Forest Kindergarten

Forest kindergartens differ from other kindergartens in two main ways. Instead of being indoors, the children spend most of their time outdoors no matter the season. And instead of using conventional toys, they play mainly with the materials and objects that nature offers them.

Forest kindergartens and their teachers aim to take the different circumstances under which children grow up these days into account and want to compensate for the increasing lack of nature experiences and movement. In close connection with nature, the children experience all seasons and thus have the opportunity to learn holistically, to practice mindfulness with people and nature and to gain many fundamental experiences. Additionally, the fresh air and movement improves the kids’ physical and mental health and their motor skills and perception are great.

I think this is an interesting way of bringing the children closer to nature and comes with many benefits. But in order to form this connection to nature, the parents need to prioritize it and put their kids in forest kindergartens. This is a huge commitment and requires the full conviction of the parents. It would also be interesting to know how these children will be when they’re older and how their social skills differ from other kids’. Lastly, it is also worth noting that nature can be a source of danger whether that’s animals and the diseases they transmit or just the tree roots and uneven ground.

Sources:

https://www.herder.de/kindergarten-paedagogik/kita-leitung/handlungskonzepte-und-profile/waldkindergarten/

https://www.waldpaedagogik.at/waldpaedagogik/waldkindergaerten/?no_cache=1

What is the price of high technology?

You might have thought by reading the title that this text would be about the moral choices our society might face with the arrival of high technology. However, I must disappoint you: this time I really want to talk about the prices of the various technologies of our time and their return on investment in the industry. In this context, the technologies that concern us in our everyday lives and are aimed at the end user are particularly interesting, which is what I want to reflect on in this article.

To begin with, it is important to talk about the profitability of products, and for this it is important to know its definition and how it is calculated: The profitability helps to determine the return on investment of a product in relation to the value of the investment. In its simplest form, the return on a product is calculated quite simply: the product’s profit should be divided by the capital invested in it, so you get the right percentage. Now that we’ve got the calculations figured out, we can move on to practice: What exactly does this mean for high tech companies? According to Forbes, it’s the return on investment that will drive the tech startup market in the coming years. The author writes that the crises of recent years have changed the market dramatically and investments will be harder to come by and younger companies will have to wait longer to bring their products to market. However, according to the same article, cloud services will continue to be popular despite the recession and are therefore a worthwhile investment when it comes to product returns.

But the casual reader might ask: but what about the meta-universe and neural networks? They, and not cloud services, are now being talked about all over social networks, the biggest businessmen like Elon Musk or Mark Zuckerberg are taking them so seriously that they are not afraid to make big announcements about the future of such technologies, are they not paying off, is it all a trick? This is not the easiest question to answer. On the one hand such technologies from entertainment industries create a lot of hype around them, thus attracting attention and investors, on the other hand it must be understood that many statements by celebrities rather describe a utopia associated with them or a higher idea that is far from being realized and has little to do with payback at the moment, usually when it comes to innovation. Take for example the meta-universe that Mark Zuckerberg so often talks about in 2021:

“Metaverse isn’t a thing a company builds. It’s the next chapter of the internet overall.”
Mark Zuckerberg, Meta. (Carlson, 2022).

According to experts, the idea of a meta-universe is 8 or even 10 years away from being realised. Further growth of the idea, the author writes, will depend on both clarity of the product’s return on investment, and the readiness of industry and technology talent. And despite predictions that the meta-universe could already be used in some industry sectors by 2030, at this point it’s hard to talk about a payback for the next few years because it’s at the minimal viable product stage.

While many people fear losing their jobs because of the abilities of neural networks and nervously check willrobotstakemyjob.com, the situation around artificial intelligence is not much different from the one in which the meta-universe is: according to the latest McKinsey data, adoption of such processes has doubled since 2017, but a rather small number of companies (10%) report a payback in business. Experts attribute this to the fact that neural networks require careful and voluminous data work, which some firms lack the resources to do. This is why industry giants such as Google and Amazon are likely to offer their solutions and services to small businesses going forward. This is why artificial intelligence is still at an early stage of development and needs to identify applications.

What conclusions can be drawn from the above? Technology Payback is not always about press coverage or innovation, much more often it’s just about what a technology can (probably) pay for itself in a decade or so. Far more often the payback technologies are not in the limelight but in niche areas that do not come to the mind of the average person to begin with, such as cloud services, which, mind you, just enjoyed immense popularity in the press 10 years ago.

