Superar el límite de la pantalla:el futuro integrado del diseño industrial e innovación de la interfaz

Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 27-11-2019The goals of this thesis are to streamline the design process of CDDs for both theirhardware and software, simplify the process of their conception, creation andproduction, motivate the design and interactive innovations for the next generationof CDDs.Starting with the process of investigating the design history of CDDs, we noticed theincreasing bi-directional influence between the graphical interface design and theindustrial design of these products. We started to work on the hypothesis:“A connection point between classical industrial design theories and moderninnovations in the world of interface design can be found, and the future of CDDrequires a universal design system for both its hardware and software.”In order to put our hypothesis into practice, it is important to clarify the generic andspecific objectives...El fin de esta tesis es mejorar el proceso de diseño de DDC tanto para su hardware como para su software, simplificar el proceso de concepción, creación y producción,así como motivar el diseño y las innovaciones interactivas para la próxima generación de DDC. Comenzando con un proceso de investigación que respete la historia del diseño de los DDC, notamos un incremento en la influencia bidireccional entre el diseño de interfaz gráfica y el diseño industrial de estos productos. Trabajamos sobre esta hipótesis: “Se puede encontrar un punto de conexión entre las teorías clásicas de diseño industrial y las innovaciones modernas en el mundo del diseño de interfaz. El futuro de los DDC requiere un sistema de diseño unificado para ambos: hardware y software.”Para poner nuestra hipótesis en práctica, es importante aclarar los objetivos genéricos y específicos...Fac. de Bellas ArtesTRUEunpu

Evaluating Innovation

In their pursuit of the public good, foundations face two competing forces -- the pressure to do something new and the pressure to do something proven. The epigraph to this paper, "Give me something new and prove that it works," is my own summary of what foundations often seek. These pressures come from within the foundations -- their staff or boards demand them, not the public. The aspiration to fund things that work can be traced to the desire to be careful, effective stewards of resources. Foundations' recognition of the growing complexity of our shared challenges drives the increased emphasis on innovation. Issues such as climate change, political corruption, and digital learning andwork environments have enticed new players into the social problem-solving sphere and have con-vinced more funders of the need to find new solutions. The seemingly mutually exclusive desires for doing something new and doing something proven are not new, but as foundations have grown in number and size the visibility of the paradox has risen accordingly.Even as foundations seek to fund innovation, they are also seeking measurements of those investments success. Many people's first response to the challenge of measuring innovation is to declare the intention oxymoronic. Innovation is by definition amorphous, full of unintended consequences, and a creative, unpredictable process -- much like art. Measurements, assessments, evaluation are -- also by most definitions -- about quantifying activities and products. There is always the danger of counting what you can count, even if what you can count doesn't matter.For all our awareness of the inherent irony of trying to measure something that we intend to be unpredictable, many foundations (and others) continue to try to evaluate their innovation efforts. They are, as John Westley, Brenda Zimmerman, and Michael Quinn Patton put it in "Getting to Maybe", grappling with "....intentionality and complexity -- (which) meet in tension." It is important to see the struggles to measure for what they are -- attempts to evaluate the success of the process of innovation, not necessarily the success of the individual innovations themselves. This is not a semantic difference.What foundations are trying to understand is how to go about funding innovation so that more of it can happenExamples in this report were chosen because they offer a look at innovation within the broader scope of a foundation's work. This paper is the fifth in a series focused on field building. In this context I am interested in where evaluation fits within an innovation strategy and where these strategies fit within a foundation's broader funding goals. I will present a typology of innovation drawn from the OECD that can be useful inother areas. I lay the decisions about evaluation made by Knight, MacArthur, and the Jewish NewMedia Innovation Funders against their program-matic goals. Finally, I consider how evaluating innovation may improve our overall use of evaluation methods in philanthropy

Intellectual Property in Experience

In today’s economy, consumers demand experiences. From Star Wars to Harry Potter, fans do not just want to watch or read about their favorite characters— they want to be them. They don the robes of Gryffindor, flick their wands, and drink the butterbeer. The owners of fantasy properties understand this, expanding their offerings from light sabers to the Galaxy’s Edge®, the new Disney Star Wars immersive theme park opening in 2019. Since Star Wars, Congress and the courts have abetted what is now a $262 billion-a-year industry in merchandising, fashioning “merchandising rights” appurtenant to copyrights and trademarks that give fantasy owners exclusive rights to supply our fantasy worlds with everything from goods to a good time. But are there any limits? Do merchandising rights extend to fan activity, from fantasy-themed birthday parties and summer camps to real world Quidditch leagues? This Article challenges the conventional account, arguing that as the economic value of fantasy merchandising increases in the emergent “experience economy,” intellectual property owners may prove less keen on tolerating uncompensated uses of their creations. In fact, from Amazon’s Kindle Worlds granting licenses for fan fiction, to crackdowns on sales of fan art sold on internet sites like Etsy, to algorithms taking down fan videos from YouTube, the holders of intellectual property in popular fantasies are seeking to create a world requiring licenses to make, do, and play. This Article turns to social and cultural theories of art as experience, learning by doing, tacit knowledge, and performance to demonstrate that fan activity, from discussion sites to live-action role-playing fosters learning, creativity, and sociability. Law must be attentive to the profound effects these laws have on human imagination and knowledge creation. I apply the insights of these theories to limit merchandising rights in imaginative play through fair use, the force in the legal galaxy intended to bring balance to intellectual property law

What is Specific about Art/Cultural Projects?

