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	<title>Pat Pataranutaporn &#8211; FREAK lab</title>
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	<link>https://freaklab.org</link>
	<description>Futuristic Research in  Enigmatic + Aesthetic Knowledges</description>
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	<title>Pat Pataranutaporn &#8211; FREAK lab</title>
	<link>https://freaklab.org</link>
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		<title>Policy Advise on Zombie Apocalypse</title>
		<link>https://freaklab.org/policy-advise-on-zombie-apocalypse/</link>
					<comments>https://freaklab.org/policy-advise-on-zombie-apocalypse/#respond</comments>
		
		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 10:07:23 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1344</guid>

					<description><![CDATA[This recommendation is made for the remaining operation of the Centers for Disease Control and Prevention eight years after the zombie apocalypse. The remaining operation of the Centers for Disease Control and Prevention is the only intellectual government agency, which focuses on doing frontier research in curing zombies and restoring society back to normal situation.]]></description>
										<content:encoded><![CDATA[<p>This recommendation is made for the remaining operation of the Centers for Disease Control and Prevention eight years after the zombie apocalypse. The remaining operation of the Centers for Disease Control and Prevention is the only intellectual government agency, which focuses on doing frontier research in curing zombies and restoring society back to normal situation.</p>
<a href="https://medium.com/@patpataranutaporn/policy-advise-on-zombie-apocalypse-3678c5ccbb6e" class="button primary is-primary is-medium"  >
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		<title>Silkie, Robot, and Alien : The Interpretation and Analysis of Human and the Otherness in Experimental Silkie Stories.</title>
		<link>https://freaklab.org/silkie-robot-alien/</link>
					<comments>https://freaklab.org/silkie-robot-alien/#respond</comments>
		
		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 10:01:50 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1341</guid>

					<description><![CDATA[Thought experiments are traditionally associated with science, they are the hypothetical or theoretical experiments that human can imagine, but are very difficult to carry out due to material limitations. These thought experiments are important because they allow scientists to critique and analyze scenarios that never happen and think through the repercussions. In the same way [...]]]></description>
										<content:encoded><![CDATA[<p>Thought experiments are traditionally associated with science, they are the hypothetical or theoretical experiments that human can imagine, but are very difficult to carry out due to material limitations. These thought experiments are important because they allow scientists to critique and analyze scenarios that never happen and think through the repercussions. In the same way that thought experiments allow scientist to imagine ‘what if?’ scenario, literature is a form of thought experiment that allow storyteller and the audience to experience unusual scenario with different set of logic, ethics, morality than normal reality (Goldschmidt). This notion of literature as a form of thought experimental are largely connected to the genre of science fiction and fantasy. However, folklore and oral history, which are the predecessor of those two genre are also full fabulation, critical imagination, speculative narratives. Therefore, this paper revisited the Great Silkie of Sule Skerry story with the comparative thought experiment approach developed by the art theorist, Arthur Danto. By experimentally changing the character silkie to other characters (normal seal, normal human, robot, and alien), and analyzing the repercussion of those changes, we can further understand the specific characteristic of the selkie as the “otherness” in the human society and tease out ethical and moral dilemma in the story.</p>
<a href="https://medium.com/@patpataranutaporn/silkie-robot-and-alien-the-interpretation-and-analysis-of-human-and-the-otherness-in-16f7e9a3444e" class="button primary is-primary is-medium"  >
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		<title>Machine Mononoke : robot, supernatural, and power</title>
		<link>https://freaklab.org/machine-mononoke/</link>
					<comments>https://freaklab.org/machine-mononoke/#respond</comments>
		
		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:50:38 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1335</guid>

