Shaleph O'Neill
Dr O’Neill is a lecturer/researcher who has worked on a number of interaction design projects that explore user sense making (usability) processes and creative activities over the last 10 years. (E.g. BENOGO, EU Presence Initiative, IST-2001-39184, Leonardo: Culture Creativity and Interaction Design, EPSRC GR/T21042/01). His expertise lies in the area of creativity research, semiotics and user interface design.
Dr O’Neill is PI on the EPSRC Funded Making Sense of Creative Interactions project, (EP/F053029/1). The aim of this project is to better understand the impact of interactive technology on the creative process, which will enhance the design of future interactive technologies used by creative practitioners. The creative process is difficult to describe and even harder to define and yet it is as common as the earth we walk on. Everyone is creative to some degree. However, its elusive nature means that the best way to understand it is to study the activities of creative people under the different circumstances that make it observable. Arguably, the problem of understanding creativity is made even harder as new technology reforms the way in which creative people go about these activities. Understanding creativity has become tied to an understanding of the use of technology within creative practices. As such, the continual advancement of interactive technologies challenges our existing understanding of these creative practices, as they alter the creative workspace. In order to begin to understand this situation fully, what is required is an approach that looks at the changing nature of particular technologically supported media as part of the creative process. In order to do this, one has to engage in a programme of research that uncovers the way in which creative individuals use and ‘make sense of’ technology in creative ways, exploring the impact of the technology on their creative processes for better or worse. The aim of such research is ultimately to improve technology for creative people, enhance the creative process and ensure the creative industries in the UK maintain their cutting edge.
He is also a member of the organizing committee for the Create’ series of conferences, with particular involvement in Create09 and Create10, where as well as contributing to the review of papers and general conference planning, he co-coordinated the running of a major exhibition of student work. In 2010, the conference had over 120 delegates with 60 applications to take part in the student competition (short listed down to 9). The remit of Create is to provide a forum for aspects of the interaction design community that are particularly interested in the creative use of technology in all it’s forms, and has developed a truly international flavour, with delegates from China, Korea, Australia, Europe, Scandinavia and the USA.
Dr O’Neill is PI on the EPSRC Funded Making Sense of Creative Interactions project, (EP/F053029/1). The aim of this project is to better understand the impact of interactive technology on the creative process, which will enhance the design of future interactive technologies used by creative practitioners. The creative process is difficult to describe and even harder to define and yet it is as common as the earth we walk on. Everyone is creative to some degree. However, its elusive nature means that the best way to understand it is to study the activities of creative people under the different circumstances that make it observable. Arguably, the problem of understanding creativity is made even harder as new technology reforms the way in which creative people go about these activities. Understanding creativity has become tied to an understanding of the use of technology within creative practices. As such, the continual advancement of interactive technologies challenges our existing understanding of these creative practices, as they alter the creative workspace. In order to begin to understand this situation fully, what is required is an approach that looks at the changing nature of particular technologically supported media as part of the creative process. In order to do this, one has to engage in a programme of research that uncovers the way in which creative individuals use and ‘make sense of’ technology in creative ways, exploring the impact of the technology on their creative processes for better or worse. The aim of such research is ultimately to improve technology for creative people, enhance the creative process and ensure the creative industries in the UK maintain their cutting edge.
He is also a member of the organizing committee for the Create’ series of conferences, with particular involvement in Create09 and Create10, where as well as contributing to the review of papers and general conference planning, he co-coordinated the running of a major exhibition of student work. In 2010, the conference had over 120 delegates with 60 applications to take part in the student competition (short listed down to 9). The remit of Create is to provide a forum for aspects of the interaction design community that are particularly interested in the creative use of technology in all it’s forms, and has developed a truly international flavour, with delegates from China, Korea, Australia, Europe, Scandinavia and the USA.
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