The present issue focuses on the contribution made by art/cultural initiatives to the development of multiple identity in some of the European cities having in mind the subjectivity of the artists and plurality of the surrounding cultures. The art/cultural projects (AES- Russia, Europe Art Train – Holland, Life Station – Austria and some others) with intercultural dimension have a special character to offer because: they are dealing with meaning, and enable dialogue between people in different social groups. The examples will be taken from different European countries, which aim to reinterpret the reality of life, to show, answer, and question its contradictions. The attention will be focused on their political, educational and aesthetic contribution to the community construction having in mind their desire for new intercultural policy and practices. Every artist crosses borders daily but those who choose to cross cultural borders (language, expression, music, tradition) enter into a fertile, but dangerous field. Artists do not aim specifically to produce multicultural work but since they are living in specific time, and since art is rooted in real life, the realities of everyday life are transposed into their work. This paper is fundamentally interested in the role that art projects can play in a modern society and promotes the initiative that links an artistic dimension to a form of interactive social urban situation. All projects are representing ‘laboratories’ that use public spaces. It is more than obvious that the social and the economic fields are not separated from the cultural one beside the tendency that is putting them in opposition as artists and the world rather than artists in the world. In the last two decades, the world of the arts has economised rapidly. Increasingly, artists have turned the economy into a subject of their own work. Art/cultural projects engage people’s creativity, and so lead to problem-solving. They encourage questioning, and the imagination of possible future actions. They offer self-expression, which is an essential characteristic of the active citizen. Some experiences from the art/cultural field are shifting attention towards the people themselves: their imagination, motivation, demands, fantasies and only then the city is becoming a cultural product, a community construction.Intercultural actions, Policy agenda, Art/cultural projects, Networking aspects

Electronic gamble industry under the pandemic: Impact on business activities and customer behavior in Chinese market

The COVID-19 pandemic started to spread globally rapidly from the end of 2019, and the continuous variation of the virus led many negative problems to the public health as well as the economic environment, became one of the most serious crises in human history. Diverse restriction strategies were issued by governments with the aim to overcome the spread of COVID-19, including social control and business activities restrictions, which effectively reduced the infected cases, but meanwhile, brought the second layer of influences on the economic. This study is focus on figuring out the influences raised by the COVID-19 pandemic in the gaming industry from the end of 2019, which is to investigate the changes in business activities and economic performances of the gaming companies as well as the behaviors of the gaming markets’ customers. The collecting of primary data follows a descriptive method, and the further analysis is based on the pervious studies of the gaming industry. The result of this dissertation showed that though some disruptions occurred in the business operations, overall, the gaming industry obtained an increasing trend in the revenue performances and positive developments during the pandemic, whether the console, personal computer or mobile gaming segments. Moreover, the study also found that the pandemic related influences on the customer behaviors brought mutually beneficial on both the customer and the gaming companies.A pandemia de COVID-19 começou a se espalhar globalmente rapidamente a partir do final de 2019, e a variação contínua do vírus levou muitos problemas negativos à saúde pública, bem como ao ambiente econômico, tornando-se uma das crises mais graves da história da humanidade. Diversas estratégias de restrição foram emitidas pelos governos com o objetivo de superar a disseminação do COVID-19, incluindo controle social e restrições às atividades empresariais, o que efetivamente reduziu os casos infectados, mas, por sua vez, trouxe a segunda camada de influências na economia. Este estudo tem como foco descobrir as influências levantadas pela pandemia de COVID-19 na indústria de jogos a partir do final de 2019, que é investigar as mudanças nas atividades comerciais e desempenhos econômicos das empresas de jogos, bem como os comportamentos dos jogadores. clientes dos mercados. A coleta de dados primários segue um método descritivo, e a análise posterior é baseada em estudos anteriores da indústria de jogos. O resultado desta dissertação mostrou que apesar de terem ocorrido algumas interrupções nas operações comerciais, globalmente, a indústria do jogo obteve uma tendência crescente nos desempenhos das receitas e evoluções positivas durante a pandemia, quer nos segmentos de consolas, computadores pessoais ou jogos móveis. Além disso, o estudo também descobriu que as influências relacionadas à pandemia no comportamento do cliente trouxeram benefícios mútuos tanto para o cliente quanto para as empresas de jogos