2199 research outputs found
Sort by
1985, Debonne Vineyards Receives Medals at the International Eastern Wine Competition
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/debonne_images/25/thumbnail.jpgDebonne\u27s Vidal Blanc and Johannisberg Riesling receives a Silver and Bronze medal respectively at the International Eastern Wine Competition. Started in 1975, the event is one of the oldest and longest-running wine competitions in the nation
Kosicek Vineyards, Grand River Valley Concord
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/4/thumbnail.jpgThe Kosicek story began with the Concord grape over eighty years ago and continues today. Before opening the winery, Tony Kosicek, a third generation grape grower, sold Concord grapes harvested on land purchased by his grandfather in 1929 for juice to Welch\u27s. For the consumer the “estate” on the wine label signifies that 100% of the grapes used to make the wine came from Kosicek family farm. For the Kosicek family it represents their past, present, and future.</p
User-Centered Design: Design Thinking by Developing Understanding and Empathy
No full textMiHyun Kim, Texas State University
Design as a professional discipline has undergone a tremendous evolution in the last generation from a practice focused mainly on aesthetic style to one with a clear and explicit focus on the “user” (aka: person or group of people who use a product or service) and their hopes, desires, challenges, and needs.
By establishing empathy with the user, designers are able to work toward outcomes that meet those needs more successfully. This user-centered approach known as “design thinking” enables designers and others to address a wide range of complex business and social issues.
Nowadays, design is measured by how well it fulfills our users’ need. When we shift the conversation from one about features and functions to one about users and user outcomes, we deliver more useful, usable, and desirable solutions. By doing so, more importantly, the design earns the trust, respect and repeat from the users.
This poster contains hands-on activities for practicing collaboration and putting the user at the center of our design projects. There are 5 activities; 1) hope and fears 2) stakeholder map 3) empathy map 4) scenario map 5) prioritization grid. This poster explains each activity by establishing the design thinking framework, understand your user’s problems and motivation, explore new concepts, prototype designs and evaluate.
Hopes and fears: 10-15 minutes
This activity helps you get to know each other, expose aspirations and concerns and prepare everyone to start
Stakeholder map: 20-30 minutes
This activity helps you identify project “stakeholders”, their expectations and relationships. “Stakeholders” can include teams, team roles, project leads, executives, partners, customers and end users.
Empathy map: 30-45minutes
Empathy maps helps to rapidly put your team in the user’s shoes and align on pains and gains
Scenario map(As-is/To-be): 25-40minutes
As-is Scenario Maps help to document collective understanding of user workflows and are best used as processors to exploring new ideas. To-be Scenario Maps tell the story of a better experience for your user.
Prioritization grid: 25-40 minutes
This activity helps your team evaluate and prioritize them by focusing discussion on importance and feasibility.
MiHyun Kim holds MFA from University of Massachusetts in Dartmouth and she currently lives and works in Austin, Texas. As a graphic designer, artist, educator and maker, she has always been interested in the relationships between binary pairs; Eastern and Western, Art and Eesign, and You and I. The in-between spaces are often hidden, secretive and few people pay much attention to them. For the past 10 years She has been teaching Graphic Design, specializing in typography, web typography, interactive design. Currently, she is teaching at Texas State University as an Assistant Professor of Interactive Design within the School of Art and Design.
Reference
IBM Design Thinking: https://www.ibm.com/design/
This was a Poster Session on June 2, 2017. 4:00–4:30pm (SCI Lobby)</p
Students designing understanding: Design + Code + French = Play
No full textCary Staples, University of Tennessee
As opposed to creating a product that teaches; the focus of the “APP Farm” is to create a workshop that allows students to seek and acquire information by solving the problems inherent in creating a product. “On the surface, the union of the humanities and video games might seem odd, the former focused on thoughtful reflection, context and contingencies, and the latter on reflex, immediacy and instantaneous feedback. In practice, however, this union is increasingly proving to be an enormously profound one, with games providing a platform for more experiential ways of engaging history, literature, philosophy, and even religion.” (Humanities Arcade, 2016) Based on the critically acclaimed analog game series by Brenda Romero, “The Mechanic is the Message“, “[Romero] suggests that games are capable of a higher form of communication, one which actively engages the participant and makes them a part of the experience rather than a passive observer.” Games are particularly powerful teaching and learning tools. Instead of giving information to students, games pose questions that James Paul Gee (2007) would call “pleasantly frustrating” so that the player is invested in finding the answer. Games also have the ability to provide the player with information “just in time” to allow the player to accomplish the quest.