References:

Raynovich, S. R. (2023, January 25). Inside the Trends Driving Top Cloud Startups In 2023. Forbes. https://www.forbes.com/sites/rscottraynovich/2023/01/25/inside-the-trends-driving-top-cloud-startups-in-2023/

Carlson K., Austin American-Statesman. (2022, March 16). At SXSW, Mark Zuckerberg says metaverse is “Holy Grail” of social experience. Austin American-Statesman. https://eu.statesman.com/story/business/2022/03/16/sxsw-facebooks-mark-zuckerberg-says-metaverse-future-internet/7051230001/

Desk, T. (2023, January 25). Widespread metaverse adoption still years away, despite strong early signals: NASSCOM. The Indian Express. https://indianexpress.com/article/technology/metaverse-adoption-nasscom-report-8402349

Author, G. (2023, January 7). AI goes mainstream, but return on investment remains elusive. SiliconANGLE. https://siliconangle.com/2022/12/29/ai-goes-mainstream-return-investment-remains-elusive/

the obstacles

A large proportion of people who develop a mental illness still do not seek professional help. When it comes to therapy, there are many prejudices, expectations and myths that fuel fear of psychotherapy. Individuals fear judgment, change, the unknown, and what they might discover in therapy. Some people are too prideful to admit they need help. Others would like to have therapy but lack the monetary means to afford it. Or they have to wait forever to get into therapy.

Fears and stigma

Sometimes the way to psychotherapy can be complicated by thoughts like ” My environment will think I’m crazy”. Isn’t therapy only something for people who are crazy or simply weak? In fact, such prejudices still exist in society today. This can create a fear of being judged for seeking therapy.
On the other hand, the fact that the decision to undergo psychotherapy is actually a courageous step is rarely acknowledged – and certainly not in professional life. The sad consequence: psychotherapy becomes a taboo subject. Many people who are undergoing or have undergone psychological treatment try to keep this fact secret from their social environment. The prejudices associated with the word “psychotherapy” are too great, as is the fear of negative reactions

Shortage of slots

Even before the pandemic, sufferers waited an average of five months for a therapy place. During the pandemic, the need for psychotherapy places has increased further. Although the number of licensed psychotherapists is increasing, only slightly more than half are paid for by the statutory health insurance. This means there is a huge gap between demand and supply. This often leads to long waiting periods, which for some affected people are unbearable and for others are too great a hurdle to even dare to try.

Unaffordability

In contrast to doctors, where there is an agreement between the social insurance institutions and the doctors and therefore the use of a medical service does not cost anything at all, psychotherapy is basically a private service, which is NOT covered by health insurance companies.
Psychotherapy is therefore largely a private service. The fees usually range between 70.- € and 150.- € for a single session of 50 minutes. Deviations from this range of fees are possible and are agreed upon individually with the psychotherapist. However, for many people, especially young people and those with a low socio-economic status, these prices are too high and therapy is simply not affordable. Thus, the groups that are most affected by mental illnesses are the most disadvantaged.

Thus, there are many reasons why people do not seek therapy. Some are afraid of judgment or are insecure because of the stigmata attached to therapy. Others cannot afford therapy or fail to find a therapy slot. In the following blog entries we will discuss which creative, design-based approaches can help these people.

Precedent study of Northern Playground

In this post I will study how Northern Playground, a small clothing company, makes their production and business as little un-sustainable as possible. They belive no clothing company can be fully sustainable, but of course they can be better or worse. This is how they try to be better:

“Sustainable materials do not exist. Period.” This is how the text starts if you make two simple clicks (Menu > Environment) on the webpage of Northern Playground. This is surprisingly honest when we have gotten used to green labels with “Conscious” written all over on fast fashion giant H&M and many more. Northern Playground is a Norwegian company who is trying to change the textile industry in a way that has real impact.

One click on the menu button and Products and Environment is the equal size.

