At the beginning of this semester, we were given the task of creating three paper prototypes to help us visualize the initial ideas of our project. I chose the area of environmental sustainability because it most inspires me personally and I see the greatest potential to have a positive impact on future generations.
To accommodate different learning styles and interests, I visualized three different approaches to communicating this topic.
App
A mobile application that guides players through various environmental topics in a playful way. Players acquire knowledge in mini-games, short educational videos and easy-to-understand texts and test their knowledge in a quiz. After successfully completing a level, they unlock the next learning area. This app could also include an interactive map of the real world where children can discover local environmental problems and suggest solutions.
Real life gadgets
Gadgets that make everyday situations such as separating waste, saving water or switching off the lights more fun. One example is attaching small basketball hoops above the garbage cans, which not only increases the fun factor but also promotes waste separation. Also, for example a gadget in the form of a “magic switch” could be developed to help children visualize how much energy they save when they turn off the lights.
Board game
A board game that integrates environmental issues into a shared gaming experience with friends and family. Through creative game tasks that impart knowledge and encourage reflection, awareness of ecological sustainability is raised in a playful way. The game could e.g. include question cards about different environmental issues. If they are answered right the player can move forward with their token.
In quick feedback rounds, similar to the concept of speed dating, I was able to get valuable feedback on these ideas from my fellow students during the course. All three approaches were similarly well received, which is encouraging on the one hand, but did not make my decision-making process much easier on the other. The app was particularly highlighted as the most flexible and customizable medium, which also offers the ability to dynamically update and expand content.
In the next blog post, I will evaluate the advantages and disadvantages of each prototype in detail. The goal is to develop a teaching method that is not only informative but also highly entertaining in order to effectively sensitize children to the importance of sustainability. Their early involvement in these important topics could be the key to shaping a generation that is conscious and responsible in its use of our planet’s resources.
At the end of last semester, I decided to focus my research on how to introduce the topic of sustainability to children in a way that is suitable for them, in order to raise awareness of this important topic at a young age.
Understanding how children learn is crucial for designing educational content that effectively engages and informs them. Research has shown that children learn best through interactive, hands-on experiences that capture their interest and imagination. Games, whether digital or physical, play a significant role in this learning process due to their interactive nature and ability to motivate and engage young minds.
Children are naturally curious, and their learning processes are highly influenced by their environments. According to Piaget’s stages of cognitive development, children move from a sensory stage in early childhood to more complex stages of logical thinking as they grow. This developmental perspective suggests that learning activities should be age-appropriate and aligned with their cognitive abilities. Vygotsky’s theory of the Zone of Proximal Development (ZPD) further explains that children learn best when they are guided by someone more knowledgeable and when the task is just slightly above their current ability. This is where educational games excel, as they can offer scalable challenges and immediate feedback—both of which keep children within their ZPD.
Games are particularly suitable for children’s education because they can incorporate several pedagogical principles:
Active Engagement Games require direct participation, keeping children actively engaged rather than passively observing. This engagement is crucial for learning, as active participation helps to consolidate new knowledge
Immediate Feedback Games often provide instant feedback on the player’s actions, which helps children understand the consequences of their decisions and aids in quicker adjustment of their strategies
Incremental Challenges Many educational games feature levels that progress in difficulty, catering to the natural development of children’s skills and knowledge
Contextual Learning Games can simulate real-world scenarios where children can practice and apply new knowledge in a safe environment, enhancing their understanding and retention
Social Interaction Games that encourage multiplayer interaction promote social skills and collaborative problem-solving, important components of cognitive and emotional development
While games need to be enjoyable to keep children engaged, they must also be challenging enough to promote learning without causing frustration. Games should include various types of content and challenges to cater to different learning styles, such as visual, auditory, and kinesthetic.
The effectiveness of game-based learning has been supported by numerous studies. Resources like „The Cambridge Handbook of the Learning Sciences“ suggest that games are powerful learning tools because they simulate real-world processes and allow for experimentation and discovery. Additionally, organizations like the Joan Ganz Cooney Center at Sesame Workshop published reports and research findings that highlight the benefits of digital media, including games, as learning tools for children.
