2199 research outputs found
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StoryCorps interview with Roe Green
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/ksuscp/2/thumbnail.jpgThis interview was part of the project, Everyone\u27s Story Matters: A Kent State StoryCorps project. The interview was held on September 27, 2017 in the Performing Arts Library, Center for the Performing Arts at Kent State University.
Ms. Green is CEO of the Roe Green Foundation and a Kent State University alum, and was interviewed by Kent State students Ryan Borgo and Chantrell Lewis.</p
Kosicek Vineyards, Lake Erie Traminette (Inaugural)
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/5/thumbnail.jpgWinner of the overall best of show at the 2017 Ohio Wine Competition. A hybrid grape developed by Cornell University more than thirty years ago and similar to its parent the German Gewurztraminer, Traminette wine can be produced with varying levels of sweetness. Described as a wine white wine with floral aromas, and tastes of spice, honey and melons.</p
Meranda-Nixon Winery, 2017
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winerysw/11/thumbnail.jpgSituated on a scenic country road in Ripley, about 52 miles southeast of Cincinnati, the winery was established by Seth Meranda with his late wife Tina in 2003 on land purchased by Seth’s great grandfather which had produced tobacco and grain for decades. A graduate of Ohio State’s College of Agriculture and anticipating the regional decline of the tobacco industry, Seth quickly learned the art and science of wine making and grape growing.
A risk that has proven to be successful, the location is known for its sweet and dry wines produced from estate and sourced grapes and has won a number of awards including Double Gold Best of Show in the 2016 Ohio Wine Competition. Today, the 11 acre vineyard produces a number of regional varieties such as Traminette, Cabernet Franc, Cabernet Sauvignon, Chardonnay, Norton, and Catawba. Seth’s wife Maura, who is often seen in the wine tasting room charming patrons, handles the customer service and business end of the wine business and their four children assist with the operations.</p
Designing an Online Collaborative Platform for Mapping Visual Media in the Classroom
No full textKristy H.A. Kang, Ph.D., Nanyang Technological University, Singapore
The aim of this project is to design an online collaborative database and mapping platform for students and faculty that can be used as a pedagogical tool for critical making and mapping of visual media in the classroom. There are existing tools that utilise participatory mapping such as the community storytelling site Historypin, or other mapping projects visualising large data sets like the Racial Dot Map that uses the 2010 United States census bureau to visualize “geographic distribution, population density, and racial diversity of the American people in every neighborhood in the entire country”. Though these projects may be used for the classroom, they were not specifically designed for the needs of a specific course. And because of their complexity, such projects often require faculty and students to adapt (if possible) an aspect of the project to the classroom or assignment. Moreover, the sustainability, consistency and organization of materials becomes a challenge.
This project proposes designing a simplified platform that aims to create a resource for students and faculty to share and create responses to course materials using a combination of video, images, sound and text. These responses and materials will be collected in a database whose items may be explored individually or re-organized contextually by selecting from a series of topics or themes. The database is a dynamic visual tool that allows students to share and see a variety of examples among their peers that respond to a lesson covered in the class. Items from the database can also be mapped.
The platform would be utilised in two contexts – one, in distributed classrooms to share resources and student works among collaborating faculty who are part of FemTechNet – a consortium of U.S. university faculty and researchers teaching topics on technology, science, media studies, gender, ethnic studies and art. The other, specifically the mapping component of the project, will be used in a course on Visualisation of Cultural Heritage. One of the challenges in the classroom is to find ways to comparatively visualise artefacts, historical data and spatial/geographical information across differing geological time periods and cultures. The mapping tool would provide a dynamic platform where students may digitally map cultural heritage artefacts they are researching and to compare them to contributions by their peers and the faculty. The aim of this tool is to provide a collaborative platform from which students can visualise and spatialise their research in order to analyse and discuss their discoveries from comparative perspectives.
Kristy H.A. Kang is a media artist and scholar whose work explores narratives of place and geographies of cultural memory. She is Assistant Professor in the School of Art, Design and Media at Nanyang Technological University, Singapore and was previously Associate Director of the Spatial Analysis Lab at the University of Southern California Sol Price School of Public Policy. Her research interests combine urban, ethnic studies and digital media arts to visualise cultural histories of cities. She received her Ph.D. in Media Arts and Practice at the University of Southern California School of Cinematic Arts.
This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 106)</p
Envisioning A Backer-Centered Design Approach For Crowdfunded Projects
No full textAndrea Marks, Oregon State University
Brad Tober, Boston University
This lightning talk will introduce a new research project (related to user-centered design) focused on a specific audience—the backers of Kickstarter projects. We will share the project goals, research methods, and several case studies with the intent to prompt discussion and solicit feedback from the audience. Our research study connects three areas: data visualization, graphic design, and entrepreneurship. In particular, this investigation intends to explore the way in which the design of the Kickstarter crowdfunding platform is primarily creator-centric, without fully acknowledging the needs of backers as both users of the platform and critical participants in the success of crowdfunded projects.
