Zitrone

The purpose of this thesis paper is to describe the elements and narrative associated with the exhibition, Zitrone, as well as the conceptual and theoretical ideas influencing the work. The exhibition is centered around an invented singular historical object in the form of a vehicle, and a museum display of artifacts, documents, and recreations intended to validate the existence of the central subject. Drawing on the work of artists Marcel Broodthaers, Damien Hirst, and David Wilson in conjunction with theoretical writings of Dave Hickey and Lewis Hyde, the exhibition seeks to address the perception and presentation of history as absolute truth versus subjective interpretation of events. Using the methods and tropes of display associated with the museum and the archiving and dissemination of truth, the project provokes thought into both the possibility or impossibility of historical accuracy and the accountability of the museum in that discourse

Spartan Daily, October 16, 1967

Volume 55, Issue 19https://scholarworks.sjsu.edu/spartandaily/5026/thumbnail.jp

New Deal Art: California

Traditionally, the years of the New Deal projects have been treated as a part of the Depression experience with an emphasis on their economic and social dimensions. Until recently, sporadic interest in the art of the period has usually focused on individual artists, not general movements in the art of the time. This has been particularly true in the western states. The purpose of the New Deal Art: California exhibition was to create an overview of the New Deal art projects by bringing together examples of art from the federal art programs in California. New Deal Art: California came about as the result of a chance remark made, by Dr. Francis V. O\u27Connor, Art Historical Consultant, on his first trip to the de Saisset Art Gallery and Museum in 1971. The original exploratory research he did revealed a wealth of information about California\u27s contribution to the Works Progress Administration\u27s Federal Art Project and the Treasury Programs. Dr. O\u27Connor\u27s initial work helped provide the foundation for two years of subsequent research into the historical and aesthetic climate that gave birth to New ,Deal Art in California. The results of our explorations, in both quantity and quality of resources, has far exceeded our original expectations.https://scholarcommons.scu.edu/faculty_books/1367/thumbnail.jp

Recent advances in 3D printing of biomaterials.

3D Printing promises to produce complex biomedical devices according to computer design using patient-specific anatomical data. Since its initial use as pre-surgical visualization models and tooling molds, 3D Printing has slowly evolved to create one-of-a-kind devices, implants, scaffolds for tissue engineering, diagnostic platforms, and drug delivery systems. Fueled by the recent explosion in public interest and access to affordable printers, there is renewed interest to combine stem cells with custom 3D scaffolds for personalized regenerative medicine. Before 3D Printing can be used routinely for the regeneration of complex tissues (e.g. bone, cartilage, muscles, vessels, nerves in the craniomaxillofacial complex), and complex organs with intricate 3D microarchitecture (e.g. liver, lymphoid organs), several technological limitations must be addressed. In this review, the major materials and technology advances within the last five years for each of the common 3D Printing technologies (Three Dimensional Printing, Fused Deposition Modeling, Selective Laser Sintering, Stereolithography, and 3D Plotting/Direct-Write/Bioprinting) are described. Examples are highlighted to illustrate progress of each technology in tissue engineering, and key limitations are identified to motivate future research and advance this fascinating field of advanced manufacturing

Alterplinarity – ‘Alternative Disciplinarity’ in Future Art and Design Research Pursuits

Contemporary design is typified by fluid, evolving patterns of practice that regularly traverse, transcend and transfigure historical disciplinary and conceptual boundaries. This mutability means that design research, education, and practice is constantly shifting, creating, contesting and negotiating new terrains of opportunities and re-shaping the boundaries of the discipline. This paper proposes that this is because globalisation and the proliferation of the digital has resulted in connections that are no longer “amid”, cannot be measured “across”, nor encompass a “whole” system, which has generated an “other” dimension (Bourriaud, 2009), an “alternative disciplinarity” - an “alterplinarity”. As the fragmentation of distinct disciplines has shifted creative practice from being “discipline-based” to “issue- or project-based” (Heppell, 2006), we present the argument that the researcher, who purposely blurs distinctions and has dumped methods from being “discipline-based” to “issue- or project-based”, will be best placed to make connections that generate new ways to identify “other” dimensions of design research, activity and thought that is needed for the complex, interdependent issues we now face. We present the case that reliance on the historic disciplines of design as the boundaries of our understanding has been superseded by a boundless space/time that we call “alterplinarity”. The digital has modified the models of design thought and action, and as a result research and practice should transform from a convention domesticated by the academy to a reaction to globalisation that is yet to be disciplined

IPI Newsletter, January 2010

A quarterly newsletter produced by Iowa Prison Industrie

Spartan Daily, February 11, 1981

Volume 76, Issue 13https://scholarworks.sjsu.edu/spartandaily/6717/thumbnail.jp

Suffolk University Academic Catalog, New England School of Art and Design (NESAD)--Spring evening adjunct program, 1987

This catalog contains information for the spring evening adjunct programhttps://dc.suffolk.edu/cassbs-catalogs/1106/thumbnail.jp

MODs: collaboration and play in design

Located in Richmond, Virginia, MO Design is a small design/build company founded by Molly O’Saben. Ms. O’Saben received her bachelor’s degree in Craft & Material Studies and her master’s in Interior Environments from Virginia Commonwealth University. MO Design was founded in 2010 with a team of fellow alumni from VCU. We make objects that inspire inventiveness. Our reconfigurable components offer our clients the unique ability to adapt their environments to life’s ever-changing needs. We make MODs: Make your Own Designs. Our products are for people who appreciate efficient spaces, are open to exploring possibilities, and like to play. Just as Legos have uniform connections providing a myriad of options for building, our MODs offer the same versatility in a serious adult form. Use our building blocks to make a table, chair, or custom wall unit. When your needs change, dismantle your chair and rebuild it into a bookcase. We make objects that challenge the client to investigate. With exploration of their needs and implementation of their design comes a sense of accomplishment. We want to create this feeling of pride through working hard at play. MODs serve the needs of young and old, differing personalities, multiple demographics and help keep the world green with each reconfiguration. OUR MISSION: to bring the pride of making back to the individual. We design, build, and distribute our products. Our company designs components that offer versatility to our customers. MODs are block-like pieces that joint together using tradition mortise and tenon construction. The components we make can be reconfigured like puzzles, providing hours of entertainment for all ages. For our more conservative customers we make MOD PODs: a collection of MODs packaged and sold with assembly instructions to make a specific piece. MO Design also offers MOD Design Services. We can build a custom office, living room, or children’s bedroom with our products based on your unique specifications. We design to produce options, reduce waste, and create fun in the process. Our clients purchase products based on quality, versatility, and sustainability. Our products challenge how we see furniture – from monolithic, singular objects to dynamic tools for living. Small spaces need flexibility and the proper pieces are essential to an organized environment. Our products offer the: • opportunity for individuals to create custom designs. • ability to customize products without needing expensive, dangerous tools. • potential for growth with new designs that continue to connect to original parts. • enhancement of human needs, both physical and emotional. • excitement of exploration, collaboration, and play. • versatility to compliment any lifestyle, from highlighted piece to a closet storage system. • manageability of a product that can be moved and manipulated by a single person.• a challenge to our current product cycles: buy, use, and discard. So, lets play with MODs