In conclusion, games are an excellent medium for educational content, particularly for children. They align with natural learning processes by providing interactive, engaging, and challenging environments that make learning enjoyable and effective.
After the last semester I discovered that there is a big room for improvement when it comes sustainability in the footwear industry. I looked into the industry itself, learning about materials and looking into sustainability campaigns, and learned about consumer habits, reading research papers about it and creating a survey where I gathered first hand information about it. I then came to the conclusion that I want to focus on consumer habits since it might be easier and more realistic to create a change.
The focus this semesters will be to look into different ways of changing consumer habits. I will go through an ideation phase where I generate ideas without too many restrictions, so that my creative thinking can evolve without boundaries.
One of my initial ideas is to focus on shoe repair services and how they can become more appealing and visible for all age groups. By doing this, I still need to learn more about the profession and I want to visit a shoe repair service in Graz and talk to them about the topic. My goal would be that peoples first thoughts when they have a worn out pair of shoes is Can this be fixed? rather than I need to buy a new pair of shoes.
THE FIRST PROTOTYPES
We were thrown into the ideation phase and got the task to create 1-3 prototypes over a few days. We had a speed dating session after this, where we presented our prototypes and got some feedback. It was very helpful to get other perspectives on the prototypes and to discuss the opportunities to evolve the ideas.
The Shoe Shredder Company
Explanation: This is a business idea where The Shoe Shredder Company takes care of old, worn out shoes and give them a new life in a different form. The way this work is that there are multiple recycling boxes from the company around the city and people can deliver their worn out shoes in these boxes. The shoes will be collected and brought to the company’s factory. There the shoes will firstly be cleaned and then shredded and the fibres from the shoes will eventually be used as isolation in walls. This way, the shoes will get a new life as something new and the shoe waste will be reduced.
Things to consider:
Can shoe fibers be used as isolation and how well does it isolate? There are no actual research that shoe fibres will work well as isolation. There might be difficulties regarding all the different materials in shoes so that the level of isolation will vary.
How can the company make sure that only worn out shoes will be shredded? This company should not be a quick fix for people that just want to get rid of their perfectly fine shoes. There has to be a way to make sure that only worn out shoes will be shredded, maybe the shoes can be scanned in the recycling boxes?
Why should people use this as isolation? This isolation have to stand out from other kinds of isolation. It is definitely a sustainable choice, but it have to be appealing as well.
Feedback:
It would be nice if the shredding happens in the recycling boxes, so that people can watch their own shoes turn into fibres.
Some kind of tracking would be cool, so that you can follow your shoes and get to know in which buildings your old shoes end up.
Awareness campaign
Explanation: This is a shoe shelf is working as an awareness campaign. The shelf can either be placed in different places were it is natural to have shoe shelfs, e.g. in swimming halls, in gyms, in climbing halls etc., or it can be placed in places where you don’t expect to see shoe shelfs and where people have time to observe it, e.g. at bus stops or in train stations. There are multiple pairs of shoes that are permanently placed in the shelfs and that are worn out in different ways. There are also different messages on the shelf, like “new sole – as good as new” that are suppose to inspire people to repair their own shoes.
Feedback:
It would be nice if there were some sensors on the shelf that could scan peoples shoes and give them specific recommendations on improvements shoes that could be done.
Digital fashion is often touted as a more sustainable alternative to traditional fashion. Since there is no physical production involved, there is no need for raw materials, manufacturing, or shipping, potentially reducing the environmental impact associated with the fashion industry. At the same time, the discussion around digital products and their sustainability is a point of contention on its own, since the ever-growing need for larger server farms, computers and their energy consumption need to be weighed against traditional forms of production. The question to investigate in this instance, therefore is “are digital fashion design technologies a net positive for sustainability in the fashion industry?”. The following is a brief discussion of points for and against this claim and suggestions for further research.
To begin this investigation, we must first narrow in on the exact point of contention we are about to engage with. First and foremost, it is important to define that the following discussion explicitly concerns the adoption of digital design techniques and their impact on the fashion industry as an integrated part of the whole design process. The aim of this discussion is decidedly not to isolate digital fashion design as its own standalone practice and discuss its impact on sustainability and the environment in isolation. It is not the intent of this text to view digital fashion practices detached from the overall fashion industry in this particular case.