					<description><![CDATA[In the modern world, power is oftenly associated with democracy and political legitimacy. The idea of empowerment is the measures of the degree of autonomy and self-determination in people. These idea is carried out beyond humanity to artificial beings and robots. However, in the digital driven world, there are primitive cultures and rituals preserved by [...]]]></description>
										<content:encoded><![CDATA[<p><img fetchpriority="high" decoding="async" class="alignnone size-large wp-image-1338" src="https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke-1024x300.jpeg" alt="" width="1020" height="299" srcset="https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke-1024x300.jpeg 1024w, https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke-600x176.jpeg 600w, https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke-150x44.jpeg 150w, https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke-300x88.jpeg 300w, https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke-768x225.jpeg 768w, https://freaklab.org/wp-content/uploads/2017/10/Machine-Mononoke.jpeg 1682w" sizes="(max-width: 1020px) 100vw, 1020px" /></p>
<p>In the modern world, power is oftenly associated with democracy and political legitimacy. The idea of empowerment is the measures of the degree of autonomy and self-determination in people. These idea is carried out beyond humanity to artificial beings and robots. However, in the digital driven world, there are primitive cultures and rituals preserved by the same people that use digital devices. These two contradictory paradigms coexist and empower human internally and externally. Therefore, it is unlikely that one embodiment will prevail. One of the most common themes among primitive cultures around the world that vitally influence modern society is the ideology of supernatural manifestation, spirit, and ghost. The reinterpretation of these intangible power from J.J. Cohen’s Monster Culture: monster and supernatural power are born at the metaphoric crossroads, as an embodiment of a certain cultural moment; L. Hearn’s The Value of the Supernatural in Fiction: supernatural manifestations inspired human to dream the impossible dream and pursue his or her passion vigorously; D.G. Bargen’s A Woman’s Weapon Spirit Possession in the Tale of Genji: spirit possession empowers oppressed population to speak up and challenge the status quo; had shed light on this untapped area of study and created new understanding of the relationship between human and power in the primitive societies. Even though, robot and supernatural is a completely different domain, human are commuters who mobilize between these worlds. Therefore, the collision between these two embodiments result in intricate yet fascinating phenomena such as the creation of BINA48, a robot that posess digitalized human spirit, or the emerging norm in Thailand: thais request monk to write &#8220;mantra&#8221; on the automated machine and automobile. At this point, the modern object is embedded with spirit. Primitive power will endorse the progress of the modern things. In this chapter, the authors are interested in exploring the relationship between supernatural and robot: how do these two distinct powers compromise one another? and how does human justify and perceive this collision between machines and myths. While we, as human, are asking questions about robots that possess spiritual quality. Keep in mind that soon there will be robots that ask us back about human that embody robot.</p>
<div class="is-divider divider clearfix" style="max-width:medium;"></div>
<p>Mononoke (written 物の怪) carries the meanings of &#8220;monster&#8221;, &#8220;ghost&#8221;, or &#8220;spirit&#8221;, and the literal meaning is &#8220;the spirit of a thing&#8221; or &#8220;strange thing&#8221;<br />
About the authors</p>
<p>&nbsp;</p>
<div class="is-divider divider clearfix" style="max-width:100%;"></div>
<p>Bank Ngamarunchot is a lecturer of KMUTT, Thailand. He is an Economist who works in many fields such as Political Economy and Public Policy. His recent works relate to negative consequences of capitalism such as monopoly, externality, labor exploitation, and inequality. He is also an owner of the art gallery (Tentacles) located in his hometown, Bangkok.</p>
<p>Pat Pataranutaporn is a creative biologist, artist, designer, coder and an undergrad student at College of Liberal Arts &amp; Sciences, Arizona State University. His work examines a range from environmental biotechnology to interactive technology at the intersection of biology, media, and computation. Right now he is a research fellow at the Biodesign Institute and School of Art, Media + Engineering at Arizona State University.</p>
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		<title>The Computational Aesthetics of Kojiki : the Machine Learning Approach for Regenerating the Primitive Japanese Text, and the Relationship between Machine and Authorship.</title>
		<link>https://freaklab.org/the-computational-aesthetics-of-kojiki/</link>
					<comments>https://freaklab.org/the-computational-aesthetics-of-kojiki/#respond</comments>
		
		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:45:48 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1329</guid>

