Sociotechnical structures, materialist semiotics, and online language learning

Based on a study of the digital literacy practices of immigrant Filipino students in Vancouver, this paper focuses on how learners with unequal access to resources engage with different tools to locate information and find opportunities for language learning online. Data was collected through interviews and observations of participants as they used YouTube, Google Search, and Google Translate to decode unfamiliar words and find resources for learning. Framed through a materialist semiotic lens, this study examined how the students negotiated their resources on these platforms to achieve different intentions. Findings show that the way learners navigate these spaces can vary based on the devices they use (laptop vs. mobile phone), the user interface (browser vs. app), and the orientation they choose (landscape vs. portrait). The material dimensions of the screen determine the arrangement of semiotic forms, and varying configurations of devices, interfaces, and orientations shape the information made available to the learner and the digital literacy practices of scrolling, clicking, and shifting tabs. Recognizing how the online environment of a platform can shift across these layers of mediation, this paper conceptualizes the linguistic and semiotic forms that constitute design as sociotechnical structures which provide various learning affordances and constraints

A systematic analysis of visual and algorithmic letter fitting

This thesis examines the process of ‘fitting’, or determining the preferred spacing of the letters and other forms that comprise a typeface. Successful fitting is important to the readability and aesthetics of type, and is traditionally performed as a manual process. The objective is to determine to what extent this manual process can be modelled and expressed in an algorithm, to increase the theoretical understanding of fitting and suggest practical strategies. The research incorporates methodologies from several disciplines, including historical studies, algorithmic analysis of procedures and strategies employed in fitting, development of computational software, and empirical testing. The manual process of fitting was analysed from historical sources and contemporary practice. From the study, an axiomatic model was developed expressing the first principles of fitting Latin text for continuous reading and interdependencies between those principles. Prior work was evaluated in relation to the model and a new method was developed to fit typeforms with open counters, a class of forms historically reported to be difficult to fit. A composite algorithm was developed that traverses the typeforms in a typeface, fitting each form with the simplest technique applicable, until the fitted set is complete. The composite algorithm was used to fit a set of typefaces, which were tested in an online reader study. Readers were shown a series of text samples, utilising original and refitted fonts, and asked to mark letter sequences they felt exhibited poor spacing. The composite algorithm achieved lower rates of reported poor spacing for multiple letterform pairings than the alternative conditions. This supports a view that the axiomatic model capably represents the fundamental fitting process, that the novel method for fitting open counters can improve on prior techniques, and that the composite approach to algorithmic fitting, combining multiple discrete principles, holds benefits for the fitting of typefaces

Graphic design as urban design: towards a theory for analysing graphic objects in urban environments

This thesis presents a model for analysing the graphic object as urban object, by considering atypical fields of discourse that contribute to the formation of the object domain. The question: what is graphic design as urban design? directs the research through an epistemological design study comprising: an interrogation of graphic design studio practice and the articulation of graphic design research questions; a review and subsequent development of research strategy, design and method towards the articulation of methodology that reflects the nature of the inquiry; a detailed analysis of five different ways to study and research graphic design as urban design, in geography, language, visual communication, art and design, and urban design. The outcome of the investigation is a model that enables future research in the urban environment to benefit from micro-meso-macrographic analysis. The model endeavours to provide a way to evaluate, design and enhance ‘public places and urban spaces’ (Carmona et al., 2010) by considering different scales of symbolic thought and deed. This has been achieved by acknowledging the relationship between the relatively miniscule detail of graphic symbolism, the point at which this becomes visible through increased scale, and the instances when it dominates the urban realm. Examples are considered that show differences between, for example, the size and spacing of letter shapes on a pedestrian sign, compared to the ‘visual’ impact of an iconic building in the cityscape. In between is a myriad of graphic elements that are experienced and designed by many different professional disciplines and occupations. These are evidenced and explained. Throughout the study an indiscriminating literature review is interwoven with the text, accompanied by tabular information, and visual data in the form of photographs and diagrams. This is mainly research-driven data utilising photographs from fieldwork in Brazil, Canada, Hong Kong, Italy, Portugal, South Korea, United Kingdom, and United States of America. The methodology integrates a transdisciplinary adaptive theory approach derived from sociological research, with graphic method (utilising a wider scope of visual data usually associated with graph theory). The following images provide sixteen examples of artefacts representing the graphic object as urban object phenomenon

