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Kent State University at Ashtabula & Laurello Vineyards: Sunset Red (2017)
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/17/thumbnail.jpgFirst bottled in 2017 by the wine degrees program at Kent State University at Ashtabula and Laurello Vineyards, the wine label is named for the colors of the sunset often seen on the nearby shores of Lake Erie.</p
Kosicek Vineyards, Lake Erie Chancellor (Inaugural)
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/3/thumbnail.jpgThe Chancellor grape was first cultivated by the French grape breeder Albert Siebel in the 1900s. Today, this red French hybrid is grown mainly in the Eastern region of the United States. Bottled as a varietal by Kosicek Vineyards and grown in the Lake Erie region, this wine was awarded Gold in 2014 and Gold Concordance in 2016 in the Ohio Wine Competition.</p
The Effects of Exercise Intervention on Readmission Rates for Patients with Congestive Heart Failure
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/trumbull_showcase/2017/Posters/3/thumbnail.jp
"Jim Along Josey": Play-Parties and the Survival of a Blackface Minstrel Song
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/node/9876/8775-thumbnail.jpgThe play-party was a social activity once practiced in rural America amongst Protestants in the latter half of the nineteenth century. With a desire to circumvent the church’s strict no dancing rules, as well as avoid reprimand, play-party adolescents adapted the lyrics and instrumentation of blackface minstrel songs to create a vocal music to accompany their play-party games. The main objective of this paper is to demonstrate that play-parties offered the space for the continuation and reinterpretation of minstrel practices, particularly song repertoire. In this paper, the children’s song “Jim Along Josey” is used as a case study, first to reveal the role of songs in play-parties, and secondly to demonstrate the process of musical reinterpretation that characterized this social event. The study also reveals that minstrel songs such as this have survived within the genre of children’s music due to the reinterpretation conducted by play-party adolescents.</p
Maps, Friendly Mapping Tools, And Open Data
No full textDavid Ramos, American University
Mapmaking lets designers present spatial data and tell stories about place. This workshop looks at ways of working with maps and spatial data, emphasizing accessible, affordable approaches that can nevertheless yield products of the highest visual quality. It offers a survey of software tools for producing print and interactive maps, discusses the uses of open data, and covers pen-and-paper exercises that turn mapmaking into an activity open to anyone.
The choice of mapping software for 2017 is a more difficult question than it was ten years ago. The leading commercial GIS tools are, as before, unarguably expensive and, perhaps, cumbersome for design work and web mapping. Over the past two or three years, alternative tools have flourished, but lost ease of use even as they gained features. This workshop examines mapping tools that might work well in a higher education setting, emphasizing low-cost and open source options, and seeking out programs that are user-friendly yet able to produce highly customized output.
Thanks to open data advocates and mapmaking volunteers, an avalanche of freely available spatial data has become available, from government sources, private providers, and projects like OpenStreetMap. This workshop compares major data sources and offers advice on how to acquire data for projects elsewhere.
The workshop lets participants make maps with open datasets, exploring freely available tools for print and online cartography.
The last part of the session looks at Field Papers, a set of tools for recording information in the field using pen and paper, then bringing those data back onto the computer for editing and distribution. This way of working lets anyone help to create a map, with a minimum of technological barriers.
David Ramos is a designer, developer, and design educator based in Washington, D.C. He is a faculty member in the graphic design program at American University, offering classes that integrate culture, code, and form. His professional practice encompasses user experience design, web application development, cartography and data visualization, publications, and posters. Clients include environmentalists, journalists, and entrepreneurs. David also helps run Knowledge Commons DC, a free school that has offered more than 600 classes around D.C. in partnership with public library systems, arts organizations, museums, and local businesses.
This was a workshop on June 1, 2017. 1:00–3:00pm (SCI 209)</p
Design is STEM! Understanding Interdisciplinary Design Practice and Education
No full textHye-Jin Nae, Rochester Institute of Technology
Tim Wood, Rochester Institute of Technology
The ongoing acceleration of technological development and the creation of breakthrough interactive platforms continues to transform the role of the design practitioner and educator. Roles once deeply rooted in the arts and humanities are now being pushed beyond those traditional domains to integrate ideas, topics and methods from computer science, software engineering and even electrical engineering into the design process. While this may appear to be confusing and frustrating within an interdisciplinary context, expanded design roles are facilitating greater dialog and productive interaction within interdisciplinary teams. We believe that we can make the argument that indeed, now more than ever, Design is STEM!
The presenters; one a former design executive and the other, an agency creative director with extensive experience designing consumer electronics and digital products for Fortune 500 clientele, will showcase how they see the emerging collaborative model of designers working with engineers has changed design practice and blurred the definition of design and engineering. Now in new roles as educators, both presenters will provide examples of how higher education is leveraging this new model to prepare the next generation of designers and creative technologists to have relevant careers. Through the exploration of an interdisciplinary model of curriculum; design, digital humanities, software engineering, human-centered computing and other allied disciplines are being integrated in ways that were not possible just a few years before – providing unique design educational opportunities to traditional STEM students.