Having defined the field of discussion thus, we can make comparisons on the impact of digital versus traditional design practices. A useful starting point is to identify which steps and practices in traditional fashion design have the potential to be replaced with digital design technologies in the first place.
One obvious use case for digital methods is the design process itself. Idea finding, sketching and mood boarding can all be done with digital tools, avoiding paper waste. This, however has quite a small impact on sustainability in regards to the entire process.
Another frequently identified step in the production process is the prototyping phase. Prototyping fashion design products is an often time- and material intensive process. Using digital prototyping methods has the potential to cut down on cost, time and material usage in the overall process. Designers can more quickly explore and test design ideas and prototype garments in digital space. They can also utilise the findings from digital prototyping to optimise the production process by optimising pattern constellations and material usage.
Finally, digital design methods can entirely replace the production phase if the collection or piece of clothing is designed to stay digital altogether. Here is also where we need to make an important distinction and introduce a vital caveat in the discussion so far: the distinction between using digital methods for traditional fashion production versus designing entirely for the digital space.
Many designers rightfully point out that in designing for a physical collection, all the above mentioned steps can hardly be entirely replaced with digital methods. Haptics, material behaviours, look and overall impression of textiles might be simulated in digital programs, but the simulation often does not translate to the reality of its physical counterpart, making any efforts to replace the traditional methods obsolete.
Are digital fashion design tools therefore only an improvement to sustainability if the collections they produce stay within the digital space altogether? To answer this question, we would have to make calculations based on a predefined assumption, which we would have to agree on beforehand. One such assumption that is often proposed is that digital-only fashion products might have the potential to replace cheaply made, trendy fast fashion items, clothing pieces that go through the most rapid trend cycles and are usually purchased and discarded within the same year or even within the same fashion season. Proponents of this idea suggest that developments in augmented reality applications might hold the potential for future digital-only fashion to be “worn” in digital space and made visible in the physical space by AR devices, enabling the “wearers” to showcase their digital-only outfits in this way. But this idea seems quite utopian and depends entirely on a massively increased prevalence of AR device usage within the next years and decades. It might not be an impossible development, but, looking at the history of AR devices and their usage, it seems an unlikely development as of now.
Another argument for digital-only fashion items gaining popularity is the nature of fashion merchandising and influencer culture that depends mostly on representing outfits on digital platforms such as TikTok and Instagram. For these platforms, physical ownership of a garment is not necessary. Rather, the models or influencers wanting to showcase a new outfit could just as well rely on digital fashion for their content.
All the above mentioned strategies and theories on developments in the digital design market are interesting and hold potential for the future, but it seems that even with the novelty of digital fashion contributing to its popularity, it will ultimately lose out to traditional fashion in the long run. Because fashion remains a physical and haptic medium, digital fashion might only have the potential to supplement existing practices. From today’s point of view, it seems far-fetched that digital garments might replace sectors of traditional fashion in the consumer market any time soon. Therefore, the question of its sustainability impact remains a debatable point as well. Server farms and computer technologies that are necessary for producing digital fashion in the first place might even worsen the overall environmental impact of the already problematic fashion industry. Despite all these pessimistic outlooks, digital design methods might still hold potential for improving the fashion industry’s sustainability. But, as all other questions in this young design discipline, this needs to be analysed and researched in much more depth in order to draw meaningful conclusions on its overall impact.