Coherence in typeface design: visual similarity of characters in Cyrillic, Devanagari, and Latin

This thesis explores the visual similarity that underlies the coherence in the design of individual typefaces. Typeface designers aim to achieve a unifying coherence in their typefaces, so that characters can be identified individually as well as belonging together giving rise to an overall style. The objective is to determine whether the coherence perceived by readers differs from the coherence intended by designers. The research is cross-disciplinary, combining empirical studies of readers’ perceptions with a computational model that is based on relevant typeface design knowledge. Character similarity is studied in multiple different typefaces (fonts) intended for continuous reading in Cyrillic, Devanagari, and Latin scripts. The studies were conducted online to collect a large number of responses. The participants were presented with a sequence of character triplets. They were asked to identify the odd one out in each of these triplets judging by their visual similarity, thus making a statement about the similarity of the two complementary characters. This method studies the similarity in context, which provides more refined details about participants’ similarity judgements. The model interprets characters using two kinds of features: more specific parts and more general roles. The model learns the relative saliences of these features from a subset of the data collected in the studies. This allows the model to predict participants’ responses to the triplets from the studies and for other, unseen triplets. Additionally, the model can provide explanations of the criteria participants used in their similarity judgements and can generate similarity matrices. The model achieved high scores when predicting response probabilities and identifying the overall odd ones out. A view of coherence that is supported by readers’ perception can be used to assist designers in their creative process, help with fonts’ quality assessments, and contribute to readability research and multi-script typography

Embodiment and the Arts: Views from South Africa

Embodiment and the Arts: Views from South Africa presents a diversity of views on the nature and status of the body in relation to acting, advertisements, designs, films, installations, music, photographs, performance, typography, and video works. Applying the methodologies of phenomenology, hermeneutic phenomenology, embodied perception, ecological psychology, and sense-based research, the authors place the body at the centre of their analyses. The cornerstone of the research presented here is the view that aesthetic experience is active and engaged rather than passive and disinterested. This novel volume offers a rich and diverse range of applications of the paradigm of embodiment to the arts in South Africa.Publishe

