Megan Halpern | Michigan State University (original) (raw)

Papers by Megan Halpern

The iPhone has come to be one of the most popular and widely used cameras because of its ubiquity... more The iPhone has come to be one of the most popular and widely used cameras because of its ubiquity and the ease with which images can be uploaded directly to sites like Flickr, Facebook, and Twitter. The introduction of photography “apps,” like Hipstamatic or Instagram, adds layers of aesthetic capabilities not previously available within the camera. These capabilities have attracted artists seeking technologies for new media of artistic expression. Drawing on Becker’s theory of “art worlds,” this article describes the ways in which iPhone photographers, or iphoneographers, engage in the process of art world building. Through online ethnography and semistructured interviews, this study reveals the ways iphoneographers are creating, sharing, and critiquing their work. The practices of iphoneographers are not unlike those of artists engaged with new media throughout history, and indicate patterns of remediation. Through their activities, the iphoneography community is grappling with issues about the values, practices, aesthetics, and even aura of iphoneography, and in doing so, they are building and legitimating a new art world.

This article examines the role of aesthetics in scientific argument by analyzing two images. The ... more This article examines the role of aesthetics in scientific argument by analyzing two images. The first, from Ernst Haeckel’s Art Forms in Nature (1904), depicts 15 bats evenly spaced on a white field. The second, Charley Harper’s Darwin’s Finches (1961), shows 13 finches, similarly displayed. Although these two images may at first appear to have little in common, they both present a specific interpretation of Darwin’s theories using visual language. This article argues that the act of representation and scientific theory are inextri- cably intertwined.

This paper examines the use of cultural probes as a method for fostering collaboration within gro... more This paper examines the use of cultural probes as a method for fostering collaboration within groups of diverse experts working on creative projects. Using two case examples, we show that probes—short, oblique, and at times whimsical sets of activity prompts—have boundary object properties that can jumpstart interdisciplinary and cross-functional exchange. The first case explores how social scientists and designers used a smartphone-based scavenger hunt activity to gather insights for a workshop on organizational innovation. The second case examines how artist/scientist pairs utilized probe-like prompts to develop short performances for an arts festival. Drawing together theoretical views on boundary objects and cultural probes, we suggest that designed experiences such as probes can create opportunities for both boundary work and the establishment of common ground, which is increasingly vital in the highly collaborative contexts that define work today.

In this paper we describe MoBoogie, an application that allows users to manipulate and arrange mu... more In this paper we describe MoBoogie, an application that allows users to manipulate and arrange music through movement. MoBoogie is designed to foster experiences in creative expression for children and potentially adults. The application responds to users' movements by changing variables in a continuous stream of music loops. Results from this study suggest that the creative expressions arose in the joint space of movement and music, and did not primarily have to be in one form or the other. This allowed users with limited experience in dance and music making to be creative in such forms of expression.

This paper explores collaboration between artists and scientists through participant observation.... more This paper explores collaboration between artists and scientists through participant observation. Four artist/ scientist pairs worked together to create ten-minute performances for a festival held in January, 2009 in Ithaca, New York. Each pair created their piece over the course of three two-hour meetings, the first of which employed a cultural probe to open a discourse between the artist and scientist and to facilitate collaboration. My role as a participant observer allowed me to closely observe collaborative processes in which pairs engaged in boundary work and made use of boundary objects. The boundary work helped the pairs establish authority and autonomy within their respective sub-fields, while at the same time provoking discussions that led to the creation of their projects. The pairs used three types of boundary objects: existing, created, and appropriated. These established a common language by which they could create and present their performances to an audience.