Design Ideation: The Conceptual Sketch in a Digital Design Culture

Design ideation, or the generating and developing of design ideas is central to designing in both education and practice. But what is the impact of digital technology on conceptual tools, notably the traditional pen and paper sketch? Initial research, in the Introduction highlights how freehand drawing is under pressure from digital technology both in design schools and industry yet educators and practitioners alike seem uncertain how best to deal with the digital challenge. The Literature review, in which the investigation is likened to a sprawling rhizome, covers both practical and philosophical concerns about conceptual tools thereby extending the notion of sketching beyond pen and paper, to what is called sketcherly ways of designing. To find out how to capture designers' use of conceptual tools, the spectrum of Design methodology was explored in which the case study method combined with protocol study emerged as the research strategy to be tested in a Pilot study. The pilot outcome set the scene for a protocol study with first-year design students which, through a series of Ideation workshops, illuminates how sketching together with verbalisation is a powerful combination for conceptualisation. In this, the workshop format emerged as an effective means for encouraging novice designers to develop ideation skills. The pilot was also instrumental for conducting a Multiple case study comprising five second year design students and five recent design graduates working in industry in the domains of fashion, architecture, graphics, product and general design. Using self-reporting and interviews the cases illuminate real uses of conceptual tools situated in everyday designing that reveal the multifaceted yet unpredictable character of ideation. The Summary and Conclusion discuss the future role of the conceptual sketch in digital design environments and suggest how scholarship in the context of teaching and learning design can bridge the worlds of design schools and professional practice. In this, computer-aided ideation, CAI, emerged as a promising research field

TECHNART 2017. Non-destructive and microanalytical techniques in art and cultural heritage. Book of abstracts

440 p.TECHNART2017 is the international biannual congress on the application of Analytical Techniques in Art and Cultural Heritage. The aim of this European conference is to provide a scientific forum to present and promote the use of analytical spectroscopic techniques in cultural heritage on a worldwide scale to stimulate contacts and exchange experiences, making a bridge between science and art. This conference builds on the momentum of the previous TECHNART editions of Lisbon, Athens, Berlin, Amsterdam and Catania, offering an outstanding and unique opportunity for exchanging knowledge on leading edge developments. Cultural heritage studies are interpreted in a broad sense, including pigments, stones, metal, glass, ceramics, chemometrics on artwork studies, resins, fibers, forensic applications in art, history, archaeology and conservation science. The meeting is focused in different aspects: - X-ray analysis (XRF, PIXE, XRD, SEM-EDX). - Confocal X-ray microscopy (3D Micro-XRF, 3D Micro-PIXE). - Synchrotron, ion beam and neutron based techniques/instrumentation. - FT-IR and Raman spectroscopy. - UV-Vis and NIR absorption/reflectance and fluorescence. - Laser-based analytical techniques (LIBS, etc.). - Magnetic resonance techniques. - Chromatography (GC, HPLC) and mass spectrometry. - Optical imaging and coherence techniques. - Mobile spectrometry and remote sensing

The role of creative art in community education : art education and art therapy

The thesis looks firstly at creativity and the creativeprocess, approaching the subject from a whole range of different viewpoints, such as the psychological, philosophical, biographical and anthropological angles. Following from this there is an exploration of the ways in which creativity way be awakened and unfolded. Special attention is given to the conditions and situations that are likely to encourage creative development and to the blocks and difficulties that inhibit its expression.Particular reference is made, on the one hand, to art education and to the art, leisure, and teaching student, and on the other hand, to art therapy and the psychiatric patient. The themes of the individual and the community are explored in a complementary way in the final two chapters. The thesis emphasizes the viewpoint of the student and the patient, but since these people do not exist in a vacuum, this involves looking also at the teacher, the therapist and society. With reference to the psychiatric field, other specific questions arise, for example: How may creative opportunities assist the healing process? What are the reciprocal influences of artand mental illness? Throughout the thesis the term 'art' is used in the visual sense, but references are made to creativity in other fields where parallel conclusions apply. The emphasis has been placed on the adult, but the subject of 'Creativity and the Teaching Student' involves some references to child art and 'Creativity and the Community' involves all ages