Further reading:
Benson, Sophie (2021) Is digital fashion really the industry’s eco-friendly saviour? Dazed Digital. https://www.dazeddigital.com/fashion/article/53877/1/digital-fashion-clothing-industry-saviour-climate-sustainability-the-sims-avatar
Daria Casciani, Olga Chkanikova & Rudrajeet Pal (2022) Exploring the nature of digital transformation in the fashion industry: opportunities for supply chains, business models, and sustainability-oriented innovations, Sustainability: Science, Practice and Policy, 18:1, 773-795, DOI: 10.1080/15487733.2022.2125640
Hoekstra, Charlotte (2021). Digital fashion for sustainable change: A strategy for digital fashion at Tommy Hilfiger (Master Thesis). TU Delft. https://repository.tudelft.nl/islandora/object/uuid:d268a227-5be0-4969-bf6d-b2edd5fef0c8?collection=education
During this semester I have gained a lot of insight about the footwear industry and this blog post will be a summary of what I have learned and some reflection and thoughts about the way ahead
PROBLEMS IN THE FOOTWEAR INDUSTRY
The footwear industry is complex and there are many problematic areas of the industry. One of the problematic areas worth mentioning is the working conditions in all parts of the supply chain. 87% of shoes are produced in different countries in Asia and in many of these countries there are low wages and workers don’t have the ability to voice their needs and call out abusive practices (Muller & Paluszek, 2017). Additional issues within the industry include the substantial water requirement for footwear production, averaging around 8,000 liters per pair. Furthermore, the manufacturing process involves the use of numerous chemicals.
The awareness of sustainable clothing is growing in our society, but what about shoes? While the clothing industry has seen efforts to improve standards, the shoe sector still needs to catch up with better practices (Muller & Paluszek, 2017).
I have dedicated this course to take a deeper look into the sustainability issue, which is one of the major problems in the industry:
The footwear industry accounts for 1,4% of global emissions
Every year, 23 billion pairs of shoes are produced and 22 billion pairs are discarded (Dennis, 2022)
Only 5% of shoes get recycled and the rest end up in landfills
Examining these facts, it becomes evident that there is an overconsumption of shoes and there is a massiv problem concerning the disposal of shoes. According to Yanet Hernandez Perez (2022), around 40 materials are utilized in the production of shoes. The combination of all these different materials makes them difficult to recycle. Possible approaches to solve these problems are to either improve the recyclability of shoes or to encourage a shift in consumer behavior towards reduced shoe purchases.
MATERIALS AND SUSTAINABILITY IN THE MAJOR BRANDS
More than 60% of the emissions from the global footwear industry come from the manufacturing and raw material extraction. For the synthetic and textile shoes, the manufacturing stage represents the biggest area of the life cycle. For leather shoes, the raw material extraction and processing account for over 50% of their climate impact (Quantis, 2023). The leather has to go through a tanning process which is the process where animal skin turns into leather. It is very common to use a problematic chemical in this process which is both impacting the human health and polluting the environment (Muller & Paluszek, 2017).
Vegan leather is an alternative to real leather. This material can be a part of a sustainable approach, but isn’t necceseraly representing an integrated approach. One have to look at the bigger picture and the hole industry to know if vegan shoes are sustainable (Muller & Paluszek, 2017).
Many of the major footwear brands have one more or less sustainable shoe collection. That may be because it is important for their image to show that they care about the environment and that they actually do something. However, there is a lack of transparency and holisitc approaches in most footwear brands, which makes it difficult to examine the sustainability. One example of a shoe brand that is focusing on transparency is Veja. On their website they share information about various aspects of production, but all available information is not up to date (Muller & Paluszek, 2017).
In the research paper Evaluation of Sustainability & Materials Among Major Footwear Brands Nike and Adidas were compared when it comes to sustainability. Some shoes from Adidas and Nike were deconstructed, and the materials were examined. The main finding from the observation of the materials was that Nike uses fewer recycled materials in their shoes but incorporates them in more styles, compared to Adidas, which uses more recycled materials in each shoe but incorporates them in fewer styles.
One line of shoes that I found innovative is the Cloudneo by the bran On. The shoes are 100% recyclable and are only available through subscription. This means that you get the shoes, use them until they are worn out, send them back, they will be recycled and you will get another pair of these shoes. This can be a new and more sustainable way of selling shoes. One negative aspect of this service is that it is pretty expensive, costing 29€ per month, which makes it less accessible for everyone.
CONSUMER HABITS
When it comes to consumer habits, I have read some research papers about the topic and created my own survey. I focused mostly on learning about peoples habits with worn out shoes and shoes that has to be fixed. It is difficult to conclude and find tendencies based on my survey, since I only got 36 responses, but here are the main findings:
Most people have never used a shoe repair service
Many people think it is easier to buy new shoes then to repair their old ones
There might be a lack of knowledge about what a shoe repairer can fix and the overall service in general
COBBLERS
Today, although many shoes are mass-produced and disposable, there are still cobblers who offer repair services. Cobblers can repair soles, heels, and other parts of shoes, as well as perform more intricate tasks like stitching and reconditioning leather.