Our approach to an inclusive and interdisciplinary model of design education has expanded the understanding of creative problem solving within our institution. As an appreciation of ‘design thinking’ has become more mainstream, the academic interest in design processes, methods and approaches have increased in colleges and departments outside of RIT’s School of Design. Not only has this reinforced an appreciation for the power of design, it also provides visibility into how design methods can be used to address the complex problems facing society today.
We have elevated the perception of design, not merely as the thoughtful application of aesthetic sensibility, but as a powerful tool for change. In turn, this model has yielded more dialog regarding the relevance of design thinking while creating collaborative opportunities within the educational environment. Currently, the greatest interest comes from ‘design adjacent’ disciplines, i.e., those disciplines focused on the same problem domains or those disciplines that may collaborate with design within a production or commercial context.
The symbiotic relationship of the industrial designer to the mechanical engineer, or interaction designer to software engineer is absolutely critical. Educators within those fields are creating opportunities for students to learn about and model those relationships before they enter a professional environment.
Interdisciplinary collaborations and industry sponsored engagements are balanced with a rigorous 4-year interdisciplinary degree program to maintain a strong creative component and comprehensive design focus. However, it is on the edges between the programs where the true creativity and collaborations are emerging. This presentation will explore the academic programs, teaching processes and student experience that drive design education beyond the traditional scope.
New Media Design Demo Reel
https://player.vimeo.com/video/157915046
Cross-disciplinary Collaboration Design Education Examples
Beam Beats – https://www.behance.net/gallery/38491043/Beam-Beats-New-Media-Team-Project
Ripple – https://galacticod.tumblr.com
Mendo – http://mendo.cias.rit.edu (Site no longer works)
Space Race by Bitness – http://bitnessfitness.github.io
As an award-winning and patent holding designer specializing in user experience design, Hye-Jin Nae brings her diverse and detail orientated drive to every project and class she encounters. Originally from South Korea with a background in fashion design, she is currently Assistant Professor in New Media Design at Rochester Institute of Technology. Prior to this current teaching position, she held the positions of Visiting Assistant Professor in New Media Design and Assistant Professor in Graphic Design at RIT. She holds a MFA in Computer Graphics from RIT, a BFA in Graphic Design from University of Wisconsin and a BA in Clothing and Textile Design from Sungshin Women’s University.
Prior to her academic career, she worked in the user experience design industry as a creative director and lead experience architect at EffectiveUI, lead designer at Yahoo! Inc., and sr. visual interaction designer at Eastman Kodak. She specializes in researching applied UX design and bringing that design sensibility and multi-disciplinary thinking into the classroom. Her diverse background and knowledge from designing experiences for applications, retail point of sale, consumer products, a wide variety web applications and web properties are directly integrated into the classroom. Her detail oriented approach to design is shared with freshman to seniors from basic design elements to cutting edge UX design projects. She continues to research UX for traditional and new paradigms while building the foundation for tomorrow’s design education.
Tim Wood is currently Assistant Professor of Industrial Design and Interaction Design at Rochester Institute of Technology. Tim is most interested in emerging technologies, the frontiers of interaction design, and how these two areas are rapidly changing the nature of the human experience and even how we think about design itself. With extensive experience in design strategy, the architecture of interactive systems and the design of digital products, he is keenly aware of the changing nature of design and new roles designers are being asked to fill. In his role at RIT, he is committed to ensuring that the next generation of product designers have the right skills to shape the future of our world.
Tim holds a MFA in Computer Graphics from Rochester Institute of Technology, an Advanced Certificate in Interactive Media Development from Rochester Institute of Technology and a BFA in Design Arts from Memphis College of Art. Prior to RIT, he was VP of User Experience and Design at EffectiveUI and before that he held the position of Creative Director for Design Innovation & Advanced Development at Eastman Kodak. Tim is an award-winning designer in his own right and is an internationally recognized speaker and author on the topic of user experience and user interface design.
This was a Long Paper Session: STEM/STEAM on June 2, 2017. 2:30–4:00pm (SCI 108)</p
Modes: Multi-sensory Media Experience for Stress-Reduction
No full textEmily Verba Fischer, University of Cincinnati
John Hebbeler, University of Cincinnati
In societies where productivity is prioritized over presence, stress abounds. The extensive and alarming effects of stress on the mental and physiological wellbeing of college students inspired a cross-disciplinary team to tackle this problem using their combined expertise in visual design, music technology, psychology, art therapy, and mindfulness. The Modes experience is an atmospheric, introspective, and aesthetically sophisticated engagement of three senses: ophthalmoception (sight), audioception (hearing), and tactioception (touch). Through immersive interaction, mesmerizing visual and aural landscapes are generated in order to reduce stress in college students while simultaneously entertaining them. The two measurable outcomes of Modes are (1) the reduction of the stress hormone cortisol in users, and (2) the reduction of user heart rates.
