1,720,963 research outputs found
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
Variations 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
’The Pretty Stuff’: Gender bias and the future of design knowledge in the South African industrial design context
No full textIn the era of the fourth industrial revolution that proposes an increasingly automated future, designers need not lose focus on the discipline's important role in social design and innovation. Such an undertaking becomes difficult when the discipline of design itself has inbuilt biases and inequalities. Gender bias is one such prejudice that design educators and researchers need to become more aware of and engage with, not only to prepare our students for the workplace but also to begin to change the patriarchal dominance of the design industry and hence the equity of the discipline itself. Current issues of gender disparity in design industries and academia have been studied and clearly articulated in the Global North. For example, in a recent study by the British Design Council, the United Kingdom's (UK) design workforce comprised of a 78:22 gender split (male to female), with Industrial Design showing the greatest disparity with a 95:5 gender split (Design Council 2018). In comparison to the 53:47 gender split of the wider UK workforce, this inequity is alarming, especially considering that 63% of all UK Art and Design graduates are female (Design Council 2018). Furthermore, various studies report a significant lack of female role models in leadership positions. This raises the question, 'Where have all the women gone?'. One of the authors is a young female academic, who, during South Africa's Women's Month in 2018, was inspired by these global statistics to conduct a small-scale study within a South African academic institution to investigate and reflect on the participation and experiences of female graduates in the local Industrial Design industry. Gender-based data of departmental enrolment and throughput over the past 20 years were analysed, and 10 female Industrial Design graduates were interviewed regarding their experiences in industry. Findings indicated significant gender biases and inequity within the local Industrial Design discipline, echoing global statistics. Female student enrolment has increased from 9% in 1997 to 36% in 2018. The exit-level graduate gender split has evened out from 97:3 in 1997 to 55:45 (male to female) in 2017. This indicates that more and more women are slowly entering industry. However, feedback from © Copyright 2019 by the Design Education Forum of Southern Africa (www.defsa.org.za) 185 women in industry highlighted sexual harassment, misogyny, condescension and significant pay gaps as some of the many challenges faced when entering the long-established patriarchal Industrial Design industry. Stereotypical expectations of women's role in creating 'the pretty stuff' hinders their ability to access experiential knowledge. This stunts their growth in the field, resulting in many women leaving the 'boy's club' and pursuing opportunities in more female-dominated disciplines; ultimately perpetuating the patriarchy of Industrial Design. It is therefore important to invest in gender diversity in design academia and to understand, engage with and tackle such issues locally. This includes preparing our students for the current realities of industry and empowering them with the necessary knowledge and skills to implement change by fostering innovation, and ultimately enabling them to break out of the confines of a long-established patriarchal industry
Hacking the taste cycle:a process oriented view for sustainable interior fit-out
No full textInterior design is a discipline concerned with human inhabitation. It provides the capacity for inhabitant identities to inform and be informed by the interior. Interiors are cultural products, reflective of societal identity and taste (Königk & Khan 2015). Following Bourdieu (1979 [1984]), tastemaking is a repeated, cyclic process. As tastemakers, interior designers are responsible for deciding how selected goods are made desirable through responding to, interpreting and shaping the tastes of society. The cyclic nature of interiors is prevalent in the commercial realm. The conventional fit-out lifecycle is governed by lease periods of five years and the physical deterioration of shopfitted elements after ten years of use. This results in the recurring disposal and generation of interior fit-outs within each decade. From the perspective of environmental sustainability, this repeated cycle of production to consumption to disposal is problematic in its contribution to wasteful practice.In a conscious movement towards sustainability, we recognise the role of interior design as providing an opportunity to influence inhabitants’ tastes for environmental awareness. Since interior design is a reflection of societal taste and acts to re-inform taste, we suggest that this consciousness be integrated within designing itself with a re-defined concept for the production of interior fit-outs.The aim of this paper is to address the wasteful aspects of cyclic interiors through a process-oriented-view, a philosophy of the food cycle (Meisner-Jensen 2011), interpreted as an approach for interior design. It shifts tastemaking in and for interiors from a product-driven to a holistic, process-oriented approach, emphasising the lifecycle of space and its artefacts.Following this holistic view, the paper suggests a set of guidelines based on the application of process-oriented-thinking within conceptual design phases. It asserts for multi-dimensional approaches in which all aspects of the lifecycle are considered from the onset of the design process. The intention is to contribute towards developing sustainable practices for interior design while promoting ‘a taste’ for sustainable consumption to inhabitants
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
A Potential Difference Model for Educating Critical Citizen Designers: The Case Study of the Beegin Appropriate Technology Beekeeping System
