artistic research paradigm (Klein, 2010) that supports a heuristic approach (Douglass & Moustakas, 1985) to the discovery and refinement of ideas. Thus, the research draws upon both tacit and explicit knowledge in the development of a fictional narrative, its structure, and stylistic treatments.
Please Leave on the Seat After Use: Crafting Personal Narrative Through Machine Knitting
(Auckland University of Technology, 2019) Cho, Susie; Jowsey, Sue
Please Leave on the Seat After Use explores my evolving relationship with the Seiki Shima knitting machine, which I have positioned as a key contributor to my research practice. Materializing personal narratives through textile explorations, I have come to understand that the rich, archival properties of textiles are activated through their engagement with people and the everyday spaces they occupy. Textiles embody personal and culturally conditioned behaviours, they respond to their environment - capturing and releasing stories. This autoethnographic study investigates machine crafted textiles as responsive artefacts. In my project I have used machine knitting to examine notions of the pictorial, which I have described as default canvases and materials as archives, which I have classified as skinships. My approach to textile design is conveyed through my subversion of the traditions associated with hand and machine-made knits.
Getting Old and Forgetting Things: Design Anthropology and the Medicalisation of Ageing
(Auckland University of Technology, 2020) Collier, Guy Edward Parker; Reay, Stephen; Kayes, Nicola; Bill, Amanda
Mild Cognitive Impairment (MCI) is a relatively new diagnosis that describes the grey area between ‘normal’ age-related decline and dementia. Following increased interest in the developmental stages of Alzheimer’s Disease in the 1980s, MCI was first proposed as a concept in 1988 before becoming an official diagnosis in 2004. While some clinicians and researchers argue that the MCI concept helps identify the earliest symptoms of dementia, others have pointed out that it does not guarantee further cognitive decline and arguably redefines ‘normal’ ageing. Although its definition, clinical use, assessment, treatment, and relationship to dementia remain topics of heated debate and controversy, MCI has recently become a topic of interest in the emerging field of ‘design for health’. This thesis is based on a four-year website design project called ‘Living Well with MCI’, in which I participated in as a researcher between 2015 and 2019. In this project, I worked on an interdisciplinary team alongside a User Experience (UX) designer to develop an online resource for people with MCI and their families. The purpose of this PhD was to embed ‘design anthropology’ into the co-design process to develop insights into the MCI category in real time. In doing so, the research aimed promote critical reflection on the ways in which design, as both a future-making activity and field of research, might shape and give form to new medical constructs in contemporary society. Drawing inspiration from a ‘new materialist’ philosophy, science and technology studies (STS), and combining these with recent work in design anthropology, this research considers what happens when we conceptualise MCI as a socio-material ‘assemblage’. An assemblage in this research refers to the interconnected web of practices, processes, materials, and systems that produce MCI as a ‘matter of concern’ for individuals and society. The thesis therefore explores how designing for people with MCI intersects with developments in neuroscience and pharmacology, dementia research, geriatric care, design, and broader cultural anxieties about ageing and cognitive decline. To do this embedded research, I carried out ethnographic fieldwork across a range different sites and contexts, including memory clinics and dementia research centres, while working on the design project. The research found that older adults tend to internalise the ideas and thought-style of Western biomedicine as they attempt to negotiate what it means to age ‘normally’. In the Living Well with MCI project, biomedical discourses shaped user ‘wants’ and ‘needs’ in specific ways, making it difficult to frame the experience associated with the MCI category in non-medical terms on the web resource. Therefore, in meeting these wants and needs, the website ultimately gave physical form to the beliefs and assumptions that underpin the Western biomedical model of ageing. The research also highlighted that conventional design tools and methods, which help designers ‘empathise’ with users and their experience, failed to support a critical orientation towards the deeper historical, social, cultural, and political processes that made MCI a ‘thing’ to design for in the first place. The unique contribution of this PhD lies in demonstrating the complex ways in which designers participate in the formation of emerging (and contested) medical realities, highlighting the particular relevance of this to the field of design for health. Furthermore, it argues that design for health practitioners have a responsibility to contribute to debates about the use, validity, and ethics of new diagnostic constructs in society.
The Materiality of Winter
(Auckland University of Technology, 2020) Zino, Imogen; Jowsey, Sue
This exploration embraces materiality through the poetics of Winter. An aim of this project has been to enable a greater sense of connection between the internal sensory world of the participant and the inhabited environment. Tactile, audible and visual metaphors of Winter sparked hidden narratives revealing realms transcending what the eye can see. Embodied experiences and performative interactions activated deep and ongoing conversation about being-in and being-within oneself and the space we inhabit. Through a phenomenological perspective, I have imaginatively explored conscious and subconscious effects capable of absorbing the viewer in distracting and exclusive ways. Kindling bodily interactions through the creation and installation of a myriad of fragile shards, Winter stimulates otherworldly perceptions. Merleau-Ponty believed that our bodies are primary and subjective vessels responding to the dynamic and transforming landscapes of materials and material interaction. The textures of sound, shape and surface activate our perceptual selves, immersing us in and connecting us to the world. In this state the self is transient and open to feeling happiness, with Winter in my mind, I have created an immersive experiential work that seeks to elicit a sense of awe-filled wonder.
