An investigation on public participation of cultural heritage protection in China's small cities

This research investigates the relationship between public participation and cultural heritage protection in small cities in China, with a focus on exploring the potential of integrating economic theory into cultural heritage preservation. The study is motivated by the global importance of cultural heritage, the diverse perspectives on heritage preservation, and the significance of public involvement in safeguarding heritage. The research aims to address the challenges and complexities associated with cultural heritage preservation and examine the applicability of the "triple bottom line" theory in economics to sociology. The research objectives are to identify the main problems of public participation in cultural heritage protection in China, understand the relationship between practice and theory in cultural heritage preservation, and explore the potential of economic theory in serving sociology. The research methodology involves a combination of qualitative and comparative analysis approaches, including literature review, comparative analysis, case studies, interviews, surveys, and data analysis. The findings from the research contribute to knowledge by exploring social constructivism and the integration of economic theory into cultural heritage preservation. The study provides insights into the main problems of public participation in cultural heritage protection in China under current political, economic, and social conditions. Additionally, it examines the relationship between public participation and local urban development through the lens of social constructivism. Furthermore, the research explores the potential of applying the "triple bottom line" theory in economics to serve sociology, particularly in the context of cultural heritage preservation. By addressing these research questions, the study offers recommendations and insights for effective cultural heritage preservation strategies, public participation frameworks, and the application of sustainable development principles. The findings can inform policymakers, practitioners, and stakeholders involved in heritage preservation, contributing to the development of sustainable and inclusive models of cultural heritage protection in small cities in China. Overall, this research aims to contribute to the existing body of knowledge on cultural heritage preservation and promote the sustainable safeguarding of cultural heritage for future generations

Irish influence on ecclesiastical settlements in Scotland a case study of the island of Islay

The aim of this thesis is to examine the assumption that the morphology of early mediaeval ecclesiastical sites in the Hebrides is closely related to that of Irish sites. This assumption is based on the historical information for Irish influence in the area of Scottish Dalriada and is supported by limited documentary sources. It is suggested that such evidence, concentrated as it is in the seventh and eighth centuries, may be misleading. The thesis is divided into two parts. In the first Section, an overall view of present research in both Ireland and Scotland is presented. Particular emphasis is placed on the evidence for ecclesiastical enclosures and sculpture as these are characteristic of the Christian remains in the Hebrides. On the basis of excavated material, a four-fold classification of enclosure type is put forward: settlement enclosures, ritual enclosures, cemetery enclosures and chapel enclosures. The evidence for the position of sculptured stone on ecclesiastical sites is outlined and an effort is made to link its presence to the status and function of a settlement. In the second part of the thesis, a detailed case study of the island of Islay is presented. It is suggested that the large number of church sites on the island are due to a number of different phases of church construction and settlement. Approximately half of these sites have archaeological material linking them to the early mediaeval period and this material can be divided into two types, comprising sculptured stones and drystone church sites. The drystone churches can be divided into four groups on the basis of their typology and it is suggested that groups A and B are relatively earlier than groups C and CI and that both groups probably derive from Man. They are associated with enclosures which are normally small in size and appear to be of the chapel or cemetery types. The sculpture of Islay is associated almost exclusively with later nwdiaeval1 im-mortared church and concentrations are noted at the later parish centres of Kildalton and Kilchoman. Through their parallels in form and ornament, these monuments can be linked with lona and, to a lesser extent, with the north of Ireland. It is suggested that the sculpture sites of Islay represent late eighth or ninth century ecclesiastical settlement's which daughter houses of the Columban monastery on lona were. The drystone churches are believed to date to a period of Manx control of the island in the later Viking period. Groups A and B churches may represent private estate churches, possibly ninth or tenth century in date, while Group C churches are interpreted as proto-parochial centres linked to the establishment of the Bishopric of the Isles in the early twelfth century. It is concluded that the evidence does not support the contention that Irish influence was paramount in the Hebrides throughout the early mediaeval period. On the contrary, the archaeological material suggests that the islands, including lona formed a unique regional group drawing from both mainland Scotland and Ireland but largely self-sufficient