In the beginning of the company’s life Jo Egil Tobiassen, the brain behind it, thought sustainability was complicated, he tells E24. However, after educating himself he found that it isn’t “how” we produce clothing that is the main issue, it is “how much.” But if his company wants to have a real impact, they also need to grow. This is a real paradox for small, “sustaiable” brands. Tobiassen explains that one way they are doing this is avoiding sale and avoiding middle men. This way the earn more on fewer articles on clothing. (https://e24.no/det-groenne-skiftet/i/8Qkd4r/klesgrunderen-som-vil-at-du-skal-kjoepe-mindre-vil-vokse-mer)

Reducing clothing consumption

Lifetime service: Repairs are made easy by providing knowledge and tools to repair the garment yourself or it can be executed for free by the company. Northern Playground also takes care of recycling when the garment is truly worn out. Producing in only wool makes recycling much easier as this is a highly recyclable material. (https://www.northernplayground.no/en/lifetime-service)

Their business model includes the users: Northern Playground was tired of the guessing game most companies do when deciding on product design and the amount to produce. This leads to massive overproduction, and never-used garments ends at landfills. Northern Playground have developed a big user group who they get feedback from in the design, testing and decision phase. (https://www.northernplayground.no/en/content/our-model)

A clothing company requesting environmental tax: In addition to having put a self-imposed environmental tax on themself (to spend on repairing etc.) Northern Playground is also working part politically to request for an environment tax to be put in place in Norway. (https://www.northernplayground.no/en/content/letter-to-the-government-4https://www.northernplayground.no/en/content/environmental-tax)

Slow fashion: Producing classic designs who lasts a long time and not releasing a new collection just because a new session arrived keeps the new for bying new things all the time down. Of course this is easier for a company producing wool garments to be used as basics. However, Northern Playground is actively working for owning garments who can serve multiple purposes to become a more accepted standard. (https://www.northernplayground.no/en/content/we-dont-need-collections)

In addition Northern Playground has an open communication about overconsumption as a problem, avoids discounts and design for high quality as a priority over low prices.

Reducing their footprint

Norther Playground of course design for reducing the enviornmental impact from each garment in other ways than ensuring a long lifetime for each garment. They also:

– produce partially (very) locally in Oslo, partially in Europe (at the only manufacturer in the world who fulfills Greenpeace’s environmental standards
– only use (partially organic) natural materials
– use recyclable packaging and no plastic
– ensure a sustainable culture among employees
– believes in and acts with transparency
(https://www.northernplayground.no/en/environment)

Game engines in comparison

When developing games there are multiple factors that play into the decision of which game engine to use.

  • What kind of game is being developed? (2d, 3d, performance heavy, art focus, etc.)
  • How much support is there around those engines?
  • What resources are available?

A game engine can support developers in the progress of making games by providing them with a graphical user interface, libraries for multiple programming languages and predefined tools for enabling a quick way of implementing logic of the game. Tasks like rendering a 3d model are made easy through the options of calculating physics, handling collision detections, playing animations and sounds and compiling code.

Unity:

Unity is considered one of the best game engines considering the balance of learnability and support of functionality. It is great for 2D and 3D games, as well as VR and mobile games while still being free for game developers earning less than $100.000. However, once a game is very performance draining, Unity can run into issues handling performance.

Unreal:

Unreal has similar strengths as Unity but excels in its graphical capabilities, which makes it a good choice for high quality graphical focused games. Many developers prefer Unity over Unreal as Unreal requires more knowledge to be able to use efficiently.

Godot:

A selling point of the Godot engine is that it is completely free and open-source with a large community for support.

Phaser:

Phaser focuses on the development of mobile and browser  2D games.

References:

Insta-Fluenced: How Instagram is Playing with Our Heads

Blind trust is a phenomenon that occurs when we rely on the opinions and actions of others without critically evaluating the information or the source. On Instagram, this can manifest in the form of influencer culture, where users look to popular and highly-followed individuals to guide their choices and behaviors.

Influencers on Instagram often have a large following and are able to reach a large audience with their content. They are often seen as trustworthy and relatable figures, and their posts and recommendations can carry a lot of weight with their followers. However, it’s important to remember that influencers are not immune to manipulation and bias, and that they may have ulterior motives for their actions and recommendations.

For example, influencers may be paid or sponsored to promote certain products or brands, without disclosing that information to their followers. They may also be swayed by their own personal biases or interests, rather than providing an unbiased perspective. This can lead to users blindly trusting influencers and making decisions based on their recommendations, without considering the potential conflicts of interest or lack of objectivity.

From a psychological perspective, influencer culture on Instagram is able to tap into several key factors that make it effective in influencing and manipulating user behavior. One major factor is the concept of social proof, which refers to the idea that we are more likely to conform to the actions and beliefs of those around us. On Instagram, this can manifest in the form of seeing popular influencers endorsing a product or behavior and feeling compelled to do the same.