The need for cobblers is lower then it used to be many places around the world. In Regina, in the US, the number of cobblers went from 46 in 1955 to 3 in 2014. In the same time period, the population increased with 160 000 (CBC News, 2020).
VISION
In the next semester I want to learn a bit more about the shoe repair profession to be able to see the opportunities of how this service can be reinvented or modernized so that it is more up to date with modern society. Maybe the service will be more accessible and visible if it can be combined with a cafe? I also want to learn more about awareness campaigns and how to create a successful awareness campaign.
Muller, D., & Paluszek, A. (2017, December). How to do better : an exploration of better practices within the footwear industry. https://www.zbw.eu/econis-archiv/bitstream/11159/2374/1/2017-56 How to do better. An exploration of Better Practices within the footwear industry.pdf
Since my research so far has been very broad and I have not pursued a very clear goal, it is important for me to sharpen my topic a little in my further research and to do more research in a specific direction. To this end, I would like to find out to what extent it would make sense to teach sustainability topics at a young age. When looking at the various facets of sustainability, it became clear that this is not just a topic for adults. Especially the interview with my friend led to the realization/assumption that a lot of knowledge can be imparted at an early age.
It is a dialog that needs to be initiated at a young age, as many habits and values are already established in this early phase of life. The earlier people become aware of the effects of their actions, the more profound and lasting the impact.
Sustainability does not have to be limited to textbooks and classroom lectures. It is a lifestyle, a way of thinking that influences every part of our lives. So the question is: how can this be seamlessly integrated into children’s lives? How can the topic become a part of their daily routine, their family discussions and their community interactions?
Children are curious creatures by nature. They question the world around them and soak up information like sponges. Harnessing this innate curiosity could be important and useful. Early sustainability education tends not to be about bombarding them with facts, but about nurturing their sense of sustainable action and encouraging them to explore and question the world they live in.
Static lessons and theoretical knowledge are probably not enough in this context. To make a real impact, sustainability education for young people needs to be dynamic, interactive and connectable. It’s about making learning a fun, engaging experience that sparks genuine interest. Whether through games, hands-on activities or simple experiments, the goal must be to make sustainability a part of their everyday lives.
Questions that need to be answered
At what age does it make sense to start sustainability education? Is there a perfect age, or is it a gradual process? I want to address these questions by researching, perhaps talking to parents or teachers or interviewing experts to find out more about the receptivity of children at different ages. It’s not just about teaching, but also about understanding children’s particular needs in relation to sustainability. What appeals to them? How can we ensure that the message is not lost in the teaching?
Staying realistic
When researching this area in depth, I want to take a realistic approach. It’s not about realizing an ideal, but about tangible, practical steps. What inspires children to learn about sustainability? Can it be as simple as a fascinating story, an engaging game or a hands-on project?
My conclusion after this first research phase
Shifting the focus to sustainability education at an early age seems to be a valid approach at the moment. Within this process, I hope to find out what resonates with young people in order to lay the foundations for a future where sustainability is not just a concept, but an integral part of the collective consciousness. However, I do not rule out also moving a little in other directions and, if necessary, taking a closer look at the problems and needs of other potential target groups.
This weeks focus will be on affective design and how to design for behavioral change. The research paper Affective design and sustainability: Social stimulation at the feet of humanity written by Nadia Maria Mourão, Beatriz de Paula Mourão and Aline Mourão Lataro Hoehne is the inspiration of this blog post.
Individuals develop connections and attachments to their possessions. The stronger the attachment to an object, the more likely a person is to care for it. Designers have the power to influence this relationship. One effective method is to use awareness campaigns to encourage people to make better choices in caring for their belongings. Before going further into the power of awareness campaigns, it is crucial to understand affective design.