The emerging art markets of greater China : 1989-1999

This study is about the economic measurement of contemporary artworks, as set by the international market. It is about the internal forces that influence that value: the subtle interaction between the not-for-profit and profit-making sectors, and critical writing. It is also about the constraints placed on that value by external forces: macroeconomic and political factors and historical issues. The basis for this enquiry is that globalisation is a `reality' and that it is a Western construct. It is also understood that risk is an essential element of globalisation. It follows from this that global economic and political forces have an impact on culture and that a territory's economic and political performance is closely correlated with its cultural performance. As a consequence, territory's contemporary culture can be described economically as underdeveloped, developing or developed. It is accepted that most underdeveloped and developed territories aspire to become developed, and set about doing so by emulating the behaviour and performance of developed territories. So, developing territories experience the impact of global politics and economics and, by implication, culture. A developing society measures its contemporary artwork, therefore, economically, and correlates its value against the Western contemporary artwork. China is a developing nation and, therefore, measures the value of its contemporary artwork economically, using Western contemporary art as its yardstick. The mechanism for measuring value economically is the international market for artworks. The international art market, therefore, measures the value of a contemporary artwork. The value of a contemporary Chinese artwork is measured by the international art market and by local and regional equivalent markets, which emulate the performance of the international market. My study is complicated by the fact that it is a `safari' study (Hantrais, 1996). The region under discussion, Greater China, consists of two territories other than China; the Special Administrative Region of Hong Kong and Taiwan, which are both developed economies. The purpose of this study is to alert the commercial and not-for-profit artworld sectors in Greater China to the crucial role played by the international art market, and its equivalents, in raising the value of contemporary Chinese artworks. The other intention of this study is to raise awareness among the West's commercial and not for- profit sector for the Greater China art market, which remains relatively under exploited

Intelligence, Creativity and Fantasy

UID/HIS/04666/2019 This is the 2nd volume of PHI series, published by CRC Press, the 4th published by CRC Press and the 5th volume of PHI proceedings.The texts presented in Proportion Harmonies and Identities (PHI) - INTELLIGENCE, CREATIVITY AND FANTASY were compiled with the intent to establish a multidisciplinary platform for the presentation, interaction and dissemination of research. The aim is also to foster the awareness and discussion on the topics of Harmony and Proportion with a focus on different visions relevant to Architecture, Arts and Humanities, Design, Engineering, Social and Natural Sciences, and their importance and benefits for the sense of both individual and community identity. The idea of modernity has been a significant motor for development since the Western Early Modern Age. Its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts.authorsversionpublishe

Ownership and Authorship in Copyright Law (A Proposal to Re-Categorise Works and a Digital Implementation)

The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.Egyptian Government, Ministry of Higher Education, represented by The Egyptian Cultural Office in London

X-ray fluorescence applied to yellow pigments based on lead, tin and antimony: comparison of laboratory and portable instrumentation

X-ray fluorescence is a diagnostic approach particularly suited to be utilized in cultural heritage sector since it falls in the non-destructive and non-invasive analytical tools. However there are big differences between portable and laboratory instrumentation that make difficult to perform a comparison in terms of quality and reliability of the results. The present study is specifically addressed to investigate these differences in respect of the same analytical sample-set. To reach this goal a comparison was thus carried out between portable and bench top devices X-ray fluorescence devices and techniques were used on different type of yellow pigments based on lead, tin and antimony obtained in laboratory, reproducing the instructions described in “old” recipes, that is: i) mortar of lead and tin produced on the basis of the recipe 13 /c V of the “Manuscript of Danzica” and “ Li tre libri dell’arte del Vasaio” by Cipriano Piccolpasso; ii) two types of lead and tin yellow (Pb2SnO4 and PbSnO3) produced starting from the indications of the 272 and 273 recipes of the “Bolognese Manuscript”; iii) lead antimonate (Pb2Sb2O7) obtained by following the instructions of the Piccolpasso’s treatise and those contained on the “Istoria delle pitture in maiolica fatte in Pesaro e ne’ luoghi circonvicini di Giambattista Passeri” and finally iv) lead, tin and antimony yellow (Pb2SnSbO6,5) obtained starting from the information contained in the paper 30 R of “Manuscript of Danzica” [1]. The XRF analysis were performed using a laboratory instrumentation (Bruker M4 Tornado) and a handset analytical device (Assing Surface Monitor). In order to perform a significant statistical comparison among acquired and processed data, all the analyses have been carried out utilizing the same sample, the same acquisition set up and operative conditions. A chemometric approach, based on the utilization of Principal Component Analysis (PCA) and multivariate analytical based tools [2], was utilized in order to verify the spectral differences, and related informative content, among the different produced yellow pigments. The multivariate approach on the results revealed instrumental differences between the two systems and allowed to compare the common characteristics of the set of pigments analyzed