The psychological bases of visual preference for curvature

[cat] El contorn visual afecta les interaccions entre l’ésser humà i el medi ambient. Confiem en les carac- terístiques del contorn per categoritzar, manipular i avaluar objectes. Preferim objectes amb contorns corbats i associem la curvatura amb sensacions més positives que els contorns angulars. Aquesta prefer- ència es coneix com l’efecte de curvatura i ha estat demostrada en diferents edats, cultures i, fins i tot, espècies. Tot i això, la literatura també mostra que l’efecte es modulat per diversos factors contextuals i de diferències individuals. Aquesta dissertació sintetitza la literatura científica sobre la preferència per la curvatura visual i presenta nova evidència empírica que aborda els possibles factors moduladors de l’efecte. A How universal is preference for visual curvature? A systematic review and meta-analysis, mostrem que la preferència per la curvatura consisteix en un efecte fiable i moderat a la literatura. Tot i això, també mostrem que aquesta preferència coexisteix amb una substancial variabilitat i heterogeneïtat entre estudis. Aquesta variabilitat és consistent amb els efectes moderadors de factors com ara la tasca, el tipus d’estímul, el temps de presentació i l’experiència dels participants. En conjunt, aquestes troballes donen suport a la idea que la preferència per la curvatura està influenciada per factors més enllà de la informació perceptiva. A Circles are detected faster than downward-pointing triangles in a speeded response task, proposem que els contorns corbats capten l’ atenció i es processen més ràpid que els contorns angulosos. Aquesta troballa proporciona un escenari plausible per a l’enllaç entre la sensibilitat perceptiva i la preferència associada a la curvatura. A When symmetric and curved visual contour meet instructions instructions: Hedonic value and preference, mostrem que mentre els contorns corbats i simètrics són característiques de valència positiva, els contorns angulosos i asimètrics són característiques de valència negativa. Aquestes troballes destaquen la naturalesa multidimensional dels estímuls i que la interacció entre les característiques de l’estímul modula les preferències generals de les persones. A Shape familiarity modulates preference for curvature in drawings de common-use objects, mostrem que la familiaritat és un fort predictor de la preferència visual per la curvatura. Tot i això, els nostres resultats també revelen que la familiaritat no és l’únic factor que explica aquesta preferència, atès que l’efecte també és present quan els objectes corbats i angulosos es perceben com igualment familiars. En conjunt, concloem que la familiaritat amb la forma dels objectes modula la preferència per la curvatura. A Humans prefer to see and imagine drawing curved objects, trobem una relació positiva entre el gust i la preferència de producció de dibuixos corbats. Les nostres troballes també donen suport a la idea d’una influència inconsistent de les diferències individuals en la preferència per la curvatura. En resum, aquest treball aporta nova evidència empírica de la preferència per la curvatura visual i proporciona una síntesi quantitativa de la literatura sobre aquest efecte. Destaquem que l’efecte de curvatura és fiable i moderat, i discutim alguns factors que expliquen la variabilitat i heterogeneïtat que coexisteix amb l’efecte. També discutim que les bases neurofisiològiques de la sensibilitat a la curvatura poden emmarcar les bases neurals de la preferència per la curvatura. Per últim, proposem reptes rellevants i adreces futures a la llum de l’augment de l’interès de les humanitats, les ciències ambientals i la neurociència en la preferència per la curvatura visual.[spa] El contorno visual afecta las interacciones entre el ser humano y el medio ambiente. Confiamos en las características del contorno para categorizar, manipular y evaluar objetos. Preferimos objetos con contornos curvos y asociamos la curvatura con sensaciones más positivas que los contornos de ángulos agudos. Esta preferencia se conoce como el efecto de curvatura y ha sido demostrada con diferentes edades, culturas e incluso especies. Sin embargo, la literatura también ha mostrado que el efecto podría ser modulado por varios factores contextuales y de diferencias individuales. Esta disertación sintetiza la literatura científica sobre la preferencia por la curvatura visual y arroja nueva evidencia empírica que aborda los posibles factores moduladores del efecto. En How universal is preference for visual curvature? A systematic review and meta-analysis, mostramos que la preferencia por la curvatura consiste en un efecto fiable y moderado en la literatura. Sin embargo, también mostramos que esta preferencia coexiste con una sustancial variación y hetero- geneidad entre estudios. Esta variación es consistente con los efectos moderadores de factores como la tarea, el tipo de estímulo, el tiempo de presentación y la experiencia. En conjunto, estos hallazgos respaldan la idea de que la preferencia por la curvatura está influenciada por factores más allá de la información perceptiva. En Circles are detected faster than downward-pointing triangles in a speeded response task, proponemos que los contornos curvos captan la atención y se procesan más rápido que los contornos angulosos. Este hallazgo proporciona un escenario plausible para el vínculo entre la sensibilidad perceptiva y la preferencia asociada con la curvatura. En When symmetric and curved visual contour meet intentional instructions: Hedonic value and preference, mostramos que mientras los contornos curvos y simétricos son características de valencia positiva, los contornos angulosos y asimétricos son