AFFECTIVE DESIGN
In order to understand affective design its important to define affectivity. According to the educator and physician Henri Wallon, emotions are related to the biological side of human behavior, with short physical reactions, while affectivity is broader and includes a range of expressions (Almeida, 2001). Affective design as an approach that focuses on the role of human emotions and their influence on how people understand and relate to artifacts. Affective bonds are powerful and can change the way we think, shaping how we see and understand events and change how we interact with objects (Affectivedesign.org, 2006).
It is important to understand the affective forms the user can have with a product. One common form is love. It is important to have in mind that the love a person can feel for a product differs from a love between people – there is no mutual growth. According to Oliveira (2014) the sensory contact between the person and his/hers object can become so intense that the object becomes an extension of the human body.
„Dealing with affective design in the socio-environmental sector is a small contribution that companies and institutions can make to make society aware“ (Mourão et al., 2023).
AWARENESS CAMPAIGNS – Design for behavioral change
There are multiple tools that intends to promote positive change in social attitude and one of the most important ones might be public awareness campaigns. Policymakers are responsible for creating programs for sustainable development, but the success of these efforts depends on people (Muller & Paluszek, 2017). Making these initiatives successful involves raising awareness and influencing personal attitudes and opinions. Designers play the role of opinion-makers in awareness campaigns. In the following section, I will present two awareness campaigns in the footwear industry, illustrating effective approaches of how to engage people to reflect upon their relationship with their footwear.
PET sandals campaign
In some of the poorest countries in Africa, the inhabitants make their own footwear using PET bottles and other resources they can find. They create a sandal, where the PET bottle works as the sole of the shoe. In these regions there are no recycling system, leading to waste accumulation in landfills (Mourão, 2019). In 2013, UNICEF initiated an awareness campaign called “Put yourself in their shoes” where these PET sandals were sold in Croatian shoe stores. Through the emotional appeal of design, the difference of the two realities became evident, seeing PET sandals and other footwear side by side. The campaign drew attention to the daily lives of those living in extreme poverty, but also to the use of recyclable materials in the footwear industry (Mourão et al., 2023). People got the opportunity to try the PET sandals and they could also contribute funds to support UNICEF’s initiatives.
PET sandalsPET sandals and other footwear side by side in Croatian shoe stores
Sustainable footprint – Adidas
Sustainable Footprint is an awareness campaign that Adidas introduced in Sao Paulo in Brazil in 2012 and a second version in 2015. The goal of this sustainability campaign was to minimize the environmental impact caused by incorrect disposal of sports shoes. This was done by collecting sneakers from any brand that were in no condition to use. In return, the people that handed in their shoes would be get discounts or rewards (Mourão et al., 2023). The shoes were then transported to a distribution center and then sorted into different categories depending on their condition:
Recycle – The raw materials would be used in creation of another piece
Reuse – The product would return into the second hand market after going through a hygiene procedure
Energy generation – The product would go through a process and eventually turn into fuel
This campaign encouraged people through rewards and discounts to the right disposal of waste for recycling.
Muller, D., & Paluszek, A. (2017, December). How to do better : an exploration of better practices within the footwear industry. https://www.zbw.eu/econis-archiv/bitstream/11159/2374/1/2017-56 How to do better. An exploration of Better Practices within the footwear industry.pdf
Mourão, Nadja M. Tecnologias sociais e design: diretrizes para empreendimentos sociocriativo. Tese (Doutorado em Design) – Universidade do Estado de Minas Gerais, Belo Horizonte, 2019.
During a university workshop where we were able to try out EEG devices for measuring brain waves, I came across an interesting study that looked at how various corporate social responsibility (CSR) videos affect the brain waves of millennials. The study delved deep into the world of sustainability-focused corporate messaging. The exploration aims not only to unravel the reactions these videos trigger but, more importantly, to extract meaningful insights that will guide the path towards convincing individuals of the criticality of sustainable actions.
The Quest for Millennial Engagement in CSR Narratives
Intriguingly, the study’s findings unveiled a fascinating challenge: millennials‘ brains don’t engage as seamlessly as one might expect with CSR videos. Despite a prevailing consensus that this demographic places immense importance on corporate responsibility, especially regarding the environment, the current state of CSR communication seems to fall short in capturing their full attention. This realization shows that the way in which sustainability should be presented and communicated to this particular audience should be reconsidered.