Our central research question asks, “How might we use data visualization as a tool to give backers of crowdfunded projects predictive agency through a clearer understanding of the variables associated with success or failure of the campaign?” While creators of crowdfunding projects are provided with a range of resources—including data- and analytics-driven tools—to help ensure project success, the other necessary participant in a crowdfunded campaign, the backer, is given little to no data to make informed decisions.
Our initial hypothesis is that the design and display of a data visualization would improve backers’ understanding of potential risks, which would lead them to make more informed and successful funding decisions. While this research has direct application to the structure and success of crowdfunded projects, we anticipate that the outcome of this project could also be relevant to the broader areas of design, business, and the digital humanities.
Andrea Marks is a professor of design at Oregon State University and a faculty member in the College of Business, where she teaches classes in entrepreneurship, design and innovation. Prior to joining the College of Business, she was the coordinator of the Graphic Design Program and developed coursework in typography, design and writing and design history. She is the co-director and producer of the documentary film Freedom on the Fence, the author of the book Writing for Visual Thinkers and has curated several poster shows. She has contributed to books and journals including, Icon Magazine, Becoming a Graphic Design and Digital Designer, Citizen Designer and Design and Culture. She is the recipient of numerous grants including an NEA Design Arts grant for her project Women of the Bauhaus. Andrea was co-chair of the 2014 AIGA Design Education Conference New Ventures and has served on the AIGA Philadelphia Board of Directors. She received a BFA in graphic design from University of the Arts in Philadelphia and was awarded a Fulbright International Education Fellowship for her post-graduate work at the Basel School of Design in Basel, Switzerland.
Brad Tober is a designer, educator, and researcher whose work investigates the potential
relationships of emerging code-based and interactive visual communication technologies to both design practice and pedagogy. His practice-led research is characterized by a speculative approach to design that recognizes that forms of and methodologies for contemporary practice that spans design and technology are best developed through flexible and exploratory processes. Prior to his current position as Assistant Professor of Design + Visual Analytics at Boston University, Brad spent five years as Assistant Professor of Graphic Design at the University of Illinois at Urbana-Champaign. Brad holds an MDes from York University (Canada), a BFA in graphic design from the Savannah College of Art and Design, and a BA in mathematics from the University at Buffalo.
This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 106)</p
Greenhouse Studios / Scholarly Communications Design at the University of Connecticut
No full textSamantha Olschan, Greenhouse Studios, and University of Connecticut
Background
The University of Connecticut’s Digital Media & Design Department (DMD), in collaboration with the University Libraries and University of Connecticut Humanities Institute (UCHI), have launched the Greenhouse Studios / Scholarly Communications Design at the University of Connecticut (http://greenhousestudios.uconn.edu/). With funding from the Andrew W. Mellon Foundation, and backed by long-term University investments of staff and space, Greenhouse Studios will implement a design-based, inquiry-driven, collaboration-first workflow that will address the divided workflows and counter-productive labor arrangements that have complicated scholarly communications in the digital age.
Even as the scholarly communications field pursues the opportunities presented by digital technology, its routine operations remain anchored in print-centric regimens. For those working to evolve scholarly communications in the Internet age, particularly as it bears upon long-form scholarship, there is compelling need to productively disrupt and reconfigure the workflows and work cultures that have naturalized around the production of printed products. Taking inspiration from Design Thinking (and its critics) – artists, designers and developers are brought in at the early stages of scholarly research to provide artistic design, creative expression, and technical implementation assistance for project iterations and development.
Objective
The paper will address how designers are finding roles, and perhaps more importantly, asserting the value of design in collaborative research and interdisciplinary projects related to digital scholarship via Greenhouse Studios at the University of Connecticut.
By observing the established working process model, current projects and pipelines, and the branding process of the Greenhouse Studios we seek to answer the questions: How can we better articulate the scholarly merit of collaboration? How can collaborative design scholarship and projects be positioned within the tenure and promotion process in the field of design to positive outcome? What are the forms these scholarly activities might take? How might these scholarly practices affect design education?
Methods
The paper will outline the development of the cross-disciplinary process model, projects, and the branding process for Greenhouse Studios / Scholarly Communications Design at the University of Connecticut. Through this development and implementation the studio illustrates how incorporating the designer, implementing design thinking, and adopting an evolutionary approach to identity and information design at the early stages of scholarly projects, impacts the value of design in research and interdisciplinary collaboration.
In defining and documenting our evolving process/practice, we began to observe how early integration of the designer in scholarly practices and communication affect and illuminate project outcomes, our reflections on the building and design process, as well as opportunities for design education.
Throughout the development we documented our process and practice in a variety of ways, through still photographic imagery, moving image and time-based media, iterative visual communication and graphic design, animation and motion graphics. This practice allowed for the team to derive creative content for further communication, marketing, illustration and production but also reflect on their practice and process.
We identified the best visual communication style for the project, process charts and generated an open-source, hand-rendered typeface with students and interns, based on handwriting, (the “artists hand”) to pay homage to traditional practices, research and publishing methodologies while referencing emerging technology and media through digitization.