Deborah Smith-Shank (2014) suggests that the current teaching dynamic “…assumes that there is a correct body of knowledge for a teacher to communicate to students. These models assume a hierarchical architecture of facts and ideas with higher forms of knowing built through some concatenation of simpler forms. In order to move away from the dominant hierarchical model, it is necessary to develop an entirely different framework.” The notion of “student as receiver of information” needs to evolve to “student as author of understanding.” To empower such learning, we have developed a working design studio. Using French culture + language acquisition as the subject matter and employing cross-functional teams including Graphic Design, French, Computer Science, Music and Education, students and faculty collaborate to facilitate the design and development of an app. Students were challenged to design materials to help peers understand course content in a meaningful way. The goal of the studio is to allow students to experience STEM learning and humanities learning through the lens of design.
Cary Staples is a designer. period.
She is also an educator, a creative problem solver, a math geek, an origami explorer and a game developer. With 25 years of professional design experience, her newest project is The App Farm. The App Farm endeavors to frame problems so that cross-functional teams can come together, each from a specific area of strength, to collaborate and create innovative learning landscapes and experiences.
This was a Long Paper Session: Student-led Labs on June 3, 2017. 9:00–10:30am (SCI 106)</p
Mycorrhizae: An Ecosystem Of Collaboration Parallels And Creative Investigation Into The Fungal Root Network Of Plant Communication
No full textKimberly Long Loken, Assistant Professor, University of Wisconsin-Stout
Samantha Kufahl, student co-presenter
Austin Lewer, student co-presenter
Abby Anderson, Greg Bormon, Megan Daniels, Kelly Goedeke, Alex Greene, Jack Haessly, Curtis Leszczynski, Laura Bernadette Meeker, William Rutter, Peter Sowinski, Michael Swearingen, Collin Stremke, Walter Trush, BFA candidates.
We as a species share a symbiotic relationship with every other living plant and creature on Earth. The interconnectedness of plant communication echoes the practical and abstract binding of our societal structures.
Fifteen students from six majors worked together to respond to the Climate Chaos/Climate Rising theme of Northern Spark 2017, a nuit blanche festival in the Twin Cities. They designed an illuminated, polymorphic installation which visually represents the way in which plants transmit chemical messages to one another – an ecosystem our society should heed.
A collection of white, modular structures charge the negative space between park trees, acting as an extrusion of the mycorrhizal fungal network in the soil below. A place to meander, visitors are encouraged to physically engage these fibrous projection surfaces in several ways, thereby entering the dialogue. A projection-mapped animation anchors the grouping, completing the impression of sentience and vitality. Beyond these visual and haptic interactions, ambient sound and scent cues also communicate with the public. Both the animation and the modular structures share generative patterns derived from tree species on site. The frames and fibers of the modules are constructed of up-cycled materials.
A faculty/student co-presentation, we will highlight the process of developing – and focusing – concepts and studies by a broad group of collaborators toward a unified outcome.
Additional Notes
This project was collaboratively designed by junior and senior level students majoring in animation, film, illustration, industrial design, game design and sculpture. It will debut publicly at the Northern Spark festival on June 10-11, 2017, but documentation of full-scale mockups will be included in the June 1-3 AIGA conference presentation. A companion website (posting still active) is a growing repository of 360 VR content and extensive process documentation. https://transmediaworkshop.wordpress.com/
As an architect, Kim Loken’s creative research and pedagogy embrace a variety of disciplines to inform the creation of rigorously researched, highly sensorial spaces, whether in the built environment of virtual worlds. Her student collaborators draw upon shared foundations in the fine arts as well as intermediate and advanced coursework in their respective majors – animation, comics, film, game design, industrial design and sculpture. Loken is an Assistant Professor at the University of Wisconsin-Stout.
This was a Lightning Round Session on June 3, 2017. 10:30–11:00am (SCI 106)</p
Digital Aesthetic and Spatial Self
No full textAkshita Sivakumar, Massachusetts Institute of Technology
This body of research contends that basic design training requires malleable aesthetic and spatial sensibilities, which in turn can cultivate a changing sense of self. “A sense of self” here draws on William James’s and Ulric Neisser’s plural conception that includes self-knowledge, sense of agency, meaning-making, ownership, and narrative continuity, which all combine to motivate our actions in the world. How we are trained to perceive, apprehend, cogitate, examine, reflect, record, and practice these sensibilities guides how we identify and piece together our experiences in the world as a series of aesthetic and spatial fragments. This construction and cultivation of malleable attributes of self is prescient and relevant to fields beyond design. The site of cultivation lies beyond the mind. I build a case that these contentions are picking up on recent waves in situated and embodied cognition, and posthuman discourse that have each reclaimed the body and the non-human respectively as extended sites of perception and cognition. Rather than working in disciplinary silos that engender the proliferation of canons and inhibit the creation of common ground, design can subsume their motivations in order to make the malleability of self operational by developing new methodologies and suggesting new materials. To achieve these two goals, I embody cognitive science and posthuman discourse, in order to make visible their pursuits, knit together their underlying values, and frame their common calls as design problems. Through this, I develop a new methodology called Performative Experiments that primes the malleability of aesthetic and spatial sensibilities by estranging one from canons and rote moves. Just as parkour engages the displaced center of mass from the human body into the surroundings that are appropriated as an extension of the body, so do performative experiments arrest the spatial and aesthetic aptitudes growing out of a malleable sense of self. I also build a case for the shadow and shadow silhouette as materials with which to engage these methodologies. By making absent inherent material, texture, volume, and depth, they are able to render equal human and non-human, and alienate known formal and spatial attributes of objects, bodies, and events. In order to enact the case I’ve built, I present Hogarth’s Silhouettes as a proof of concept of a foundational experiment in design education. My claim is that it puts into play a malleability of aesthetic and spatial sense of self, which constitutes a new form of design thinking/doing, across disciplines.
Video on YouTube, Hogarths Silhouettes- https://youtu.be/eR83HywSpr4
Akshita Sivakumar is a post graduate student at the Massachusetts Institute of Technology.
This was a Poster Session on June 3, 2017. 11:00–11:30am (SCI Lobby)</p
Visual Thinking Methods for Understanding Each Other
No full textJessica Parris Westbrook, DePaul University
Adam Trowbridge, DePaul University
The design and development of systems, including products, games, and experiences requires the expertise of a wide range of creative people who need to share their ideas and communicate with each other. Some of these people are designers, some are researchers or data scientists, some are writers, some are architects, engineers, programmers, some are artists or media producers. Each person involved has discipline-specific skills and is trained in the use of discipline-specific language, tools, conventions, and methods. This paper/presentation collects and investigates visual thinking methods used in a range of creative practices. It seeks to go beyond the all too familiar Post-it note and traces histories and evolutions of established visual methods for generating, planning, capturing, sorting, and communicating in-progress ideas.
Jessica Parris Westbrook is a media artist, designer, researcher, and creative coder. She uses design to negotiate and organize the joys and struggles of information and understanding. Westbrook is currently an Associate Professor in the School of Design, College of Computing and Digital Media at DePaul University in Chicago, IL (2016). Before taking a formal interest in higher education and learning, Westbrook worked professionally in a range of capacities from front-end web developer and interactive designer to creative director while maintaining an active independent interdisciplinary studio practice. Westbrook has an MFA in Photography from Tyler School of Art, Temple University, Philadelphia, PA (1998), and a BFA in Photography from the University of Central Florida, Orlando, FL, 1996.
Adam Trowbridge is a designer, programmer, and code media researcher. His current work focuses on biobehavioral interface design, mobile health, programming pedagogy for designers, and geolocated augmented reality. He is currently developing an OS for and by designers, starting with assembly language, as a speculative design and open source project promoting creative autonomy. His previous projects employed augmented reality to highlight police omnipresence and security theater. Trowbridge holds an MFA in Electronic Visualization from the University of Illinois Chicago and worked professionally in design and UI/UX in range of capacities including: Information Architect, Director of User Interface and Design, Web Developer, and Director of Project Management.
This was a Long Paper Session: Practice and Process on June 2, 2017. 10:30–12:00pm (SCI 106)</p
A Study Investigating the Design Learning Process in Relationship with a “Reflective Practitioner”
No full textRebecca Roe, Azusa Pacific University
For this study, I will be asking design students to reflect on their learning process and the impact of digital media. Upper-division design students who attend Azusa Pacific University, Azusa, CA will be the focus participants. While the researcher knows most of the students, other design professors will also be included. The goal of the study is to identify moments in creative processing when design students are able to discern they have attained new knowledge about design. The process will include interaction with reflective practitioner/instructors who enable this awareness.
Dan Schön’s book, The Reflective Practitioner, remains a key reference for describing that knowing and doing can happen simultaneously. He suggests knowledge is created when student work is evaluated and discussed with a design practitioner/instructor; and adjustments are made leading to further evaluation and knowledge production. This kind of knowledge creation is different from both the traditional positivist approach (quantitative) as well as the more contemporary approaches that value subjective meaningfulness or qualitative analysis. Otto and Smith use “the term style of knowing to indicate that the production of knowledge involves more than thinking and reasoning; it also comprises practices of acting on the world that generate specific forms of knowledge.”[1]
This study will apply a phenomenological method for describing meaning for several individuals of lived experiences of a concept,[2] in this case, students reflecting on their learning process. This research method commonly uses interviews along with additional documents, observations, and art as forms of data collection.[3] I will use semi-structured interview questions and journal keeping. The journal will focus on students’ thoughtful awareness of design knowledge attained and applied, and the influence of learning via digital media. As well, I plan to be a participant observer during some of the class sessions and engage other professors in conversation. It is anticipated that design-centered learning, or learning by doing, is an effective way to learn in arts environments and that the learning action between student and instructor, produces and enhances actual knowledge production.
[1] Ton Otto and Rachel Charlotte Smith. “Design Anthropology: A Distinct Style of Knowing” in Design Anthropology: Theory and Practice, ed. Wendy Gunn, Ton Otto, and Rachel Charlotte Smith, 11; authors’ italics.
[2] John W. Creswell, Qualitative inquiry and research design: Choosing among five approaches (Thousand Oaks, CA: Sage Publications, 2005) 57.
[3] Creswell, Qualitative inquiry and research design, 79.
Rebecca Roe grew up in southern California where she began her career as a designer, working for non-profits and educational institutions. She began teaching in the mid 1990s: first as a part-time lecturer and now as an associate professor at Azusa Pacific University. As an educator, her goal is to help students shape their identity in ways that anticipate their role becoming professional designers.
This was a Lightning Round Session on June 2, 2017. 4:30–5:00pm (SCI 106)</p
Ice-Time: Art-Science Expedition Field Report
No full textClea T. Waite, University of Southern California
The Ice-Time project is a creative response to the perilous state of Earth’s ecosystem. Ice-Time will be an immersive, multi-projection video and sound installation combining art and science that minutely examines the structure of ice to reveal the time embedded within. The project conveys the essence of ice and its intimations, eliciting the poetics contained within frozen water as revealed by current climate research. Glaciers, like geology, are a primary indicator of the deep time of our planet’s environment. Ice is also the most visible indicator of the short-term effects of climate change. Glacial ice presents a four-dimensional hyper-view into time and space, an icy tesseract giving us an 800,000 years view backwards into Earth’s climatological past and forwards towards the pending outcomes of current rising temperatures.
This essay presents the cinema-installation Ice-Time as work-in-progress, focusing on the project’s background research. We present a field report from our filming expedition to Western Greenland in 2016, above the Arctic Circle, in which we combined the methods of a naturalist in the field, collaboration with experts, and the collecting of scientific and cultural data.
Ice-Time focuses on the relationship between ice, time, climate, and Western culture. The film occupies a hexagonal, six-screen cinema architecture of translucent projections that layer in a faceting effect, merging into crystalline collages of shifting combinations as visitors move through. A three-dimensional soundscape expands the image space, composed from the field recordings of live ice, sonified glacial data, excerpts of interviews with researchers, and literature. By means of a vivid, material presence of image, sound, data, and time, the immersive cinema-installation presents a proprioceptive interaction of form and content, creating an embodied, participatory film that imbues the spectator with a deep awareness of the environmental and cultural implications of ice.
Clea T. Waite is an intermedia artist, scholar, and experimental filmmaker whose artworks investigate the artifacts and poetics that emerge at the intersection of art and science. She creates somatic, cinematic works that engage with climate change, astronomy, particle physics, and popular culture via immersion and sensual interfaces – as well as one inter-species collaboration with several hundred tropical spiders. Currently completing her PhD at the University of Southern California in Media Arts + Practice, Waite combines a background in physics and computer graphics from the MIT Media Lab with her current research in cinema, media art, and critical theory. This multifaceted background brings a unique blend of expertise to her projects from which cross-disciplinary synergies emerge. Waite’s artworks have been exhibited and awarded internationally, notably the IBM Innovation Prize for Artistic Creation in Art and Technology, the GC3 at the Miraikan National Museum of Emerging Science and Innovation, and most recently the Open Sky Project for the ICC tower, Hong Kong. Recent publications include articles in the Spherical Book Project from the Aalto University Tangential Points Publication Series, Inspiration of Astronomical Phenomena published by the Astronomical Society of the Pacific, Animation Practice, Production & Process from Intellect Journals, and proceedings from the International Symposium on Electronic Art. Waite’s fellowships include an Alexander von Humboldt Foundation Fellow, a Radcliffe Institute for Advanced Studies Fellow, CERN European Laboratory for Particle Physics artist in residence, and fellow at the Academy of Media Arts Cologne. Waite has previously held positions at the Academy of Film and Television Babelsberg, Pratt Institute, New York, and the University of the Arts, Berlin.
This was a Lightning Round Session on June 3, 2017. 10:30–11:00am (SCI 108)</p
Valley Vineyards Wine & Beer List, 2017
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/valley_documents/1/thumbnail.jpgSelection of craft beers and estate wines available at Valley Vineyards.</p