Another key factor is the concept of self-esteem and self-worth. Many users on Instagram may feel a sense of validation and connection through likes, comments, and followers, which can be influenced by influencers. Influencers can also create a sense of aspiration and FOMO (fear of missing out) by showing off their seemingly perfect lives, which can lead to users feeling like they need to buy certain products or follow certain trends in order to be like them.

Instagram’s design also plays a role in facilitating the work of influencers. The algorithm used by Instagram favors posts with higher engagement, which means that posts from influencers with large followings are more likely to be seen by users. Additionally, Instagram’s design makes it easy for influencers to monetize their following by providing sponsored post options and other forms of brand partnerships. This means that the platform is designed to reward influencers and make their content more visible, which in turn makes it more likely that users will be influenced by them.

All in all it’s important to be critical of the information we see on Instagram and to not blindly trust influencers or any other source of information. It’s always better to do our own research, and to be aware of the potential biases and conflicts of interest that may be present.

The Future of Design & AI – Some Thoughts Midway

For a long time now, the news has been filled with fear-mongering articles about AI taking human jobs. While it’s true that many jobs will be replaced by AI, human-AI partnerships will also create many new jobs, with humans and AI filling in each other’s weaknesses and working towards a balanced future. While we shouldn’t downplay the challenges due to the jobs that will be lost to AI, we should focus rather on finding opportunities to work together and create new jobs in an evolving future.

For designers, AI streamlines our work and completes menial tasks for us, giving us back the time for more creativity. Personally, though, I am not convinced that greater productivity is always a good thing. During the COVID-19 pandemic, many of us found more working hours with the loss of commute times, social breaks at university or the office, or other distractions that we no longer had when working from home. However, it was widely reported and now has been studied that those moments of pause keep us mentally well and also lead to greater creativity, as boredom generates breakthroughs. Of course I am thankful when the AI embedded in Adobe products auto-selects the part of the image I am trying to trace, but I would also be remiss to say that all menial tasks should be removed from design by AI. Repetition can be meditative. I am neither entirely for or against AI in design, as it is much more of a grey area, but I do believe that it is important to carry some caution and reservations as I move forward in my research.

AI Case Study: Adobe Sensei

When I chose the topic of AI in Design, I was aware that AI was already all around me in ways both known and unknown, but I didn’t realize how much AI already impacted my work as a designer. Adobe Sensei is the AI and machine learning system implemented in all Adobe creative suite products. Adobe Sensei’s mission statement is to “handle the time-consuming parts of your job, so you have more time to be creative”, nothing that “74% of creatives recently surveyed by Pfeiffer Consulting said they spent more than 50% of their time on non-creative tasks — a huge opportunity for AI to help”.

AI and machine learning features from Adobe Sensei include recommended presets, content-aware fill for photos and videos, subject or object selection, character animator, body tracker, anomaly detection, sky replacement, neural filters, and many more. One feature that I found particularly baffling is the face aware liquify mode in Photoshop, which detects facial features and allows you to manipulate individual parts of the face, widening a smile, raising eyebrows, completing changing a facial expression with an entirely believable result.

Adobe Sensei is also used in Adobe Spark, a program that generates social graphics, webpages, and videos in 20 seconds or less. Once the initial content is created, the user can cycle through different layouts of text, imagery, and other elements, and customize with auto crop and zoom and scale slider to maximize for dynamic graphics. Brands can upload their colours, logos, and assets, and use Adobe Spark to streamline the graphic design process – turning what used to be a 2 day process of creating a social media post optimized for all platforms, into a 2 hour process.

A graphic generated with Adobe Spark

Bilderbücher ohne Text – Beispiele

Als Beispiele für Visual Storytelling habe ich mir verschiedenen Bilderbücher die mit nur sehr wenigen Worten bzw. ganz ohne auskommen. Hier zwei meiner Meinung nach sehr gelungene Beispiele für Textlose Bilderbücher.

The Midnight Fair – Gideon Sterer und Mariachiara Di Giorgio

Inhaltsangabe:

Es ist kurz vor Mitternacht: Schlüssel klappern, ein Auto fährt davon und im Dunkeln am Waldrand beobachten schon ungeduldige Augenpaare, wann es soweit ist für ihren Einsatz: Rapp Zapp! Und schon ist er wieder erleuchtet: der Jahrmarkt, den die Menschen gerade verlassen haben. Jetzt erobern sich Wildschwein, Fuchs und Hase Autoscooter, Riesenrad und Karussell.

