59,617 research outputs found

    Proposal for a contents design of a graphic engineering lecture

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    In this project the subject of Industrial Design from the bachelor’s degree in Industrial Technologies and Economic Analysis of the ETSEIB is reviewed considering the contents and the teaching and evaluating methods. To acquire a great level and teach the subject with great quality, this project has been developed in order to grant that some of the best methods are used to teach and evaluate the students. The contents have also been reviewed to certify that a similar structure of contents is being followed the same way as some of the more relevant engineering schools. As this subject is part of the bachelor’s degree in Industrial Technologies and Economic Analysis, some of the subjects of the bachelor’s degree in Industrial Technologies, which is another degree from the ETSEIB, are used to compare and conclude the methods that could be used to benefit the subject. This has been done since these subjects have been used as a background to develop the contents and the organization of the Industrial Design subject. Research on some of the most relevant engineering schools in the world and in similar subjects such as Graphical Expression or Computer Aided Design has been done. This has determined the differences between the relevant and prestigious schools and the subjects of Graphical Expression or CAD. Once these different methods have been identified, they are considered to be applied to the organization of the subject, as a proposal, in order to enhance its quality and its reputation. To define which universities are better and more adequate for this project, some crucial facts have been used to reduce the research to a more specific group of engineering schools. The idea behind this project is to be able to clarify and help achieving a greater quality in the subject by reviewing some of the most relevant industrial design schools worldwide to apply some of the ways that they use to achieve such quality and reputation

    Between Sense and Sensibility: Declarative narrativisation of mental models as a basis and benchmark for visuo-spatial cognition and computation focussed collaborative cognitive systems

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    What lies between `\emph{sensing}' and `\emph{sensibility}'? In other words, what kind of cognitive processes mediate sensing capability, and the formation of sensible impressions ---e.g., abstractions, analogies, hypotheses and theory formation, beliefs and their revision, argument formation--- in domain-specific problem solving, or in regular activities of everyday living, working and simply going around in the environment? How can knowledge and reasoning about such capabilities, as exhibited by humans in particular problem contexts, be used as a model and benchmark for the development of collaborative cognitive (interaction) systems concerned with human assistance, assurance, and empowerment? We pose these questions in the context of a range of assistive technologies concerned with \emph{visuo-spatial perception and cognition} tasks encompassing aspects such as commonsense, creativity, and the application of specialist domain knowledge and problem-solving thought processes. Assistive technologies being considered include: (a) human activity interpretation; (b) high-level cognitive rovotics; (c) people-centred creative design in domains such as architecture & digital media creation, and (d) qualitative analyses geographic information systems. Computational narratives not only provide a rich cognitive basis, but they also serve as a benchmark of functional performance in our development of computational cognitive assistance systems. We posit that computational narrativisation pertaining to space, actions, and change provides a useful model of \emph{visual} and \emph{spatio-temporal thinking} within a wide-range of problem-solving tasks and application areas where collaborative cognitive systems could serve an assistive and empowering function.Comment: 5 pages, research statement summarising recent publication

    Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

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    This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy
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