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Various materials, objects, and sensors have been explored earlier for creating tangible user interfaces (TUIs). However, there is little work on 3D-printed TUIs based on visual markers for smartphone-based extended reality (XR) experiences. The combination of visual markers and smartphones results in cheap, accessible XR systems within reach of many people. Combined with 3D printing, it could foster do-it-yourself (DIY) projects for XR experiences, which may further expand and open-up possibilities for accessible and tangible interaction. This work explores the design space of modular 3D-printed tangibles for smartphone-based XR. The authors report the design exploration process, provide several interactive 3D-printed markers, and reflect on the resulting possibilities.

Design for Classroom Units: A Collaborative Multicultural Studio Development with Chinese Students

The difficult task of innovation is a key facet of Research & Development (R&D) institutions. To Design, innovation is to make the project technically feasible, economically viable, merchandising interesting and emotionally engaging. Design Thinking integrated with R&D organizations can foster the relationship between Universities and new markets. By addressing these topics, this book researches new emerging design methods and provide an overview of Design Thinking tools that can be applied in an early stage of the R&D research process to produce meaningful results. It is taken into account that design, through Design Thinking, extends to the experience that costumers/users have with products/services or even multidimensional experiences, which is a relevant input for R&D innovation development. In fact, the establishment of coherent guidelines for the Design Thinking process is a very complex task, due to its interdisciplinary requirements, that convey many diverse mindsets. The main focus of this book is creating an analysis toolkit that enables non-specialist and specialist users to perform high-quality design solutions.

The design thinking methodology is a problem-solving approach that involves empathising with end-users, (re)defining problems, brainstorming solutions creatively, and experimenting with prototypes and testing. It has been widely adopted in education to help students develop critical thinking, creativity, and problem-solving skills in design. On the other hand, text-to-image artificial intelligence is a method used to generate images from natural language descriptors (usually referred to as prompts). Design thinking methodology can teach students to think creatively and critically about real-world problems when applied in the classroom. In the context of design teaching at the University of Saint Joseph, Macao, students use the design thinking methodology to develop innovative proposals for furniture design solutions. Combining design thinking methodologies with text-to-image artificial intelligence can further enhance the learning experience by allowing students to generate visual representations of their ideas during the ideation phase. The authors developed a systematic approach to generate images for ideation on furniture design based on prompting text-to-image (PTI). The analysis related students’ results who applied the design thinking methodology without using AI tools and the results generated using a standard text-to-image programme. By combining both methods, teachers can help students develop critical thinking, creativity, and problem-solving skills, while also allowing them to generate visual representations in a different paradigm and, by so, being able to communicate their ideas with the most appropriate support for them.

This study, focusing on the China's Yao minority community, investigates the feasibility to create a generative computational method to replicate the diversity of the existing Yao traditional wood buildings, addressing the critical issues currently facing computational design methods, in the attempt to adapt genetic-generative algorithms to the study of local ancient architecture. The project develops a computational tool to generate a network of three-dimensional prototypes, or building structures, derived from traditional wood frame village houses. It studies possible housing structures that illustrate some of the key working methods available in digital systems such as ‘generating' and ‘compositing' taking as a starting point computational strategies oriented towards geometry and where a set of local variables play a decisive role: available local technologies, use of raw materials, and the dimensioning of timber components based on data collected from Yao architecture.

Born in Magule, Mozambique (Portuguese East Africa), João dos Santos Albasini was a mulatto, the leading intellectual in the main center, Lourenço Marques (today, Maputo), the editor of O Africano (The African) founded 1908, and O Brado Africano (The African Voice) founded in 1918, and a champion of worker and African rights. Often characterized as a republican and a moderate, Albasini had a basic education and an appetite for ideas. He was an avid reader of republican theory, syndicalism, and anarchism – all influential in Portugal – and was familiar with a range of radical ideas circulating in the city's thriving café culture.

In the past decades, the field of cinema has undergone several transformations. The digital turn increasingly called for new forms of production, distribution, and exhibition, which imply different ways of thinking, doing, and experimenting cinema. These new forms also reduced the gap between cinema to other so-called visual arts. If cinema and visual arts were already in the process of merging, the last years forced the naturalization of thinking in similar theoretical grounds. This special issue aims to be a forum for the discussion of new practices of researching cinema, and the changes in cinema’s forms of experience and production.

