1,720,971 research outputs found
How many designers create furniture that allows meaningful place-making in modern office
No full textThis research has investigated a participatory design method for furniture designers to allow users to express their aspirations through place making or creation of
meaningful office workspaces. During my empirical work, I discovered that there were problems in getting the office workers to explain their ideas through verbal explanations. They did not have the right techniques and tools to express their ideas.
From there I started to use mock-ups as tools to communicate and engage with the respondents in my investigation.In my research, I had identified a promising
participatory design approach, role-play with mock-ups.
My method sought to build the techniques which previously used by Mitchell(1995)and Lemons et al. (2010). Firstly, I identified the importance of understanding the needs and aspirations of users with regards to office furniture. Then, using participatory design role-play with mock-ups, it had enabled all respondents and participants to reveal their current problems, needs and aspirations. They started to create useful design ideas and opportunities for designers in developing new workplace designs. From here on out, it became evident that this technique was useful, workable and quickly accessible for Malaysian designers in actual design practice or other similar developing countries. In relation to this, I developed a social
interaction technique to inspire and enhance active participation.
The mock-ups helped the respondents to overcome their ignorance in design. It had also helped the participants and respondents to overcome their low awareness of
'design language' and started to share their concerns. These were not always practical design ideas but they provided distinct information which would be very
helpful in developing and identifying design concepts. Through exploring how mockups could be used as productive tools to explore users’ needs and aspirations, the
outcome derived from this research, was aimed to develop and provide guidance in design research techniques. It was also intended to inspire designers in developing furniture that would create a meaningful office environment, reflecting users’ needs and aspirations by allowing personalisation and place-making to occur.
Knowledge contribution in this research could be divided into three parts: 1)contribution for design practice (section 6.2.1); 2)contribution for design research
(section 6.2.2) and contribution for design education (section 6.2.3). The study revealed, by using role-play with mock-ups directly with the users, allowed the
designers to quickly become aware of arising issues without the need to do a potentially time-consuming, normative and tedious observational study.
My approach had the characteristic of intervention which allowed participants to go beyond normal practices, environments and scenarios. This could be seen in my
findings during role-play with non-experts (section 5.1) and design workshops 01 and 02 (section 5.2).
This research approach is primarily leads to new understanding about practice and described as “practice-led” approach to research. This project had investigated,
demonstrated and opened the possibility that these approaches could be turned into a practical participatory process toward design in furniture industry practise in
Malaysia and created a potential to be further developed by other researchers as well as disseminated through education for future Malaysian designers
How may designers create furniture that allows meaningful place-making in modern office
No full textThis research has investigated a participatory design method for furniture designers to allow users to express their aspirations through place making or creation of
meaningful office workspaces. During my empirical work, I discovered that there were problems in getting the office workers to explain their ideas through verbal explanations. They did not have the right techniques and tools to express their ideas.
From there I started to use mock-ups as tools to communicate and engage with the respondents in my investigation. In my research, I had identified a promising
participatory design approach, role-play with mock-ups.
My method sought to build the techniques which previously used by Mitchell (1995) and Lemons et al. (2010). Firstly, I identified the importance of understanding the needs and aspirations of users with regards to office furniture. Then, using participatory design role-play with mock-ups, it had enabled all respondents and participants to reveal their current problems, needs and aspirations. They started to create useful design ideas and opportunities for designers in developing new workplace designs. From here on out, it became evident that this technique was useful, workable and quickly accessible for Malaysian designers in actual design practice or other similar developing countries. In relation to this, I developed a social
interaction technique to inspire and enhance active participation.
The mock-ups helped the respondents to overcome their ignorance in design. It had also helped the participants and respondents to overcome their low awareness of
'design language' and started to share their concerns. These were not always practical design ideas but they provided distinct information which would be very
helpful in developing and identifying design concepts. Through exploring how mockups could be used as productive tools to explore users’ needs and aspirations, the
outcome derived from this research, was aimed to develop and provide guidance in design research techniques. It was also intended to inspire designers in developing furniture that would create a meaningful office environment, reflecting users’ needs and aspirations by allowing personalisation and place-making to occur.
Knowledge contribution in this research could be divided into three parts: 1)contribution for design practice (section 6.2.1); 2) contribution for design research
(section 6.2.2) and contribution for design education (section 6.2.3). The study revealed, by using role-play with mock-ups directly with the users, allowed the
designers to quickly become aware of arising issues without the need to do a potentially time-consuming, normative and tedious observational study.