características de valencia negativa. Estos hallazgos destacan la naturaleza multidimensional de los estímulos y que la interacción entre las características del estímulo modula las preferencias generales de las personas. En Shape familiarity modulates preference for curvature in drawings of common-use objects, mostramos que la familiaridad es un fuerte predictor de la preferencia visual por la curvatura. Sin embargo, nuestros resultados también revelan que la familiaridad no es el único factor que explica esta preferencia, porque el efecto también está presente cuando los objetos curvos y angulosos se perciben como igualmente familiares. En conjunto, concluimos que la familiaridad con la forma de los objetos modula la preferencia por la curvatura. En Humans prefer to see and imagine drawing curved objects, encontramos una relación positiva entre el gusto y la preferencia de producción de dibujos curvos. Nuestros hallazgos también respaldan la idea de una influencia inconsistente de las diferencias individuales en la preferencia por la curvatura. En resumen, este trabajo aporta nueva evidencia empírica de la preferencia por la curvatura visual y proporciona una síntesis cuantitativa de la literatura sobre este efecto. Destacamos que el efecto de curvatura es confiable y moderado, y discutimos algunos factores que explican la varianza y heterogeneidad que coexiste con el efecto. También, discutimos que las bases neurofisiológicas de la sensibilidad a la curvatura pueden enmarcar las bases neurales de la preferencia por la curvatura. Por último, proponemos desafíos relevantes y direcciones futuras a la luz del aumento del interés de las humanidades, las ciencias ambientales y la neurociencia en la preferencia por la curvatura visual.[eng] Visual contour affects human-environment interactions. We rely on contour features to categorize, manipulate, and evaluate objects. We prefer objects with curved contours and associate curvature with more positive feelings than sharp-angled contours. This preference is known as the curvature effect, and has been demonstrated between different ages, cultures, and even species. However, the literature has also shown that the effect could be modulated by various contextual and individual difference factors. This dissertation synthesizes the scientific literature on preference for visual curvature and yields new empirical evidence addressing the possible modulator factors of the effect. In How universal is preference for visual curvature? A systematic review and meta-analysis, we show that preference for curvature consists of a reliable and moderate effect in the literature. However, we also show that this preference coexists with substantial heterogeneity variance between studies. This variance is consistent with the moderating effects of factors such as task, stimulus type, presentation time, and expertise. Together, these findings support the idea that the preference for curvature is influenced by factors other than perceptual information. In Circles are detected faster than downward-pointing triangles in a speeded response task, we propose that curved contours capture attention and are processed faster than angular contours. This finding provides a plausible scenario for the link between perceptual sensitivity and preference associated with curvature. In When symmetric and curved visual contour meet intentional instructions: Hedonic value and preference, we show that while curved and symmetric contours are positive-valenced features, angular and asymmetric contours are negative-valenced features. These findings highlight the multidimensional nature of stimuli, and how the interaction between stimulus features could modulate people’s general preferences. In Shape familiarity modulates preference for curvature in drawings of common-use objects, we show that familiarity is a strong predictor of visual preference for curvature. However, our results also reveal that familiarity is not the only factor explaining this preference, because the effect is also present when curved and angular objects are perceived as equally familiar. Together, we conclude that familiarity with the shape of objects modulates preference for curvature. In Humans prefer to see and imagine drawing curved objects, we find a positive relationship between liking and drawing production preference using curved drawings. Our findings also support the idea of an inconsistent influence of individual differences in preference for curvature. To summarize, this work yields new empirical evidence of preference for visual curvature and provides a quantitative synthesis of the literature on this effect. We highlight the existence of a reliable and moderate effect of preference for curvature, and some factors that could explain the substantial heterogeneity variance that coexists with the effect. We discuss that the neurophysiological bases of curvature sensitivity may frame the neural bases of preference for curvature. Last, we propose relevant challenges and future directions in light of the upsurge of interest from the humanities, environmental science, and neuroscience in preference for visual curvature

Back to the Future. The Future in the Past. Conference Proceedings Book

ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory

Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book

Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of De­sign History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Tai­wan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two dis­tinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many paral­lel strands, including poster presentations and keynote speak­ers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory