2199 research outputs found
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The Spirit of Standing Rock Sioux Nation and the Dakota Access Pipeline
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/womensleadership_2017_bio_gallery/1/thumbnail.jp
Original Protest Art
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/womensleadership_2017_bio_gallery/7/thumbnail.jp
WLS Poster
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/womensleadership_gallery/16/thumbnail.jpgPoster for the 4th Annual Women\u27s Leadership Symposium: Framing Art and Protest
2017. Art work by Cassie Phillips, poster design Christopher Harvey</p
1980s, Original Pavillion at Debonne Vineyards
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/debonne_images/27/thumbnail.jpgScenic views of the Grand River Valley region under a vine laiden outdoor pavillion offered winery guests a place to relax and converse with friends and family
Algal Blooms at Lake Erie
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/trumbull_showcase/2017/Posters/1/thumbnail.jpgHarmful algal blooms are a large amount of microscopic photosynthesizing aquatic organisms that produce biotoxins. This type of vibrant green algae contains cyanobacteria and eukaryotic taxa. It also produces a visible algal scum on the surface of the water and causes taste and odor issues in drinking water. Cyanobacteria found in this algae can contribute to human health problems, such as, skin irritations from contact, gastrointestinal, respiratory, and neurological issues. It is also harmful to animals, mainly canines and livestock. The main causes of these algal blooms are fertilizers used in agricultural practices, urban runoff, and improper treatment of wastewater. Also, zebra and quagga mussels that have selective water filtration. In addition to the main causes, precipitation, wind, and temperature can aid in the growth of algal blooms. As these blooms decompose the water is depleted of oxygen, which results in fish mortalities. Although not all algal blooms are harmful, Lake Erie has become well known for its harmful algal bloom events that occur mostly in the Western basin of the lake. Researchers continue to test and monitor the water in effort to predict the blooms and prevent the harmful effects caused by it.</p
Meranda-Nixon, Trotter White (2015)
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/winelabels/8/thumbnail.jpgOne of eight varieties of wine produced on eleven and half acres in the southern Ohio River Valley region of Ripley, Ohio, this illustrative label showcases the family’s fondness for horse racing. An awarding wine at the Finger Lakes International and Ohio Wine Competitions, the wine is described as sweet and spicy with tropical flavors and a smooth finish.</p
Call and Response: A collaboration between a Printmaker and a Motion Designer
No full textVanessa B. Cruz, University of North Florida
This poster explains and explores the experiences brought about when two colleagues began to discuss the differences between Fine Art and Design. My colleague, Sheila Goloborotko and I wanted to ask our selves where does one begin and the other end? We know that our students have two very different expected outcomes when creating work. One side looks to create conversations between its viewers, and the other wants the idea specifically and clearly communicated at first glance. However the visuals of both solutions can end up being similar to one another, so why this distance between our students? We thought to place ourselves in our own experiment: to try on one another’s medium. To learn how to express ourselves in an unfamiliar medium. As anyone who has experienced when learning another language, the same was true in the other’s medium- some of the conversation got lost in translation. As we stumbled over each other trying to learn and adapt to the fluency level of our partner, we learned much about each other’s talents, gifts of teaching, as well as what our students may feel when entering in our classroom.
The process of Printmaking and Motion Design have many similarities. Both require a very specific processes in order to create a final piece, take days to create, and both require great attention to detail. However, there is a huge disconnect in that one is a static piece of visual art and the other exists in a purely digital format, existing for a specific amount of time. It was fascinating to see the Printmaker focus on her mark making while the Motion Designer made those marks come to life. As I was taught some fundamentals of mono printing, I began making cycles immediately thinking how it would translate into time-based media. While my colleague, was fascinated in exploring all the ways to make a single image move and evolve.
The result of this collaboration resulted in a short film titled: Call and Response. The film was debuted at the 2016 Southern Graphics Council International conference in a peer-reviewed film festival curated by renown filmmakers Barbara Tetenbaum and Marilyn Zornado at the White Box Gallery in Portland, OR. This experience served as an explosive catalyst for future course development. A cross-boundaries course is currently being developed for graphic design and printmaking students, in which graphic design students will learn the traditional meaning of printing in CMYK through silkscreen, and printmaking students will get to experience translating their work into motion graphic pieces. As our students advance, they need to be challenged to redefine their relationship to the respective disciplines. Artistic literacy is increasingly necessary to understand the implications of our radically changing environments, and for students, engaging in the aesthetics of other disciplines can facilitate this critical dialog.
Call & Response video- https://vimeo.com/160459912
Vanessa B. Cruz received the prestigious Fulbright Award twice: first as a Scholar Award in 2012 in Media Arts, where she lived in Dublin, Ireland working with the National College of Art and Design, and gathering research for her latest projects: RUIN and Pub Stories, and second as a Specialist Award in 2014, teaching MFA and BFA students at the FachhochschuleSt. Pölten, in St. Pölten Austria. She attended The California Institute of the Arts in Valencia, CA, where she earned her MFA in Experimental Animation and holds a BFA in Film/ Video/ Animation from the Rhode Island School of Design. In 2005 she joined the University of North Florida faculty after working in the animation industry for over ten years.
