An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Playing with Data: an Experience in Creative Infovis

Information Visualization (Infovis) methods provide an effective way to make sense of the vast amount of data flowing around our everyday experience. Using creative Infovis designs is possible to convey the mean- ing and enhance the understanding of complex topics. The purpose of this paper is to present the design method adopted in a collaboration between Polytechnic of Turin and Telecom Italia, whose goal is to devise novel and useful Infovis concepts to deal with data. Powered by the sharing of differ- ent skills and experiences, this method led to the first results presented in the paper

“ENERGY INDEPENDENCE”: PRESIDENT OBAMA’S RHETORIC OF A SUCCESS STORY

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Sexuality: Ancient Andean South America

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Conflicting Tendencies in the Development of Scientific and Technical Language Varieties: Metaphorization vs. Standardization

The present paper discusses relations between meaning and context as an interactive process that promotes cognition and communication, both intralingual and interlingual. The article also studies two evident conflicting tendencies in the development of technical language: metaphorization and standardization. Metaphorical meaning extension is characteristic of technical vocabulary in all discourse domains. At the same time, contemporary development of corpus linguistics facilitates standardization of terms. Taking into account pragmatic aspects of the text environment, i.e. referential, situational, cultural and social contexts, language users can interpret the meaning of new terms, establish relations and interconnections between terms and concepts within a text, domain and entire scientific and technical discourse. In the present article, observations on the nature and application of contemporary technical terminology are made on the basis of extensive empirical research

The content and critical metaphor analysis of illustrated print advertisements in China.

This dissertation takes Chinese advertisements as the research subjects to see in what way a quantifiable large number of advertisements with its metaphorical nature and instrumental mission can reflect social cultural change, in specifics, ideology and identity change of China in the last thirty years by combining four methods of research: content analysis, Critical Discourse Analysis, Conceptual Metaphor Analysis and Pictorial Metaphor Analysis. The dissertation goes through the sign or ad interpretation process of linguistic, semiotic and critical analysis of 300 sample illustrated print advertisements collected from popular and award-winning illustrated print advertisements in Chinese media in the three periods of 1980s, 1990s and 2000s respectively. After comparing and contrasting the high frequency key words, advertising appeals and metaphorical expressions and images (categories and groups) appeared in the advertisements of the three periods the following conclusions are made: First, although advertisements in all the three periods belonged to the commercial public discourse, those in 1980s were inclined towards public discourse without much consideration for specific target groups while those in 1990s and 2000s tended to denote private and personal discourse with clear target groups in mind. While the advertisements in 1980s were characterized largely by the direct informative style, the majority of the advertisements in 1990s manifested a hybridization of both informative and involving styles. The advertisements in 2000s demonstrated strong involving and interacting style. Second, it can be seen from the shift of advertising appeals from the use of rational appeal to personal appeal that the overall society is moving up the ladder of Maslow\u27s Hierarchy of Needs Analysis from the basic need satisfaction to more social need and personal need satisfaction. Third, with regard to semiotic image categories used, the result shows the tendency that China is increasingly becoming a male-dominated society with a big increase in using male images from 1980s to 2000s and in particular adult male images. The representational images in the ads show a decline in intimacy but an increase in positional communication. The social setting is the dominant advertising background for all the three periods. Meanwhile with regard to the typical types of metaphorical images that are used as signifieds or secondary subjects to be projected onto the signifiers or primary subjects, there is a decline in using human images as opposed to non-human images. The dominant metaphorical image types used in three periods are in concomitant with the ideology and identity needs of each specific period of time. Fourth, on the whole the critical metaphor analysis of 300 sample illustrated print advertisements in mainland China from 1979 to 2008 has revealed advertisements during this period, implicitly or explicitly, have served the evolving ruling and dominant ideology very well. The dominant ideologies have changed from political ideology to economic ideology in 1980s, from economic ideology to national ideology in 1 990s, and from national ideology to balanced harmonious ideologies in 2000s. The individual consumers have transformed their identities from political self to material social self in 1980s, from material social self to national cultural self in 1990s, and from national cultural self to a individualized myself in 2000s. The dissertation contributes both theoretically and practically to the advertising research as well as visual culture research. On the one hand it confirms the critical discourse theory that discourse change can reflect socially-constructed reality. On the other hand, it contributes to pictorial metaphor theory by that visual metaphors are deep-rooted in human conceptualization and are cultural-specific

The role of tangible interaction to communicate tacit knowledge of built heritage

Meanings and values of built heritage vary from factual and explicit meanings which are relatively easy to present, to more tacit knowledge, which is typically more challenging to communicate due to its implicit and often abstract character. In this paper, we investigate how tangible interaction influences the communication of this tacit knowledge of built heritage, and howit affects the experience of visitors. Through a between-group comparative study in a real-world museum context, we examined howthe tangible characteristics of an interactive prototypemuseuminstallation influence how visitors perceive a particular story containing tacit heritage knowledge. The communicated story relates a historical journey in ancient Egypt to the physical and architectural characteristics of the entrance colonnade at the Djoser Complex in Saqqara. Our experimental conditions consisted of an interactive navigation (input) and a passive representation (output) components, ranging from traditional digital displays to fully tangible means of interaction. We report on our findings, which showed various differences and commonalities between our three experimental conditions. We conclude with a number of discussion points and design recommendations: (a) to strive for balance between navigation and representation modalities in terms of affordance and the required cognitive effort; (b) to take advantage of physical representation and grasping, such as conveying particular physical details and characteristics; and (c) to consider design aspects of embodiment, physical abstraction and materiality for future research or potential further development of communicating the meanings and values of heritage

Flora and Fauna in East Asian Art

Flora and Fauna in East Asian Art is the fourth annual exhibition curated by students enrolled in the Art History Methods course. This exhibition highlights the academic achievements of six student curators: Samantha Frisoli ’18, Daniella Snyder ’18, Gabriella Bucci ’19, Melissa Casale ’19, Keira Koch ’19, and Paige Deschapelles ’20. The selection of artworks in this exhibition considers how East Asian artists portrayed similar subjects of flora and fauna in different media including painting, prints, embroidery, jade, and porcelain. This exhibition intends to reveal the hidden meanings behind various representations of flora and fauna in East Asian art by examining the iconography, cultural context, aesthetic and function of each object.https://cupola.gettysburg.edu/artcatalogs/1025/thumbnail.jp