Samantha Olschan is a transmedia artist & designer with a M.F.A. in Film, Video & New Media: Animation from The School of the Art Institute of Chicago & a B.F.A in Fine Arts: Electronic & Time-Based Media from Carnegie Mellon University. Having worked across broadcast design, animation, compositing and time-based visualization for television, films, documentaries and media agencies, she continues to research hybrid media & storytelling through animation, design & experiential narrative.
Recent exhibitions and screenings include the Black Maria Film & Video Festival, FrackFest, P.O.V. Series (PBS), The ShortList (PBS), Visionfest, Tribeca Cinemas, Bumbershoot, Seattle International Film Festival, Boston Cinema Census, Boston Underground Film Festival, Conversations at the Edge, The Gene Siskel Film Center, Marblehead Film Festival & the Skopelos Foundation for the Arts in Greece. Teaching appointments in animation, media and design include University of Connecticut, Pratt Institute, Wesleyan University, Quinnipiac University, Columbia College, New York Film Academy & The School of the Art Institute of Chicago.
She is currently an Assistant Professor in the Digital Media & Design Department (dmd.uconn.edu) at the University of Connecticut.
This was a Long Paper Session: Student-led Labs on June 3, 2017. 9:00–10:30am (SCI 106)</p
Collaborating across the University
No full textKaren Zimmermann, University of Arizona
Jennifer Nichols, University of Arizona
Carolina Gonzalez, University of Arizona
In this paper we will discuss the challenges of building collaborations across the University community; the value of embedding information literacy in the art curriculum, and the impact of community engagement and real-world design experiences.
University of Arizona (UA) design students connected with the University’s communities in science, business, and the humanities to learn the process and benefits of creating meaningful and impactful work as members of interdisciplinary teams. Three disparate faculty in business, art and the library came together to team-teach an information graphics course. Their collective knowledge enhanced the learning experience for the art students. For a final collaborative project, design students paired up as a team with a UA collaborator, including soil scientists studying environmental bio-design, professional mentoring program for women, business analysts in the budget office, and the University makerspace.
Karen Zimmermann is an artist, designer, and educator. She is a Professor in the University of Arizona, School of Art, and chair of the Illustration & Graphic Design Division. Karen has received numerous grants and awards including an Arizona Project Grant by the Arizona Commission of the Arts, UA Deans fund for Excellence, and UA Faculty Fellowship. She has been an active member on the American Institute of Graphic Art Design Education Committee and the College Book Art Association. Karen’s practice includes activities in letterpress printing, writing, graphic design, and art. Her writing has been published in “The Education of a Graphic Designer,” “The Education of an E Designer,” “The Education of a Motion Designer”, JAB (Journal of Artists’ Books), “Design Education in Progress: Methodology and Process”, American Institute of Graphic Arts, Zed and Inform. Her artwork examines the relationship between art, design, culture, and technology within the context of the environment. Karen received her MFA from Virginia Commonwealth University and her undergraduate degree from Rutgers University.
Jennifer Nichols is the Digital Scholarship Librarian at the University of Arizona Libraries, and project lead for the iSpace, the makerspace in the Science-Engineering Library. She collaborates with faculty, students and partners across the University to integrate digital scholarship tools into their research and teaching. She has been a Fine Arts and Digital Humanities Liaison Librarian, as well as a Youth Services Librarian and Program Manager for the implementation of a MacArthur/IMLS YouMedia Learning Labs grant.
Carolina Gonzalez is a Senior Honors student at the University of Arizona studying Graphic Design. She is from Tucson, Arizona.
This was a Long Paper Session: Forming an Interdisciplinary Team on June 3, 2017. 9:00–10:30am (SCI 108)</p
DO GOOD WORK: Design Scholarship Opportunities in Collaboration with Social Sciences Servicing Community Organizations
No full textCesar Rivera, Sam Houston State University
In the fall of 2016, a professor of sociology lead sociology students to complete research and a strategic plan for Grimes County, TX that revealed the need for branding and website development for county offices. This professor determined her students did not have the skills to complete such interactive and branding projects and reached out to a graphic design professor to enlist the help of a design student. Work on the collaboration (design and sociology students and faculty, and county officials) is set to extend across multiple semesters with portions of the project being completed by the end of spring 2017 with a stipend of $1000 going to the design student intern for work completed. Finding common ground on the project and working with a multifaceted group of students is proving to be fruitful in the areas of design value among community leaders, faculty, and students, and evidence of positive outcomes is forming. Findings on interdisciplinary collaborative scholarly practices and activities, digital design scholarship, and civic engagement will be discussed.
Cesar Rivera is an assistant professor at Sam Houston State University.
This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 108)</p
StoryCorps interview with Todd Diacon
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/ksuscp/1/thumbnail.jpgThis interview was part of the project, Everyone\u27s Story Matters: A Kent State StoryCorps project. The interview was held on September 28, 2017 in the Performing Arts Library, Center for the Performing Arts at Kent State University.</p
The Winery at Spring Hill, Lake Erie Covered Bridge Blush
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/13/thumbnail.jpgLabel features Ashtabula County’s newest and longest covered bridge, the Smolen-Gulf covered bridge, which rises almost 100 feet above and stretches 613 feet over the Ashtabula River.</p