The design and functionality of Modes are rooted in tenets of mindfulness practice and Ayurveda — an ancient Indian healing system emphasizing inner balance as a method for maintaining health and wellness. Interacting with Modes is like playing in a sandbox of dynamic visuals and sounds. Users begin by selecting and entering one of three digital environments, each offering a unique mindfulness practice designed specifically for stress reduction. A recent scientific study proved that mindfulness practice reduced overall mean diurnal cortisol in test subjects. In this study, cortisol levels were measured and assessed using a saliva collection tool. There is reason to believe that the same saliva test (to be performed in June, 2017) will prove Modes successful in reducing the stress hormone cortisol in users.
Emily Verba Fischer is a designer, educator, and researcher. She has been a faculty member in the School of Design at the University of Cincinnati since 2011, where she primarily teaches information design, typography, motion design, and design methodology. An Ohio native, Emily returned to the Midwest after receiving an MFA in Graphic Design and MA in Visual Communication and Iconic Research from the Basel School of Design in Switzerland. Prior to her studies in Switzerland, she lived and practiced design in New York City, San Francisco, Seattle, and France. Emily’s academic research concerns information visualization — the creation and study of visual data for ease of understanding by the masses. In our age of information overload, she is interested in information design’s potential to marry ultra clear communication with aesthetic sophistication. Emily frequently travels abroad to present her research and pedagogy surrounding information visualization and the moving image. Her work has been featured in exhibitions and publications nationally and internationally.
John Hebbeler is a musician exploring areas of digital media; fusing elements of sound, video and web production with computer technology. As an Assistant Professor within the Electronic Media Department at the University of Cincinnati’s College-Conservatory of Music, he teaches a range of courses that include studio production, digital audio production, advanced studio prodution, integrated media production and special topics and honors courses. Hebbeler’s graduate work included the creation of interactive trans-media compositions that integrated iPhone and Wii remote technology into live audio and visual performances. His work includes the development of computer-based applications for iPhone, iPod, and iPad mobile media devices that use Open Sound Control programming and accelerometer technology to fuse aspects of composition, production, and performance. His original compositions have been distributed by Spotify, iTunes (US, Japan), Amazon, Rhapsody, eMusic, Zune, Tradebit and Last.fm.
This was a Poster Session on June 2, 2017. 4:00–4:30pm (SCI Lobby)</p
Digital Arts / Social Justice: Working Group And Exhibition
No full textCamila Afanador-Llach, Florida Atlantic University
Designers in academia interested in collaboration face the need to define and highlight the value of design by building relationships, proposing, structuring, funding and sustaining collaborative projects with other scholars. The creation of spaces within universities for professors of diverse disciplines to interact is a step in that direction. In this poster, I present a case study based on my experience as part of a working group exploring the intersection of digital art, scholarship and social issues. The group was launched in late 2015 by visiting digital media artist and scholar Sharon Daniel and was composed by faculty and graduate students from the Departments of English and Visual Art. Daniel’s engagement with social issues through digital media platforms served as broad context for the group members to explore and incorporate digital tools to address and pursue research and creative interests around social justice, politics, memory and identity, among other subjects.
The resulting product of this collaboration was a group exhibition showcasing screen-based work including video, data visualization, audio essays, and interactive narratives. Central to the process involved in the production of some of these projects, a question remains on the line that separates design as a service from design as a collaborative endeavor. I evaluate the work produced by the group using the distinguishing features of collaborative projects to identify challenges and opportunities. I conclude with recommendations for designers to engage in this type of work with a better understanding of the variables that characterize collaborative work. For a more collaborative future, as design educators we have the option to assume leading roles in interdisciplinary practices within academia and to bridge these into design education.
Camila Afanador-Llach is a designer and educator currently based in South Florida. She teaches courses in typography, interactive design and visual identity systems at Florida Atlantic University. Camila received her BFA in Industrial Design from Pontificia Universidad Javeriana (Bogotá, Colombia) and her MFA in Graphic Design from Rhode Island School of Design. Previously she worked as an in-house designer in Bogotá and more recently for a branding and design firm in Boston, MA. Her research interests include interdisciplinary approaches to design education and the roles of design in connection to history, geography and identity.
This was a Poster Session on June 2, 2017. 4:00–4:30pm (SCI Lobby)</p
1970s, Debonne Vineyards
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/debonne_images/11/thumbnail.jpgEarly view of the completed chalet. Constructed in about a year, the winery\u27s grand opening ceremony occurred on May 27,1972.</p
1980s, Bottle Processing at Debonne Vineyards
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/debonne_images/13/thumbnail.jpgAs production volume increased, the winery invested in more modern equipment to meet consumer demand. One of the final stages in wine production, the bottling process involves assembling the bottles and washing, santizing, filling, corking, dressing, and labeling.</p