					<description><![CDATA[Literature have influenced and shaped humanities since human’s imagination have broaden the horizon of language beyond a communication platform. Literary text has a metaphoric layer which are based on human’s conceptual mapping, visual mapping, or the combination of both (Nehaniv). This complex network of values and thoughts within literature reflects its critical role, which is [...]]]></description>
										<content:encoded><![CDATA[<p>Literature have influenced and shaped humanities since human’s imagination have broaden the horizon of language beyond a communication platform. Literary text has a metaphoric layer which are based on human’s conceptual mapping, visual mapping, or the combination of both (Nehaniv). This complex network of values and thoughts within literature reflects its critical role, which is to capture the societal phenomenon in the artistic way. As the society accelerated into the world compiled by digital information and machines, the way of crafting literature has evolved. The digital humanities scholars have explored and reinvented the new aesthetics at the intersection computational power and human values by creating machine-human hybrid literary pieces. In this paper, the author aims to use one of the most profound Asian literature and the oldest manuscript in Japan that aesthetically capture the hierarchical and societal landscape of the 8th century Japan, Kojiki to examine the relationship between author and computer. There is a similarity when a computer creates a new piece literature based on its reference text and the way that human writes story based on his/her prior readings. Therefore, the only distinction between text generated by human and computer are the source and amount of references. Thus, the idea of authorship is not determined by the type of agent, but the role that he/she/it/they play in crafting the literary piece.</p>
<a href="https://medium.com/@patpataranutaporn/computational-kwaidan-recreating-hearn-with-machine-learning-685d0d5baebd" class="button primary is-primary is-medium"  >
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		<title>The Development of Ethical Guideline and Social Practice for Robot and Artificial Intelligence</title>
		<link>https://freaklab.org/the-development-of-ethical-guideline-and-social-practice-for-robot-and-artificial-intelligence/</link>
					<comments>https://freaklab.org/the-development-of-ethical-guideline-and-social-practice-for-robot-and-artificial-intelligence/#respond</comments>
		
		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:36:11 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1325</guid>

					<description><![CDATA[Traditionally, robot is as an anthropomorphic, autonomous entity that possesses intelligence and acts in a way that mimics human behavior. Instead, the majority of robots are often anchored to one point and consist of a single flexible arm (Murray). The purpose of robotics technology is essentially to carry out repetitive, physically demanding, and potentially dangerous [...]]]></description>
										<content:encoded><![CDATA[<p>Traditionally, robot is as an anthropomorphic, autonomous entity that possesses intelligence and acts in a way that mimics human behavior. Instead, the majority of robots are often anchored to one point and consist of a single flexible arm (Murray). The purpose of robotics technology is essentially to carry out repetitive, physically demanding, and potentially dangerous manual activities so that humans are relieved from these tasks. Examples of these chores include working on a factory production line assembly, handling hazardous materials, and dealing with hostile environments like underground mines, underwater construction sites, and explosives plants. Industrial robots can work twenty-four hours a day without a break to maximize productivity in manufacturing environments. Artificial Intelligence (AI) on the other hand is an area of computer science that focus on the development of intelligent system that work and react like humans such as learning, planning, and problem solving. However the different between the AI and the robot is that the AI does not need to be in the humanoid body, it can purely be a system that acts like a brain. These two established field of research are making significant impacts toward becoming mainstream. As Robot and Artificial Intelligence continue to developed and beginning to enter people daily life, the development of an ethical guideline and social practice for those machine by the collaboration of peoples from different fields become essential in order to prevent the future misconduct. In this article, the ethical guideline and social practice is a conduct in any form for human to know how to interact with robot, and also for robot to know how to interact with human and other robot. However, the main focus of this article is not on the content of the guideline, but it is on the necessaries of it, and how it should be created. The important of this guideline is very controversial because even robots are becoming more presence in the society, the robots that are intelligence enough to understand the ethics and moral code are still only exist in the science fiction.</p>
<a href="https://medium.com/@patpataranutaporn/the-development-of-ethical-guideline-and-social-practice-for-robot-and-artificial-intelligence-812f0b013ef9" class="button primary is-primary is-medium"  >
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		<title>Computational kwaidan: recreating Japanese tales with machine learning</title>
		<link>https://freaklab.org/computational-kwaidan/</link>
					<comments>https://freaklab.org/computational-kwaidan/#respond</comments>
		