This was a Poster Session on June 3, 2017.11:00–11:30am (SCI Lobby)</p
Designing Complex Research: Using Experience Design to Plan and Organize Collaborations with the STEM and Healthcare fields
No full texthttps://kent-islandora.s3.us-east-2.amazonaws.com/node/17018/86802-thumbnail.jpgAaron Ganci, Indiana University, IUPUI
Rebecca J. Bartlett Ellis, Indiana University, IUPUI
James Hill, Indiana University, IUPUI
Euzeli C. dos Santos Jr., Purdue University, IUPUI
Modern research endeavors that originate in STEM fields, especially those that overlap with healthcare, are increasingly multi-faceted and involve a complex network of interconnected roles and activities. As STEM continues to intersect with medical research, there will be an increasing need for designers to use their skills to also improve process rather than design artifacts. However, design’s involvement in these environments can still be somewhat trivial, being reduced to simple graphic design or artifact generation in service of more serious, scientific inquiry. To advance design’s position within these collaborative research engagements, researchers need to proactively inquire about ways to have more influence. This paper will detail one such inquiry through a case study of a recent collaborative project. In this study, design activities are used to both produce artifacts for a STEM-centric healthcare intervention and, more importantly, used as a way to organize and focus the research team’s process and activities.
The research project at the center of this case study is titled “Development of InterACT Intervention (mHealth) to promote medication adherence and blood pressure control in CKD.” (PI: Bartlett, Ellis). This project aims to develop a system where designed artifacts (a ‘smart’ pillbox and connected mobile app) and in-person interventions are used to improve the way patients take medication. A design researcher was initially invited into the project to design the intervention artifacts. However, this design activity was only one small part in a much bigger endeavor, involving a complex network of input from colleagues in Medicine, Pharmacology, Nursing, Electrical Engineering, Computer Science, mHealth Communication, and Design. Because so many people were involved and it was impossible to work in tandem with each other constantly, the team started to experience a breakdown in communication. Specifically, there was confusion about how each researcher’s individual contributions connected and the final data collection experience. In their focused production of individual components, the team began to lose sight of the cumulative aims.
Upon investigation of this problem, it became apparent that journey mapping—which is traditionally used to describe consumer experiences—could serve as way to plan and synchronize research efforts, thus enabling researchers to simultaneously see micro- and macro-level details. This case study will reveal how the transdisciplinary team utilized a design-lead exercise to plan their intervention and data collection processes. Outcomes from this investigation will be shared and include a detailed experience map and insights on how to replicate the process in other STEM and healthcare intervention projects. Design researchers are constantly exploring ways to situate themselves within academic research. The findings from this case study will provide one more outlet for them to utilize and build upon in the future.
Full size PDF attached
Aaron Ganci is UI / UX designer and an Assistant Professor of Visual Communication Design at Indiana University’s Herron School of Art and Design (IUPUI). With professional experience in graphic, interaction, and user experience design, he is an expert in both the visual design of digital interfaces and in the translation of user needs into useful, usable, and desirable experiences. He is a frequent consultant on the design of websites and software interfaces, most recently for the IU School of Medicine, the Online Computer Library Center (OCLC), and The City of Indianapolis. In addition to professional creative activity, Professor Ganci also studies contemporary industrial practice and the use of technology to personalize design artifacts.More information about his practice and research can be found at aaronganci.com.
Rebecca Bartlett Ellis, Ph.D. is an Assistant Professor in the Indiana University School of Nursing (Indianapolis). Her research aims to produce new knowledge to reduce the complexity of medication self-management and improve adherence in people managing multiple chronic conditions. Her research interests lie in the use of sensors and mobile health (mHealth) technologies to measure the socio-cultural contexts and biobehavioral mechanisms related to medication-taking behaviors, adherence and treatment efficacy, and intervene to improve clinical outcomes.
James Hill, Ph.D. is an Associate Professor of Computer Science in the School of Science at IUPUI. His primary areas of research include heterogeneous software system composition and integration, real-time software instrumentation, software performance analytics, and static code analysis, and its application towards the early design and engineering of large-scale networked software systems. He has extensive experience working with a wide-range of open-source and commercial software systems, integrating with such systems, and designing and implementing data collection systems from the ground-up.
Euzeli dos Santos, Ph.D. is an Assistant Professor of Electrical Engineering in the Purdue School of Engineering and Technology, IUPUI. His research interests include power electronic, renewable engird systems, energy efficiency, and power converters. He has expertise and a broad background in building prototypes with integrated sensors to successfully carry out the goals of collaborative research projects.
This was a Long Paper Session: STEM/STEAM on June 2, 2017. 2:30–4:00pm (SCI 108)</p
Using Digital Archives to teach Global Design History
No full textDori Griffin, Ohio University
This collaborative working session will bring together design educators who use digital archives as a tool for teaching design history, facilitating the sharing of resources and strategies. Both studio-based and scholarly historical teaching modes are welcome. Before the workshop, participants should reflect on their own praxis and bookmark their favorite resources. In what contexts are digital archives most useful as a resource for teaching history? How can digital resources expand our concepts of design history beyond the scope of the traditional Modernist canon of western Europe and North America? Which assignments have fostered successful learning experiences? What are the pedagogical goals of these assignments, and which digital archives have been most useful in meeting them? How might we guide the process of engaging with image research in the digital environment? We’ll use the questions above as a starting point. Further foci may emerge from participants’ dialogue around these introductory questions.
The immediate goal of the session will be for participants to share resources and strategies with one another. The broader goal is that participants will generate collaborative content for a multi-authored journal article. This article will document how design educators use digital archives to foster critical engagement with global historical source material. Many design educators teach graphic design history as an addendum to their studio teaching practice, often without significant institutional support or prior training. Developing a body of case study literature benefits educators and students by providing access to practical yet critically-engaged pedagogical strategies. However, the indexed literature offers little record of the vital yet ephemeral conversations taking place at conferences. This workshop seeks to facilitate and record a substantive, multi-vocal dialogue that will be of lasting practical use to design educators. Participants with on-going investment in the topic may wish to work collaboratively as co-authors after the conclusion of the session. Others may wish to contribute only through participation in the workshop’s dialogue, which will be documented so that contributors may be properly credited.
Explore the digital archives that make accessible the global design history artifacts in the header image (top). From left to right: A 1925 artist’s book by Hagiwara Kyōjirō, Shikei senkoku, in the Monoskop digital archive of Avant Garde magazines; an 1833 Cherokee hymnal in the Duke University Religious Materials collection; a copy of Two Technological Treatises, an Arabic language manuscript copied in Shawwāl 691/12 (1292 CE) and made available by the Qatar Digital Library; an anonymous 1967 Chinese papercut asking viewers to “Support the Army and Cherish the People” from the University of Michigan Digital Collections; and The Kalpasutra, a 1503 Prakrit manuscript (item #L0034105) in the Wellcome Library.
This was a workshop on June 1, 2017. 3:30–5:30pm (SCI 209)
Dori Griffin teaches graphic design and design history at Ohio University. She researches and writes about the history of popular visual culture in the twentieth century, as well as exploring issues in contemporary design pedagogy. Dori has published articles in Visible Language, the Journal of Communication Design, Dialectic, and Imago Mundi. Her first book, Mapping Wonderlands, was published by the University of Arizona Press in 2013. Currently, she’s at work on a book about the history of the type specimen as a visual form and a professional practice. This project emerges from her 2015 research fellowship in the Cary Graphic Arts Collection at the Rochester Institute of Technology.</p
Developing Complex Systems With Low-Fidelity Prototypes
No full textTom Maiorana, University of California, Davis
If design is to continue to make a credible claim that it can solve the world’s most pressing problems, our tools must evolve to address increasingly complex, dynamic and connected product systems. This paper explores the ways which low-resolution prototypes can be used to address complex challenges with minimal risk, investment and time.
The practice of rapid-prototyping has become central to product development, but changes in the ways that products and services are conceptualized, built, distributed, and used require a new way of thinking about this critical practice. Traditional prototypes focus the object or solution. But modern products are increasingly utilizing human interaction and social systems as a core part of the offering. Technology-driven prototyping tools can handle complexity, but fail to offer the flexibility and inclusive necessary for rapidly changing landscapes where a variety of contributors and approaches are necessary. Unfortunately, most low-resolution prototypes are ill-equipped to handle these complex environments. Designers will need tools that illuminate potential futures to their stakeholders, teams, and a growing list of collaborators. And they will need to do this in less time. This paper explores ways of reimagining prototypes so that they may be used to help understand complex systems in rapid, low-risk, ways. This paper will illustrate the ways which a variety of prototyping methods bridge the gap between analog, digital and social systems. Examples from software to festivals will yield insight and actionable frameworks for designers of complex product systems and services.
BMX flips as a metaphor for prototyping complexity.
Faculty members from five different colleges using low-fidelity prototypes to help shape the strategy for “The Hive”.
Tom Maiorana is an Assistant Professor in the Department of Design at UC Davis where he focuses on product design, design thinking, and prototyping. Tom’s research focuses on how low-resolution prototypes can help designers explore the human experience of interacting with complex systems. Tom is also the founder of Red Cover Studios, which specializes in product development and innovation strategy and uses prototyping as a central practice in work ranging from interaction design to fashion to organizational change. Red Cover Studios helped to conceptualize and launch the Hive at the Claremont Colleges and Denison University’s forthcoming Design Lab. Tom regularly teaches at Stanford University’s d.school.
Tom has an MFA in Design from Stanford University and a Bachelor of the Arts from Vassar College.
This was a Long Paper Session: Practice and Process on June 2, 2017. 10:30–12:00pm (SCI 106)</p