Qualities of Simplicity in Designing Interactive Art

Qualities of Simplicity in designing interactive art presents a constructive design research process in the field of Interaction design. In the study, the creative process of an interactive art installation Climatable is documented. The installation is also included as a creative part of the research. As a result, from designerly practice and research, literary review and user experience evaluations, the research defines the concept of simplicity as a set of qualities: reduction, organisation, affordances, tangibility, intuitiveness and familiarity. The main outcome of the research are the discussion and demonstrations around the Qualities of Simplicity — how they can be used to aid designing interactive art and on the other hand how they can be observed in interactive artefacts to construct an experience of simplicity. The qualities are gathered together to create a Simplicity Framework, and based on this framework they are mapped to a Simplicity Matrix related to the work Climatable. Validity of the framework and the matrix are also researched by conducting three user surveys of different interactive artworks which provide deeper understanding of the applicability of the framework and the matrix for Interaction design research. Besides qualities designed or qualities experienced, the research also discusses Artefact Functions, qualities which can be thought to be aesthetic qualities of interactive artefacts. In this research Interaction design is also considered to contain presentational design aspects, such as spatial and physical design, graphical design and audio design as well as the information and programming interaction itself. This research discusses the field of interactive art as a sub-field of media art, and considers it to contain similar features and practices as design exploration carried out by Interaction designers. The underlying thought is that when interactive art is presented, it is used and activated by people other than the artist, and therefore artists should also consider how the works are used and how the work behaves. This moves the role of an interactive artist closer to the field of Interaction design. This idea is present also in the title of this thesis. In the end of the research, three modes of operation of interactive artefacts are discussed: real-time immersion, social interaction and embodied participation. Discussion of how these modes are related to the Qualities of Simplicity illustrates ways in which interactive (art) works create experiences between machines and humans.Qualities of Simplicity in designing interactive art on vuorovaikutussuunnittelun alaan liittyvä tutkimus, jossa muotoilukäytäntöön perustuvalla tutkimuksella luodaan ja rakennetaan uutta tietoa vuorovaikutteisen taiteen käyttö- ja muotoilukokemuksesta. Väitöskirjatyöhön liittyy vuorovaikutteinen teos Climatable, jonka suunnittelu- ja muotoiluprosessia sekä vuorovaikutustilanteen kokemusta käyttäjän näkökulmasta tutkitaan yksinkertaisuuden (Simplicity) käsitteen kautta. Yksinkertaisuus -käsitteen tarkastelu ja määrittely on tässä tutkimuksen keskiössä. Se on määritelty rakentuvan eri ominaisuuksista, joita voidaan sekä muotoilla että havaita. Ominaisuudet ovat: rajaaminen / vähentäminen (reduction), järjestäminen (organisation), käyttömahdollisuudet (affordances), käsitettävyys / käsiteltävyys (tangibility), intuitiivisuus (intuitiveness) sekä tuttuus (familiarity). Yksinkertaisuuden käsite on konstruoitu kirjallisen tutkimutyön lisäksi tekijän omaa vuorovaikutteisen taiteen tekemisprosessia reflektoimalla, haastattelemalla toisia vuorovaikutteisen taiteen tekijöitä sekä analysoimalla vuorovaikutteisia mediataideteoksia. Yksinkertaisuuden ominaisuuksien avulla on rakennettu viitekehys (Simplicity Framework), ja viitekehyksen avulla on tarkasteltu Climatable -teosta. Yksinkertaisuuden suunnitteluun, muotoiluun ja kokemukseen liittyviä asioita on listattu taulukkoon tai matriisiin (Simplicity Matrix). Viitekehyksen ja matriisin hyödyllisyyttä vuorovaikutussuunnitteluun ja muotoilun tutkimiseen on myös testattu tekemällä käyttäjätutkimus kolmesta eri vuorovaikutteisesta teoksesta. Tutkielmassa käsitellään yksinkertaisuuden piirteitä ei ainoastaan suunniteltuina tai koettuina, vaan myös vuorovaikutteisen teoksen esteettisinä ominaisuuksina (Artefact Functions). Tässä tutkimuksessa vuorovaikutussuunnittelu käsitettä käytetään laajassa merkityksessä: ohjelmoinnin ja informaatiosuunnittelun lisäksi se sisältää myös esillepanoon ja esityksellisyytteen liittyviä asioita, kuten tilallinen ja fyysinen suunnittelu, graafinen suunnittelu ja äänisuunnittelu. Näitä tarkastellaan käyttäjiä varten rakennettuun vuorovaikutustilanteen osa-alueina. Tässä tutkimuksessa vuorovaikutussuunnittelu tapahtuu osallistavan mediataiteen kontekstissa, tuoden uusia näkökulmia vuorovaikutteisen mediataiteen käyttäjäkeskeisempään suunnitteluun. Lähtökohtana on ollut ajatus vuorovaikutteisesta taiteesta taiteenlajina, joka aktivoituu vasta sen käyttötilanteessa. Vuorovaikutteisessa taiteessa taideyleisö osallistuu teoksen toimintaan aktiivisesti, konkreettisesti, fyysisesti — tämä luo osallistujan ja teoksen välille muista taiteen lajeista poikkeavan suhteen. Osallistumisen voidaan sanoa luovan vuorovaikutteisen taiteen merkityksen. Vuorovaikutteisen taiteen tekijä ei voi jättää tätä huomioimatta. Tässä tutkimuksessa taideteosten vuorovaikutusta tutkitaan pääpainotteisesti suunnittelun ja muotoilun näkökulmista, osallistujan avainrooli teoksen tavassa toimia huomioiden. Tutkimuksen otsikko viittaakin tähän näkökulmaan: puhutaan vuorovaikutteisen taiteen suunnittelusta ja muotoilusta (Designing interactive art). Tutkimuksen lopussa keskustellaan myös kolmesta eri vuorovaikutteisten teosten toimintatavasta: reaaliaikainen immersio, sosiaalinen vuorovaikutus sekä kehollistunut tai ruumiillistunut osallistuminen. Näiden suhteita yksinkertaisuuden käsitteeseen sekä yksinkertaisuuden ominaisuuksiin käsitellään vuorovaikutteisen taiteen kokemuksellisuuden — ihmisten ja koneiden kanssakäynnin luoman erilaisten suhteiden — havainnollistamiseksi