		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:34:44 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1323</guid>

					<description><![CDATA[Lafcadio Hearn collected ghost stories, monstrous tales, and exotic observations in his Kwaidan Stories and Studies of Strange Things. His effort in retelling the stories to the global community demonstrates his passion and deep understanding of why “ghostly” is critical for human being as he says : “A man who has no ghostly feeling can [...]]]></description>
										<content:encoded><![CDATA[<p>Lafcadio Hearn collected ghost stories, monstrous tales, and exotic observations in his Kwaidan Stories and Studies of Strange Things. His effort in retelling the stories to the global community demonstrates his passion and deep understanding of why “ghostly” is critical for human being as he says : “A man who has no ghostly feeling can not make anything alive, not even a page of history or a page of oratory. To touch men’s souls, you must know all that those souls can be made to feel by words; and to know that, you must yourself have a “ghost” in you that can be touched in the same way”<br />
With the advancement of computer sciences in the field of machine learning and artificial intelligence, I as the author has done a fun experiment with the hope to continue the “ghostly” feeling that Hearn described in his speech by using Markov chain technique to recreate a new Kaidan story based on Hearn’s writings. In the process of resurrecting, I taught the machine learning system with three texts from Hearn’s Kwaidan archive(“A Dead Secret”, “Horai”, “Of a mirror and a ball”). The three stories were analyzed by machine to create a frequency analysis, which supposably capture a glimpse of Hearn writing style. The new three stories below are the result of this generative process (The author didn’t make any change to the text at all).</p>
<a href="https://medium.com/@patpataranutaporn/computational-kwaidan-recreating-hearn-with-machine-learning-685d0d5baebd" class="button primary is-primary is-medium"  >
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		<title>Rashomon universe, distorted universe, or parallel universes</title>
		<link>https://freaklab.org/rashomon-universe/</link>
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		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:33:35 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1320</guid>

					<description><![CDATA[After watching Rashomon the film (1950), one of the questions that strikes me is the problem about reality. I was wondering if it is necessary for the film director and the actors to know who in story that was telling the truth. My curiosity and intellectual desire led me to have video calls with great [...]]]></description>
										<content:encoded><![CDATA[<p>After watching Rashomon the film (1950), one of the questions that strikes me is the problem about reality. I was wondering if it is necessary for the film director and the actors to know who in story that was telling the truth. My curiosity and intellectual desire led me to have video calls with great friends of mine, one is the esteemed play director who continues the theatre of the oppressed movement in south east asia, and another one is the Ph.D. student at Japan’s National Graduate Institute for Policy Studies (GRIPS). After the enlightened conversations, I soon realized that the brilliantly indefinite plot of Rashomon deals with something larger than I imagined. Different equivocal perspectives on the same scenario told by major characters in Rashomon evokes my detective mind to find out “the truth”.</p>
<a href="https://medium.com/@patpataranutaporn/rashomon-universe-distorted-universe-or-parallel-universes-304014cd91f1" class="button primary is-primary is-medium"  >
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		<title>On my Godzilla’s mind</title>
		<link>https://freaklab.org/on-my-godzillas-mind/</link>
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		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:32:22 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1317</guid>