A Remembering of Culture and Community: An Exploration of the Ambiguity and Significance of Everyday Affordable Sustainable Clothing
(Auckland University of Technology, 2020) Johnson, Leica; Carley, Rachel
Individuals ‘experiencing poverty often find it difficult to partake in contemporary consumption behaviours,’ consequently budget consumers are often left out of the sustainable fashion conversation. The design and making of a socially equitable clothing collection questions the inequalities related to the unaffordability of sustainable fashion and challenges the stereotypes often associated with consumers of budget clothing. Now that sportswear is a universally acceptable part of popular culture, the newly formed acceptable social boundaries associated with these types of clothes can be designed to move beyond their current understanding. Beyond the object, clothes can confirm a person’s social status (due to their known affordability) or somehow work to represent a remembering of culture and community and by doing so establish new purpose and experiences of clothes. As a response to the realities of deindustrialisation, ongoing austerity and the associated impacts of poverty in the United Kingdom, my interest lies in the space between self-expression, and at the same time, belonging. This body of work, an interchangeable affordable sustainable clothing collection, is an exploration of the ambiguity and significance of everyday affordable budget clothing and the associated negative impacts of social class positioning and stigma that can arise from this.
Acting and Its Double: A Practice-led Investigation of the Nature of Acting Within Performance Capture
(Auckland University of Technology, 2021) Kennedy, Jason Allen; Marks, Stefan; Joseph, Frances
This research deepens our understanding, as animators, actors, audiences, and academics, of how we see the practice of acting in performance capture (PeCap). While exploring the intersections between acting and animation, a central question emerges: what does acting become when the product of acting starts as data and finishes as computer-generated images that preserve the source-actor’s “original” performance to varying degrees? This primary question is interrogated through a practice-led inquiry in the form of 3D animation experiments that seek to clarify the following sub-questions: • What is the nature of acting within the contexts of animation and performance capture? • What is the potential for a knowledge of acting to have on the practice of animating, and for a knowledge of animation to have on the practice of acting? • What is the role of the animator in interpreting an actor’s performance data and how does this affect our understanding of the authorship of a given performance? This thesis is interdisciplinary and sits at the intersection between theories of acting, animation, film, and psychology. Additionally, this thesis engages with phenomenology and auto-ethnography to explore acting in performance capture from the perspective of a single individual as the actor, PeCap artist, and animator. This type of first-person experience-based insight is often missing from purely theoretical discussions about acting in performance capture and animation, and helps to provide a clearer understanding of the contributions of each creative role to the final PeCap result. This research provides a strong basis for the necessity of a paradigm revision for how acting is produced within a PeCap context.
Moana Cosmopolitan Imaginaries: Toward an Emerging Theory of Moana Art
(Auckland University of Technology, 2021) Lopesi, Lana; Refiti, Leali'ifano Albert; Waerea, Layne; Engels-Schwarzpaul, Tina
This thesis uses a theoretical approach to examine the way a digital native generation of Moana artists with connections to Aotearoa, and part of global worlds today, imagine their subjectivities, their cultures and their places in the world through contemporary art. Using the methodology of su'ifefiloi, which allows for the combination of many parts, this research works toward the emerging theory of Moana Cosmopolitan Imaginaries to consider today’s global condition of overwhelming interconnectivity as experienced by Moana people. Moana Cosmopolitan Imaginaries offers an analytical framework to understand how these lived realities have impacted art made between 2012 and 2020 by a generation of Moana artists, between the last significant exhibition of contemporary Moana art in Aotearoa— Home AKL (Auckland Art Gallery Toi o Tāmaki, 2012)—and the Covid-19 Pandemic, which has shifted today’s global condition in ways we are yet to fully understand. In this thesis, I argue that a digital native generation of Moana artists have positioned themselves away from the narratives of displacement and nonbelonging featured in the Moana art of previous generations, imagining their subjectivity in globally routed, yet locally rooted, ways. Diasporic subjectivities are those which require constant reproduction and rearticulation. Most recently diasporic subjectivities can be understood through the acceptance of the cosmopolitan character of Moana life today, or Moana Cosmopolitanism, which empowers a complex sense of place. Thus, these artists engage in another kind of work, which employs radical imagination to imagine other ways of being and making concerned with the decolonial, deep time, Vā Moana, mau and su'ifefiloi as part of Moana Cosmopolitan Imaginaries. By closely analysing this period of art making, common concerns and artistic strategies are revealed. Pairing these commonalities with a cosmopolitan character of Moana life allows this research to work toward an emerging theory of Moana art, which centres the work and experiences of Moana artists.
Vacancies and Attenuated Presences: A Counter-Memorial Swimming Pool for Waitara
(Auckland University of Technology, 2021) Bentley, Chris; Douglas, Carl; Patel, Rafik
This practice-led research thesis inquires into the memorial pool, and posits these strange and disjunctive spaces as counter-memorials, mediums for alternative methods of remembrance. The work unfolds over two stages: fieldwork, and intervention. The fieldwork section details expeditions to three memorial pools found across the North Island. Methods of site-specific inhabitation and witnessing identify, and accrete the phenomenal language of these memorials. This involves particular observation of moments of presence and absence. Transient and mundane images are critically viewed as markers of the aforementioned counter-memorial, and as evidence of the changing roles and temporalities of the designated sites. The intervention leverages this affectual language to propose a speculative reframing of the Waitara Swimming Pool as a memorial pool. The work comprises a series of mnemonic provocations detailing loss, vacancy, and the crossing of ritual thresholds. These present conversational and dialogical encounters. The images of these surfaces and spaces are derived from inhabitation, and activity, contrary to archetypal western monument. They are lived memorials. Conscious and subconscious movements position the viewer as an active participant rather than a distanced observer. The work imagines to localize these memorial narratives to the individual through this immersion into a memorial landscape, presenting opportunities to attenuate and inhabit memory.
The Handbook Project
(Auckland University of Technology, 2021) de Roos, Lindsey; Redmond, Monique; Amundsen, Fiona
The Handbook Project is an exploration of an “unhelpful guide” for navigating arts academia and art spaces as a person of colour through a tactile and social “art practice”. This project is an intuitive and reflective journey of deinstitutionalising my mind and my making (even though I still operate within the institution), through the lens of race. My research explores how retrospective (which developed into reparative) forms of making can work towards a decolonised sense of imagination. To aid this exploration, I utilise materials that I am very familiar with when it comes to academia, such as annotations, workshops, essay writing, paper and photographs. These sit alongside conventional methods of artmaking such as photography, sculpture, and print. I introduce notions of slowness and repetition to these materials in order to disrupt my habitual behaviours with them (in the context of academia). The project is situated in the following three main concepts of freedom: the freedom-of-knowledge, the freedom-of-space, and the freedom-of-language. These “freedoms” simultaneously function as pathways and pillars to navigating the concepts of race, and the potential explorations of racial equity in context to this project. To understand how these freedoms might manifest, I move between my experiences as a student, as a mentor, and as staff (of the University) to observe and critically engage with how my BIpeersOC and I can exist here safely.
A Sense of Play
(Auckland University of Technology, 2021) Hutchinson, Levon; Reay, Stephen; Sutton, Daniel
A child needs to feel happy for them to thrive in a school environment. Children have personal and complex needs that should be well understood to help them feel happy, comfortable and ready for learning. This study aimed to investigate the challenges for children affected by sensory processing difficulties (SPD) in a mainstream primary school and explore how teachers may be better equipped with knowledge and resources to support these children. The benefits of tactile/sensory objects for children with sensory processing issues should be widely recognised within the context of school. Teachers should acknowledge that sensory objects can be used as tools to regulate behavioural and emotional disruption. This design-led research set out to explore how teachers may utilize sensory objects to help children with sensory processing difficulties reconnect socially and academically within a school setting. An action research approach was used to analyse current solutions within this space, engage with experts (occupational therapists), collaborate with teachers, and act upon findings through iterative making methods. The designed outcomes include a ‘toolkit’ of sensory objects intended to help support teachers in mainstream school who manage children with SPD. However, its usage may prove to help children with other diagnosed conditions and learning difficulties. The research highlighted the challenges of SPD within the context of school for both children and teachers and set a precedent for future design-led research in this area. Furthermore, it makes a compelling case for utilising sensory objects as a teaching resource.
The Scent of Blue Memories: Multisensory Exploration in Animated Autoethnography
(Auckland University of Technology, 2021) Park, Monique Hyobin; Harris, Miriam
This thesis discusses the experience of worlds within a film, which can be understood as a multisensory exploration that reveals animation as being more than simply an audio-visual medium, and how such a film can resonate with an audience. Synaesthesia, the Proust phenomenon, phenomenological film theories, the animation produced by the film company Studio Ghibli and poetic film are discussed using an in-depth analysis as a means for supporting these claims, as well as to enable imaginatively reconstructing filmmakers’ autobiographical narratives. Psychological and phenomenological theories are discussed throughout as approaches for creating unique narrative, visual, and auditory systems. The results of this research contributed to generating emotional resonance through the production of an animated autoethnographic film, The Scent of Blue Uiseong (2020).

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