Likability
Out of the seven CSR videos dissected, only a mere two succeeded in generating positive emotional responses. While females exhibited a more favorable disposition, males showcased fewer positive emotions but demonstrated a higher level of willingness to engage. This divergence in responses emphasizes the need for a nuanced approach that transcends initial negative reactions, tapping into the potential for long-term engagement.
Unraveling the Complexity of Information Processing
Peeling back the layers of brain activity, the study uncovered a significant mental effort required to grasp the messages embedded in CSR videos. The implications are profound; if viewers struggle to comprehend the content due to excessive cognitive load, the risk of message rejection looms large. This realization propels the imperative of simplifying CSR communication, making information more digestible for the millennial mind.
Navigating the Landscape of CSR Communication
In the larger context of CSR communication, these insights reverberate as a call for a new era—commonly referred to as CSR 2.0. The key lies not just in delivering information but in doing so through a lens that not only resonates emotionally but is also scientifically tailored to the audience. To convince the audience of the imperative of sustainable actions, the message must be more than just understandable; it needs to forge an emotional connection and be easily digestible.
For me these findings are important, to get a sense for how sustainability communication should work. Understanding that sustainability communication is not a one-size-fits-all paradigm, especially among millennials, emphasizes the need for tailored, neuro-aware strategies. The study underscores the paramount importance of not just communicating but doing so in a manner that seeps into the essence of how millennials perceive and process information. With these insights, I am better equipped to decipher the subtleties of convincing people of the urgent need for sustainable action.
References
Janić, M., Ćirović, M., Dimitriadis, N., Jovanović Dimitriadis, N., & Alevizou, P. (2022). Neuroscience and CSR: Using EEG for Assessing the Effectiveness of Branded Videos Related to Environmental Issues. Sustainability, 14(3). https://doi.org/10.3390/su14031347
In my ongoing exploration of sustainability, I recently conducted a semi-structured guided interview with a friend deeply involved in environmental activism, particularly in the context of Fridays for Future. Studying Psychology with a focus on environmental psychology, she brought a wealth of knowledge and diverse perspectives to the conversation.
In my previous blog posts, I delved into defining sustainability and examining international agreements aimed at addressing its challenges. Recognizing the need for individual contributions alongside governmental efforts, I aimed to understand the current level of awareness and explore interactive educational approaches that could inspire sustainable action.
The interview aimed to provide insights into my friend’s experiences, perceptions, and recommendations regarding sustainability awareness. Structured as a guided conversation in German, the questions were designed to offer flexibility while maintaining the framework.
Insights from the Interview
Existing educational Efforts
My friend acknowledged the importance of education but expressed concerns about its effectiveness in promoting general sustainability awareness. She emphasized the need for clearer communication and a focus on positive future scenarios to counteract false balance in media representation.
Challenges in Communication
Addressing challenges in communication across age groups, she highlighted the prevalence of false balance in media, where a climate scientist might be juxtaposed with a climate denier, giving a misleading impression of a 50:50 debate. She stressed the importance of clearly stating the scientific consensus.
Role of Social Media
While recognizing the influence of social media, she also pointed out the trend towards superficiality and rapid content turnover. The success of influencers showcasing luxurious lifestyles might perpetuate a perception that sustainability means sacrifice.
Interactive Approaches
Regarding effective communication, she suggested exploring interactive approaches such as workshops, events, and campaigns that provide tangible experiences. She believed that the cool factor of sustainable living needed to be emphasized.
Governmental Role
Highlighting the importance of government involvement, she expressed concern about the perceived lack of effectiveness and social justice in current sustainability measures. She believed that well-executed, socially just initiatives could significantly increase public support.
Tailored Approaches
Recognizing the diversity of lifestyles and professions, she emphasized the potential effectiveness of individualized approaches. By addressing specific challenges related to mobility, food choices, and energy consumption, tailored solutions could resonate more deeply.
Motivations for Engagement
In terms of incentives, she highlighted intrinsic motivations tied to biospheric values, such as the desire for a better environment for future generations. The potential impact on one’s immediate surroundings, avoidance of negative consequences like flooding or water scarcity, and hedonistic enjoyment of sustainable practices were also mentioned.