					<description><![CDATA[Based on Tanaka’s question, Godzilla is a tangible reflection of the nuclear trauma in Japan, as William Tsutsui pointed out “Godzilla is a sincere horror film, intended to frighten rather than amused, which engaged honestly — indeed, even grimy — with contemporary Japanese unease over a mounting nuclear menace, untrammeled environmental degradation, and long shadow of World War II”. [...]]]></description>
										<content:encoded><![CDATA[<p>Based on Tanaka’s question, Godzilla is a tangible reflection of the nuclear trauma in Japan, as William Tsutsui pointed out “Godzilla is a sincere horror film, intended to frighten rather than amused, which engaged honestly — indeed, even grimy — with contemporary Japanese unease over a mounting nuclear menace, untrammeled environmental degradation, and long shadow of World War II”. But on the other hand, Godzilla is a victim of the catastrophe itself because it’s habit under the ocean has been disturbance by the nuclear bomb.</p>
<a href="https://medium.com/@patpataranutaporn/on-my-godzillas-mind-b0b47035dbe8" class="button primary is-primary is-medium"  >
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		<title>Monsterization and Society : how to convert anything (cute or cruel) into the target of hatred</title>
		<link>https://freaklab.org/monsterization-and-society/</link>
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		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:30:42 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1314</guid>

					<description><![CDATA[What exactly is monster ? As I grow older, I started to observe a broad spectrum of monsters from a creature with pure evil intention like Smaug (The Hobbit) to just a bizarre looking creature that is only interested in cookie like Cookie monster (Sesame Street), from a natural being like Godzilla to artificial giant [...]]]></description>
										<content:encoded><![CDATA[<p>What exactly is monster ? As I grow older, I started to observe a broad spectrum of monsters from a creature with pure evil intention like Smaug (The Hobbit) to just a bizarre looking creature that is only interested in cookie like Cookie monster (Sesame Street), from a natural being like Godzilla to artificial giant like Mechagodzilla, from an intelligent agent with high technology gadgets like Predator (Alien franchise) to a savage primitive life form like Alien (Alien franchise), from social creatures like Sullivan and his friends from Monster, inc to mysteriously isolated bigfoot from Himalayan. These various characteristics demonstrate that “monster” is an undefined category with a blur boundary reaching out to all the misfit. Therefore it is such an ambitious plan to write something that can generalize these group such in the same way that it is difficult to write something that speak of humanity as a whole without creating a bias stereotype. However, there is one thing in common among all of these creatures, which is the way that human classify and “monsterized” them into the group. These three theses presented in this paper are focusing on the way in which something has been clustered into the genus of monstrosity.</p>
<a href="https://medium.com/@patpataranutaporn/monsterization-and-society-how-to-convert-anything-cute-or-cruel-into-the-target-of-hatred-1e2095d30196" class="button primary is-primary is-medium"  >
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		<title>Prototyping The Future Society through Theatre for Social Change</title>
		<link>https://freaklab.org/prototyping-the-future-society-through-theatre-for-social-change/</link>
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		<dc:creator><![CDATA[Pat Pataranutaporn]]></dc:creator>
		<pubDate>Mon, 30 Oct 2017 09:03:46 +0000</pubDate>
				<category><![CDATA[Magic, monsters, and machines]]></category>
		<guid isPermaLink="false">http://freaklab.org/?p=1304</guid>

					<description><![CDATA[Augusto Boal, the founder of Theatre of the Oppressed argues “The theater itself is not revolutionary: it is a rehearsal for the revolution”, his claim reflects the notion that theatre as a fabricated space serves as a place for people to practice changes making. Therefore, the goal of theatre for social change is to create [...]]]></description>
										<content:encoded><![CDATA[<p>Augusto Boal, the founder of Theatre of the Oppressed argues “The theater itself is not revolutionary: it is a rehearsal for the revolution”, his claim reflects the notion that theatre as a fabricated space serves as a place for people to practice changes making. Therefore, the goal of theatre for social change is to create works in progress, or prototypes of the the future society co-designed by the participants. Even thought the scope of the theatre for social change is broad, there is a common theme of human empowering through participatory activities. Unlike other kind of theatre, theatre for social change is a performance ensemble to raise awareness about the impact of social issues through community engagement process. This concept of engagement that blur the boundary between audience and actor transforms theatre to become a simulation for the participants to play around with different factors, scenarios, and choices of action in order to simulate the consequences. This trial and error process has an aim to tease out all of the necessarily steps that would take for the society to arrive at the agreeable condition that benefit society as a whole.</p>
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