Dieses Buch erzählt die Geschichte von ein paar Waldtieren, die sich nachts auf einen Jahrmarkt schleichen. In eindrucksvollen Bildern sieht man wie die Tiere Popcorn und Zuckerwatte fressen, Schiffsschaukel und Kettenkarussell fahren und generell ein sehr menschenähnliches Verhalten an den Tag legen.

Besonders der Einsatz von Farben und Licht aber auch die Kompositionen und Posen der Charaktere machen die Bilder eindrucksvoll und vermitteln die Stimmung eines Jahrmarktes. Jede Illustration enthält eine Vielzahl an Details und erzählt kleine Geschichten der einzelnen Protagonisten, wie zum Beispiel ein Wolf der bei einem der Stände einen Goldfisch gewinnt und diesen am Ende des Buches dann in einem See frei lässt.

Das Narrativ ist hier auch ohne Worte klar und lädt dazu ein die Bilder noch genauer zu betrachten, als man es vielleicht tun würde wenn die Bilder von Text begleitet werden würden.

Maulwurfstadt – Torben Kuhlmann

Inhaltsangabe:

Am Anfang lebt ein einzelner Maulwurf tief unter einer grünen Wiese. Dort gibt es alles im Überfluss. Schon bald siedeln sich mehr und mehr Maulwürfe unter der Wiese an. Doch immer mehr Maulwürfe brauchen immer mehr Infrastruktur. Aus einfachen Wohnlöchern werden aufwändige Behausungen. Unterirdische Straßen verlaufen kreuz und quer, Bahnen und Aufzüge fahren hoch und runter. Tausende Arbeiter wuseln durch die Unterwelt. Dabei verschwindet immer mehr von der grünen Wiese und die Maulwurfhaufen reihen sich.

Autor und Illustrator Torben Kuhlmann hat es mit diesem Buch geschafft die Geschichte der Industrialisierung anhand von einer Maulwurf-Gesellschaft zu erzählen und das wichtige Thema des Umweltschutzes anzusprechen. Das Buch kommt bis auf ein paar Sätze auf der ersten Seite und ein paar Sätzen auf der letzten Seite ganz ohne Worte aus.

Anfangs sieht man das beschauliche Leben eines Maulwurfs dass aber durch die Erfindung von Maschinen und dem stetigen Zuwachs und Fortschritt in der Maulwurfstadt immer stressiger und eintöniger wird. Die Zerstörung der Natur wird durch die einst schöne Blumenwiese die immer mehr von Maulwurfshügeln durchzogen wird und von der am Ende nur mehr ein kleiner Fleck Gras übrig ist gezeigt. Die Bilder zeigen die Maulwürfe in ihrem Alltagstrott wie zum Beispiel bei der Arbeit im Büro und verbreiten im Allgemeinen eine düstere depressive Stimmung die durch die eher dunklen eintönigen Farben unterstützt wird. Wobei Kinder diese Stimmung möglicherweise ganz anders interpretieren würden und sie diese womöglich nicht als erdrückend wie ich empfinden würden.

Game design in MMORPGs

Game Design is an essential aspect for the development of every game, independently of the genre or whether its online or offline. While MMORPGs require thorough planning of many different aspects such as keeping the game interesting even after the main story is completed, managing a fair skills and levelling system or managing performance one of the most important aspects is enabling controlled communication that doesn’t restrict the players in their interactions with each other. For this reason, this blog entry will take a closer look to what it needs to design a successful MMORPG.

As explained in a previous blog entry, the flow state can be achieved if the player is challenged enough to be entertained without getting frustrated. While the flow state can be achieved in traditional games if certain rules are followed, achieving the flow state in MMORPGs where there is usually no clear path to follow and a major part of the play time is spontaneous interactions with others player, it is more difficult to guide the player to the flow state.

There are three conditions that need to be met in order to achieve the flow state:

  • There need to be clear goals defined that the player must know of
  • The balance between challenges and skill needs to be so that the player is neither frustrated nor bored
  • The progress on the goals need to be made clear to the player in form of feedback

These conditions can be met by clear directions given to the player, but they can also be goals that the player themselves creates. For example, a player can decide to craft a special item that requires a lot of material and experience, for one of their friends. If the players are given options, they will naturally come up with challenges themselves. This way every player type has their own goals:

  • Killers: Want to become the best and compete with others
  • Socializers: Want to communicate with other players
  • Achievers: Want to progress within the game and level up
  • Explorers: Want to learn about different systems (e.g., different skill trees) integrated into the game and explore the world

References: