1,720,967 research outputs found
EXPLORING THE ‘THEATERS’ OF REMOTE DESIGN TEACHING
No full textThe distance learning scenario outlined by the emergence of the pandemic poses new challenges to education. Nevertheless, the experiences we carried out as a response to this crisis have brought us to believe that this emerging condition must not necessarily be considered a diminution of our work as educators.The experience we wish to discuss in this paper took place within a course-unit for 2nd year students in Design. The ‘Design Methods’ studio is aimed at introducing students to Basic Design, an approach originally developed at HfG Ulm in the 1950s as a reinterpretation of models previously introduced at the Bauhaus. Basic Design can be thought an inductive knowledge-building principle grounded on an orchestrated progression of exercises. Basic Design is based on a series of intermediate experiences meant to exemplify ‘real life’ design circumstances that once paired with a specific ‘how to do’ training program, can enhance the students’ capacity to develop their own design attitude. In our design studio this took the shape of as a series of exercises revolving around a selection of common domestic artifacts. Originally intended as a way to stimulate the students’ ability to frame their work within a problematic perspective, this experience ended up highlighting unexpected parallels between some key elements in design culture and recent findings in pedagogy and neurodidactics. The hands-on activities we introduced in our exercises to make up for the distance and virtuality imposed by our class’ new distant terms, resolved in much more than a surprisingly efficient outcome. The practical-based line of work we developed, ended up in fact confirming the theoretical perspective of active pedagogy, an approach to education developed in the last century in which hands-on and artisanal practices, play a pivotal educational role in the students’ relationship with the ‘real world’.In our experience, the very act of shifting a relevant part of the educational activities to tangible practices allowed us to overcome some constrains typical of the ‘virtual classroom’ infrastructure turning it into a pro-active, inclusive platform. A learning space, where the sum of the individual, direct experiences carried out by each student at home, became a shared comparative ground for the on-line class, allowing a strong sense of presence and participation.
The need to quickly respond to the unexpected modification in the combined effect of two crucial elements in design education: individual engagement and teamwork, has highlighted a series of questions worthy of further exploration. These include the theme of presence – online, in the classroom, within a given learning community, in connection to space and time and in terms of the synchronicity and a-synchronicity of the learning context; the use of our own bodies and physicalities as learning instruments; and the "theatrical" idea of teaching as a device to convey, share, represent the cognitive evolution of a design solution within a remote communityBeyond the future developments of the pandemic crisis, some of the lessons we have learned in this process will necessarily impact our approach to design teaching – either remotely and in person. In the light of such findings – and possibly in the perspective of an increasing role of hybrid and blended educational environments in education – we believe that distant learning should be from now on considered more than just a mere necessity or a commodity
Soundscape Perception in Cagliari, Italy
No full textIn order to study how acoustic and visual stimuli can influence the perception of the landscape, six
Soundscapes and six corresponding Visual Landscapes typical of Cagliari, the capital city of Sardinia, have been
selected and characterized through a binaural phonometric sampling and a photographic survey. All 36 possible
combinations were submitted to a panel of 107 subjects. The evaluations expressed for the audio/visual associations
highlighted how the combination of two different sensorial stimuli gives a wider basis of judgment to the
interviewed subjects. The correspondence analysis, through the recognition of common perceptive patterns in the
acoustic sensitivity of the local citizens, showed how the sound, more than the image, was the predominant element
in the construction of their judgments. The analysis, moreover, singled out some decision parameters in the
pleasantness assigned, discriminating the natural environments from the urban ones; the Hi-fi landscapes from the
Lo-fi ones; the hi-Leq events from the low-Leq ones. This method suggests some requisites for drawing up an
Acoustic Improvement Plan or land planning measures in general that involves the perceptive dimension of the
community, particularly the auditory one, in the organization of space
Riconquistare lo spazio pubblico giocando. L'esperienza del Fronte di Liberazione dei Pizzinni Pizzoni nel quartiere di San Donato a Sassari
No full textL'invasione degli «altricorpi». Interventi di microtrasformazione per una città inclusiva
No full textRendere straordinario l'ordinario. Il colore come strumento di rivendicazione, riconquista, risignificazione e trasformazione urbana
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Dalla città all'interazione abitante-città. Alcune considerazioni a sostegno di una progettazione di spazi e servizi pubblici a misura di tutti e di ciascuno: l'esempio delle dementia friendly communities
No full textVariations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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