My approach had the characteristic of intervention which allowed participants to go beyond normal practices, environments and scenarios. This could be seen in my
findings during role-play with non-experts (section 5.1) and design workshops 01 and 02 (section 5.2).
This research approach is primarily leads to new understanding about practice and described as “practice-led” approach to research. This project had investigated,
demonstrated and opened the possibility that these approaches could be turned into a practical participatory process toward design in furniture industry practise in
Malaysia and created a potential to be further developed by other researchers as well as disseminated through education for future Malaysian designers
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
Walter Spies, tourist art and Balinese art in inter-war colonial Bali
No full textThis is an art historical study informed by post-colonial perspectives which critically
examines the discourse concerning the role and the work of the artist Walter Spies in
relation to Bali, Balinese art and the Balinese in the inter-war Dutch Colonial period.
Drawing from a wide variety of sources, the thesis examines the development and
characteristics of a new artistic form in the area of painting, variously described as
'Balinese Modernism', 'New Balinese painting' or 'Tourist art'. I also investigate the
origins and the perpetuation of the popular myth regarding the perceived role of Walter
Spies as the instigator of this art. Through examining his cultural position in relation to
the Balinese, I examine Spies' role as a colonial figure and as a 'servant' of colonial
cultural policy. This post-colonial examination takes into account the broader historical,
political, cultural and economic realities of colonial Bali at that time.
I deal with theoretical and methodological issues some of which make such a study
problematic. In particular, how to deal with the 'subaltern' in historical discourse and the
dangers of either essentialising the 'Other' or diminishing hegemonic imperial
processes through a cultural relativism which seeks to value the importance of the
'subaltern' voice. In addition to this, the problematic and sometimes misleading use of
biography is also investigated. I have synthesised a number of concepts to develop my
post-colonial approach, based around the ideas of contact, contact languages and
influence. These are used to explain the development of new artistic forms, as well as
the discourse and processes which both moulded and reflected them.
The study contributes to knowledge through the fresh analysis of the discourse of
'texts' and parts of 'texts' not previously used or explored in a postcolonial theoretical
framework. Interviews with Balinese artists and the correspondence of Spies are
deconstructed, as well as the films and paintings of Spies which are analysed as
colonial discourse rather than as isolated aesthetic products. This project provides a
new critique of the creation and perpetuation of colonial discourse through biography
and imagery which I propose has much broader implications in the 'post-colonial' world</p
Contemporary art, craft and hybridity: Malaysian encounters and responses.
Full text linkThis practice-based research examines the importance of expanding the Malaysian visual culture heritage in light of the enormous impact of hybridity on art and craft in Malaysia. The research addresses the question of the impact of hybridity on art and visual culture by focusing on production of artworks from indigenous Malaysian craft - traditional fabrics Pua Kumbu and Batik, and the Sarawakian layer cakes. The main objectives of this research are to understand the problems, consequences and effects of hybridity on art and visual culture and to produce artefacts that explicitly illuminate a new understanding of the dynamic that obtains between hybridity, contemporary art and craft traditions in the Malaysian context. Questions pertaining to the affects of hybridity and globalisation towards Malaysian politics, economy and social aspects were addressed in the artworks as a key aspect of this research. Furthermore, development of the Malaysian art scene in relation with hybridity will be discussed in the light of contemporary art progression historically. Analysis of the theory of hybridity, connections between hybridity in art via the works of international and local artists, will put forward to clarify theses areas. This will include exploration of the issue of national identity. This research will engage in the production of artefacts in the context of a varied studio practice, developing and employing throughout the course of the research materials and techniques deemed appropriate in the production of artefacts that embody the quality of 'local' cultural forms in dialogue with, or resistant to, forms associated with an exogenous, 'global' culture. The artwork production opens up the phenomenon of the current process of hybridity and the issue of Malaysia's national identity. This research will adopt descriptive, heuristic and comparative methods within an overarching practice-led methodology. The building, implementation and evaluation of methodology together which include exhibitions and audience are the key components of this research. Critical review of the production of artworks is seen to be an integral part of the research methodology; this process will encourage and sustain multi-disciplinary approaches to the research question. This research has revealed the connection between hybridity and the advancement of the Malaysia contemporary art movement that has been undergoing transformation through the process of modernisation. Above all, as a Malaysian artist working in the United Kingdom, my practice differs from the normal practice of Malaysian artists who translate "Malay" culture into art work in that it offers a critical view on political, economical and social issues in Malaysia
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
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
Repositioning Pua Kumbu and Batik through artistic practice : 'globalising' the local by drawing upon diverse Malaysian cultural forms
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