The article centres on a single document, the 1968 doctoral thesis of L. Bruce Archer. It traces Archer’s earlier publications and the sources that informed and inspired his thinking as a way of ...understanding his influential work at the Royal College of Art from 1962. Analysis suggests that Archer’s ambition for a rigorous ‘science of design’ inspired by linear algorithmic approaches was increasingly threatened with disruption by his experience of large, complex design projects. Reflecting on Archer's engagement with other models of designing, the article ends with Archer’s retrospective view and an account of his significantly altered opinions. Archer is located as both a theorist and someone fascinated by the commercial and practical aspects of designing.
•Demonstrates the significant changes in L. Bruce Archer's models of design.•Probes the theoretical and practical influences on his work and others'.•Identifies a general shift from linear to more complex models of designing.
Design as externalization Davis, Stephen Boyd; Vane, Olivia
Information Design Journal : IDJ,
7/2022, Letnik:
25, Številka:
1
Journal Article
Recenzirano
Abstract
The article is concerned with a central contribution of designing to information visualization in the digital humanities. The activity is characterized as one of externalization, ...instantiation in visible or tangible form of ideas. A spectrum of different interpretations of this process in the existing literature is discussed. The arguments are illustrated with recent practical examples from the authors’ own work in designing with a range of cultural organizations. The article concludes with reflections on how projects may best benefit from this work of design, empowering the designer as a co-researcher, alongside the historian, curator or other humanities scholar.
class Culture, Technology and the Image explores the technologies deployed when images are archived, accessed and distributed. The chapters discuss the ways in which habits and techniques used in ...learning and communicating knowledge about images are affected by technological developments. The volume discusses a wide range of issues, including access and participation; research, pedagogy and teaching; curation and documentation; circulation and re-use; and conservation and preservation.
The book illustrates how knowledge about images is intertwined with the methods that are used to store, retrieve and analyse those images and the information associated with them. Focusing on the implications of technology for processes and practices brings into view the permeable nature of boundaries between such disciplines as art history, media studies, museum studies and archiving. As such, this text will appeal to a broad academic audience, including art historians interested in the digital; media studies scholars; digital humanities scholars interested in expanding beyond textual scholarship; as well as new students in any of these fields.
Over the last 10 years, new media has ascended to a prominent place in many fields that utilize communication technologies. At the same time, new media education has evolved in such a way that ...students are often not prepared to understand the social context of new media design and development. To produce new media professionals who are adequately prepared to meet the needs of an online hyper-social marketplace, new media curricula must reflect those human-centered theories and practices found within the discipline of interaction design, in addition to formal new media technical knowledge. The authors propose a new three-by-three theoretical model, referred to as Knowledge-Operators-and-Domains (KOD). Applying this model suggests an approach that extends the practical boundaries of new media to include a range of human-centered theories and practices, such as ethnography and usability-based studies.
Questions of trust are increasingly important in relation to data and its use. The authors focus on humanities data and its visualization, through analysis of their own recent projects with museums, ...archives and libraries internationally. Their account connects the specifics of hands-on digital humanities work to larger epistemological questions. They discuss the sources of potential mistrust, and examine how different expectations and assumptions emerge depending on the use and user of the data; they offer a simple schema through which the implications may be traced. It is argued that vital issues of trust can be engaged with through design, which, rather than being conceived as a cosmetic finish, is seen as contributing insights and questions that affect the whole process. The article concludes with recommendations intended to be useful in both theory and practice.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Purpose - The purpose of this paper is to review the work of the artist Edward Ihnatowicz (1926-1988), describing his approach to his artistic practice and his major works (including sound-activated ...mobile, The Senster and The Bandit) and to examine how he achieved his aim of making his cybernetic sculptures move in an elegant way despite working with severely limited computational resources.Design methodology approach - The paper uses documentary research of the artist's private papers together with interviews with family and collaborators. Implementation of computer simulations of approaches to generating elegant motion.Findings - The paper presents a comprehensive description of Ihnatowicz's work. A simple algorithm for generating elegant motion.Originality value - The paper is of historical value in documenting the work of an early cybernetic pioneer who had a unique approach to his artistic practice. The lessons learned from his installations are of relevance to current artists and designers who are interested in designing interactive environments.
Considers the development and use of the timeline to present chronological data graphically rather than as a table or list. Since its invention by Jacques Barbeu-Dubourg in 1753, little research has ...been done on methods of time mapping, in contrast to the intellectual debate surrounding mapping geographical data. The author uses both psychological and anthropological sources to explore what we are mapping in timelines, and how to achieve the desired result. He focuses on the issue of the orientation and direction of the timeline, right-to-left and top-to-bottom, leaving aside consideration of non-linear visualisations such as cyclic or circular models. Looking at historic representations of linear time, he considers Priestley's 1765 'Chart of Biography' which introduced variable line length as a quantitative element; and suggests that a horizontal rather than vertical orientation is often chosen as being easier to produce graphically, since labels tend to be longer than tall. Anthropologically, there is no consistency across cultures in visual representation of the direction or orientation of time; virtual reality allows the creation of 3D options, so users can look at time from multiple viewpoints. A question for further research is the affective consequence of different locations of the user's viewpoint, and the problems of data density and loss of information from certain viewpoints.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK, ZRSKP
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