No full textRenowned design thinker and educator Ezio Manzini (2010: 8) claims that “[t]he only sustainable way to get out of the current worldwide financial and ecological crisis is to promote new economic models, new production systems, and new ideas of well-being”. Many definitions of design describe a goal-orientated process of “solving problems, meeting needs, improving situations, or creating something new or useful” (Friedman, 2003: 507–508). Design is therefore well placed to deal with the systemic crises Manzini describes; however, the practice of design is extensively shaped by the way it is taught, which does not necessarily generate designers capable of dealing with such systemic complexities. There is therefore a need for design education that provides graduates with a critical mindset, methodologies, tools and skills for appropriate change making embedded in complex contexts. Borrowing from Johnson and Morris’s (2010) framework for critical citizenship education, we describe such graduates as critical citizen designers. The context of South Africa provides a multitude of opportunities for student designers to use their expertise to bring about appropriate change. However, in order to encourage positive outcomes, an appropriate pedagogy, strengthened through praxis and grounded in economic, social and environmental realities, is required to prepare students for critical and sustainable change making. This chapter explores the education of industrial designers in South Africa utilising a ‘potential difference’ model for critical citizen design. This model attempts to consider stakeholder relationships through a lens of power and love (Kahane, 2010) in order to increase people’s capabilities (Nussbaum, 2011; Sen, 1999) through appropriate technology (Schumacher, 1975). This is contextualised through a case study of the design and implementation of an appropriate technology beekeeping system for urban farmers in Johannesburg
In your hands & self-portrait:Introductory spatial design exercises in the first-year studio
Full text linkThis paper considers the discrepancies in the visual literacy of students prior to entering spatial design education at a public higher-educational institution. Because the school subjects Visual Arts and Engineering Graphics and Design provide feeder skills to visual literacy, students with exposure to these subjects tend to have higher visual literacy than students who are unlikely to have received exposure to these subjects. This is problematic because Visual Arts and Engineering Graphics and Design are not on offer in all public South African schools.As educators from a public higher-educational institution endeavouring to provide equitable learning opportunities, how do we, through spatial design education, relate to first-year students with an awareness of differences in student’readiness’ impacted by schooling opportunities? What role can spatial design exercises play in alleviating these discrepancies while engaging all students in the first-year studio
Educating citizen designers in South Africa
No full textCITATION: Costandius, E. & Botes, H. 2018. Educating citizen designers in South Africa. Stellenbosch: SUN PReSS, doi:10.18820/9781928357735.The original publication is available at https://africansunmedia.store.it.si/zaEducating Citizen Designers in South Africa is the first book of its kind to appear in post-apartheid South Africa and it is therefore both overdue and extremely welcome. The book aims at sharing critical citizenship design teaching and learning pedagogies by including contributions from a range of design educators, and one student, who work in different design disciplines, such as architecture, graphic and product design. Critical citizenship education is explicated in relation to a range of theories and new and existing models. Numerous contemporary case studies and examples of design projects from a range of South African Higher Education Institutions are included. As such, a variety of perspectives emerge, including the consensual, where the aim of critical citizenship education is viewed as promoting social justice, shared values and critical thinking, to the conflicting – where critiques are levelled against conceptions of critical citizenship education. Contentious, contesting and contradictory views are inevitable and necessary given the South African context as it is only in open debate that the one point of agreement among the authors, the need for social change, can be worked towards. - Prof Deirdre Pretorius, Univeristy of Johannesburg1 Exploring Barriers and Strategies for Critical Citizenship Education: A Reflection on Practice / Elmarie Costandius and Neeske Alexander; 2 Educating Citizen Designers at South African Universities of Technology / Herman Botes; 3 Exploring Live and Design-build projects as Educational Spaces to Foster Critical Citizenship / Rudolf Perold and Hermie Delport; 4 Community Engagement, Catalysts in the Built Environment and Reflections on Teaching Architecture with a Focus on Housing Design / Amira Osman; 5 A Potential Difference Model for Educating Critical Citizen Designers: The Case Study of the Beegin Appropriate Technology Beekeeping System / Angus Donald Campbell and Ivan Leroy Brown; 6 'Socially Responsibilised' Designers: The Evils of Entrepreneurship Ideology in Citizenship Education / Brenden Gray; 7 Creating Citizen Designers by Nurturing Design Thinking Skills through Experiential Learning / Fatima Cassim; 8 Nurturing Critical Citizen Designers: Applying Strategic Models for Reflective Practice / Terence Fenn and Jason Hobbs; 9 Learning to Act on Courageous Convictions: Developing a Critical Citizenship Module for Undergraduate Design and Branding Students / Anika van den Berg;10 Lessons on Critical Citizenship from a ‘Non-citizen’ / Amollo Ambole; 11 Design and its Education in ‘Post’ South African Society: A Way Forward / Karolien Perold-Bullhttps://africansunmedia.store.it.si/za/book/educating-citizen-designers-in-south-africa/426400Publisher's versio
In your hands & self-portrait:Introductory spatial design exercises in the first-year studio
Full text linkThis paper considers the discrepancies in the visual literacy of students prior to entering spatial design education at a public higher-educational institution. Because the school subjects Visual Arts and Engineering Graphics and Design provide feeder skills to visual literacy, students with exposure to these subjects tend to have higher visual literacy than students who are unlikely to have received exposure to these subjects. This is problematic because Visual Arts and Engineering Graphics and Design are not on offer in all public South African schools.As educators from a public higher-educational institution endeavouring to provide equitable learning opportunities, how do we, through spatial design education, relate to first-year students with an awareness of differences in student’readiness’ impacted by schooling opportunities? What role can spatial design exercises play in alleviating these discrepancies while engaging all students in the first-year studio
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