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Being-Here
YUTPA
About the YUTPA framework
Time
Place
Action
Relation
The YUTPA graphs
Three examples of Presence as Value for (meta-)Design
Experts
Abraham: Online Life
Bawa: Politics of Land
Dinesh: Tsunami 2004
Gill: Rhythm in Communication
Hazra: New Witnessing
Ilavarasan: IT Companies in India
Jansma: Engaging spaces
Kaul: Personal Global Communication
Lavery: Theatre's Magic
Macfaydyen: Investigative Journalism
Narayanan: Social technologies
Panghaal: Designing Centredness
Parthasarathi: Mediating Actions
Quillinan: Formatting Presence
Sood: Shared Meaning
Van Splunter: Basic Trust
Upadhya: IT Culture
Van der Vlies: System of Law
Warnier: Systems are Tools
Wilson: Distributed Collaboration
Artists
Butler: Intimate Strangers
Chen & Vermaas: Witnessing Design
Carlgren: Looking Glass
De Jong: Sensing Place
Feigl: Constructing Time
Jodi: Surviving Code
Lancel/Maat: Tele_Trust
Maurer: Playful Systems
Ophuis: Painting Trauma
Solomon: Sharing Food
Twaalfhoven: Shared Listening
Van Lohuizen: Traveling photo's
Vermeulen: Biomodd
Academics
Turner: Everyday Witnessing
Korsten: Apostrophe
Benzaquen: Shifting Testimonies
Van der Meulen: Fictional Presence
Brahnam: The Healing Witness
Gullstrom: Design Frictions
Gill: Rhythmic synchrony
Nevejan & Brazier: Granularity
Tara & Ilavarasan: Midnight Commuting
Mendy: Employee's Presence
Berix: Public Participation
Publications
The workshops
The chapter
The book
The Journal
The paper
The dissertation
Foundational literature
2014 Sustainable Texel
Program
Participants
Columns
Food & More
Health & Happiness
Leisure & Knowledge
Materials & Waste
Public space
Sustainable mobility
Texel as host
Water cycle
Results Texel 2014/2015
About
Methodology
Keywords
Profit from this research
Colophon
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Magic
Witness
Authenticity
Imagination
Fiction
Joy
Play
Gullstrom: Design Frictions
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The example of Atwood in Lillehammer 2008
The example of Atwood in Lillehammer 2008
‘What a thrill it is to be here!’
‘What a thrill it is to be here!’ Margaret Atwood exclaimed as she addressed the audience of the…