The main focus of this thesis was to characterize the patient information leaftlets as a text genre in Portugal, compare it with the same text genre in other countries and propose a new form of elaborating these documents in order to rise its comprehensibility levels. Therefore, we proceeded with an analysis of the patient information leaflet as a text genre and its relationship with text linguistics and translation. We also analyzed a corpus of 50 patient information leaflets with focus not only on its content, but also in the way they were created. In order to know the opinion of the general public, a survey about the situation of these documents in Portugal was distributed. In order to find the differences between these documents in different contexts, we made a comparison of a portuguese leaflet with leaflets from other countries. By last, we proposed a new writing scheme for these documents, reformulating one of the leaflets analyzed in the corpus and, to get the opinion of the general public, distributing a survey where the reformulated version was compared to the original one. The results point out to a lack of uniformity between documents and the way that they are created in pharmaceutical companies. The content of the patient informations leaflets in Portugal has an excess of text, technical language and a visual organization that is not appealing, problems that were also pointed out by the public in a survey. In the comparison between leaflets of different countries, big differences were found even when they were produced by the same company. When confronted with the original version and the reformulated version of the same document, the general public prefered the latter.

Virtual reality, a computer-generated 3D environment, allows one to navigate and possibly interact, resulting in real-time simulation of one or more of the user’s five senses (Gutierrez et al., 2008; Vince, 2004). Virtual tours and places have swiftly become popular in education, professional training, arts, exhibitions, and medication and rehabilitation. The empirical studies derived from the PhD thesis research aim to identify the conditions for Macao’s single-user experience to achieve mindfulness in virtual reality through immersion and interactivity.

Nowadays, contemporary art practices have been expanding into fields outside their own borders. According to Claire Bishop (2012), this expanded field of post-studio practices currently goes under a variety of names: socially engaged art, community-based art, experimental communities, dialogic art, littoral art, interventionist art, participatory art, collaborative art, contextual art and (most recently) social practice. By engaging, artists nurture the sense of belonging and search for an identity of the place they inhabit. In Hong Kong and Macao, as well as in the Pearl River Delta and China in general, the speed of urban transformation is forcing artists to reconsider their participation in the city in order to develop a creative place making process that is according to the new identity of the place. By doing so, they are also included in what has been defined as “creative industries” that tries to build a new image of the urban fabric. Linked with this sort of collective attitude, there is also an attempt to find a sense of local identity that has been disappearing in the face of these major developments. Engaging with the city and the communities may constitute, therefore, a challenge for the young generation, especially in hybrid places such as Hong Kong and Macao, where artists find themselves in an effort to understand the core values of their fragmented identity. In this paper we will analyze some projects that artists are doing in both SAR´s, in order to create a sense of place in this state of transition.

últimos assumidos remanescentes provavelmente de um território cultural antes bem mais vasto vivem atualmente nos municípios de Baía da Traição, Marcação e Rio Tinto, no litoral setentrional da Paraíba - nem sobre s seus espaços, culturas e gentes. É preciso dobrar a primeira metade do século XX para se encontrar nos títulos gerais de histórias da Paraíba alguma atenção pelos Potiguara e a sua movimentação histórica no processo longo e contraditório de formação da capitania e da instalação portuguesa na região, enfrentando primeiro a concorrência comercial e militar francesa, depois no século XVII a ocupação holandesa e sempre, até quase meados de seiscentos, a oposição muitas vezes feroz e brutal de vários grupos e milícias potiguaras. A arqueologia confirma um processo recente de formação histórica dos espaços atualmente reivindicados como originais e tradicionais pelos Potiguara. Os estudos linguísticos disponíveis sobre os Potiguara também não destacam a memória rigorosa de um espaço cultural arcano e pré-colonial. Os espaços Potiguara de hoje com este sistema de organização agrícola quase binário são tudo menos naturais. Trata-se, antes, de um espaço em recorrentes transformações históricas, demográficas, económicas e sociais que desafia qualquer ideia de um espaço ‘natural’, ‘original’ ou ‘essencial’ dos Potiguara. Seja como for, estas polarizações estruturais são historicamente aquelas que presidiram à exata produção dos espaços que atualmente os Potiguara apresentam como seus, originais, antigos e tradicionais seguindo, afinal, um modelo colonial de ocupação de espaços e especialização das gentes do Brasil.