This insightful interview offered valuable perspectives on sustainability awareness. It underscored the need for clearer communication, engaging and tailored educational approaches, and the pivotal role of governments in driving effective change. These insights will undoubtedly shape the direction of my research on this topic.
In recent weeks, I have drawn inspiration from captivating articles, podcasts, conversations, and theatre performances, gaining numerous fascinating insights into the context of digitisation in the theatre. As I began my research without a clear direction, I formulated three guiding questions to systematically delve into the subject. With the aim of providing an overview of the gathered information and my research process, this blog post will summarise and refine the essential contents.
My initial guiding questions covered various aspects, including the future potentials of digital technologies for productions, accessibility in the theatre, and digital tools for more efficient communication and organisation within the theatre and across different departments.
My research commenced with the digital enhancement of theatre productions, uncovering numerous projects. The theatre realm is a creative sphere where experimentation with newly developed digital techniques is constant. This ranges from projections on the stage to specially crafted VR experiences, the integration of sensors, motion capturing, AI, smartphones, and interactive audience involvement.
The abundance of projects led to occasional uncertainty about my focus, as explored possibilities were already implemented in various theatre productions.
In a phase of uncertainty about my further research, I dedicated myself to the digitalisation of work processes in the theatre. Conversations with theatre professionals sparked my interest, particularly regarding the intricate organisation of stage designs and costumes. Sustainability in the theatre, gaining significance, especially concerning meticulously planned and produced stage designs and costumes, became a central focus. This prompted me to question whether digitisation could not only enhance processes but also contribute to a more sustainable theatre environment. The attached infographic aided in understanding the interconnection of various theatre departments and served as an ideal starting point for comprehending production processes and discussing potential improvements.
In my third blog post, I delved intensively into the „Green Book,“ providing suggestions for a sustainable theatre production process. Particularly fascinating were the tips and potential changes for a more sustainable material management and internal communication and organisation. Examples include detailed organisation of storage spaces, notes on environmentally friendly materials, and digital communication with international theatre professionals, reducing travel, saving time, and still ensuring effective collaboration.
After gaining a broad overview of theatre areas with potential for change, I focused in subsequent blog posts on the field of stage design. At that time, this area seemed to offer the greatest potential for digital transformation, encompassing the design process, production, and, most importantly, the stage rehearsal.
The crucial steps where digital tools can contribute to more sustainability and smoother processes are during the design phase, model building for various concepts, and the stage rehearsal. Digital technologies like VR and AR support by providing precise visualisation in actual size, movement in space, and direct adjustments to stage designs. Virtual models promote efficient conceptualisation, improved teamwork, resource efficiency by avoiding physical models, sustainability through eco-friendly software, adaptability, light simulation, and effect optimisation. Additionally, digital models can be archived and reused for future productions, offering ecological and economic advantages.
A fascinating project by DTHG, focusing on the use of VR and AR in the design process of stage designs, captured my attention. The project centered on developing a design process where digital tools were judiciously employed. This included 3D programs for model creation, Mozilla Hubs for digital meetings discussing 3D models in large groups, and VR-Sketch, enabling discussions and construction rehearsals through VR headsets, with the unique feature of live editing of the virtual 3D model during discussions.
Lastly, through this project, I explored additional possibilities for VR and AR, such as enhancing the theatre experience in a museum format, on stage, and as a supportive learning tool in construction training.
Looking back, the comprehensive research into various areas where digitisation is more prevalent has helped me gain a broad overview of the current state of affairs. Returning to the initial question:
Where can a designer improve theatre processes and effectively implement digital technologies?
In fostering sustainable theatre productions, addressing both material usage and the redesign of work processes. -> The challenge lies in striking a balance between the creative expression of set and costume designers, the desire to create something unique, and concurrently ensuring the sustainability of the production without solely relying on existing resources
Enhancing the network between theatres at the regional level and individual artists
Improving the orientation of apprentices in areas where a thorough introduction is challenging due to time constraints, such as in the field of stage construction
Promoting appreciation for craftsmanship and conveying theatre processes
