Pastiche

The term "pastiche" originally means a "pasty" or "pie" dish containing several different ingredients. It has come to be used synonymously with a variety of terms whose meanings are rarely fixed with clarity: parody, montage, quotation, allusion, irony, burlesque, travesty, and plagiarism. Al;though some definitions of pastiche strive to remain neutral, others have taken on a pejorative sense. Still others are more positive, especially within the realms of twentieth-century postmodern art and architecture

Representing older people: towards meaningful images of the user in design scenarios

Designing for older people requires the consideration of a range of difficult and sometimes highly personal design problems. Issues such as fear, loneliness, dependency, and physical decline may be difficult to observe or discuss in interviews. Pastiche scenarios and pastiche personae are techniques that employ characters to create a space for the discussion of new technological developments and as a means to explore user experience. This paper argues that the use of such characters can help to overcome restrictive notions of older people by disrupting designers' prior assumptions. In this paper, we reflect on our experiences using pastiche techniques in two separate technology design projects that sought to address the needs of older people. In the first case pastiche scenarios were developed by the designers of the system and used as discussion documents with users. In the second case, pastiche personae were used by groups of users themselves to generate scenarios which were scribed for later use by the design team. We explore how the use of fictional characters and settings can generate new ideas and undermine rhetorical devices within scenarios that attempt to fit characters to the technology, rather than vice versa. To assist in future development of pastiche techniques in designing for older people, we provide an array of fictional older characters drawn from literary and popular culture.</p

Nostalgia videogames as playable game criticism

The aim of this paper is to consider the emergence of nostalgia videogames in the context of playable game criticism. Mirroring the development of the nostalgia film in cinema, an increasing number of developers are creating videogames that are evocative of past gaming forms, designs, and styles. The primary focus of this paper is to explore the extent to which these nostalgia videogames could be considered games-on-games: games that offer a critical view on game design and development, framed by the nostalgia and cultural memory of both gamers and game developers. Theories of pastiche and parody as applied to literature, film, and art are used to form a basis for the examination of recent nostalgia videogames, all of which demonstrate a degree of reflection on the videogame medium

Plagiarism Issues in Post-1998 Indonesian Film Posters

There are online articles, with visual materials, stating that some post-1998 Indonesian film posters were accused as plagiarism by common people. However, academically speaking, it needs deeper skills and knowledge to prove acts of plagiarism. This paper will discuss the issues around Indonesian film posters and plagiarism, including the possibility of citing in graphic design. The research will treat film posters not only as marketing tools to promote the movies, as many people consider, but also as graphic design materials. Some terms such as appropriation, homage, and pastiche will be discussed to analyze the phenomenon

Make it so! Jean-Luc Picard, Bart Simpson and the design of e-public services

In this paper, we report on a project applying participatory design methods to include people who have experience of social exclusion (in one form or another) in designing possible technologies for e-(local)-government services. The work was part of a project for the Office of the Deputy Prime Minister in the UK, and was concerned with ‘access tokens’ that can provide personal identification for individuals accessing public services, based on technologies such as multi-functional smartcards, flash memory sticks, mobile phone SIMs or similar devices. In particular we report on our experience using the ‘pastiche scenarios’ technique recently developed by Mark Blythe. Our findings indicate that the technique can be effective and engaging in helping people to create realistic scenarios of future technology use and highlight some possible pitfalls to consider when using this technique.</p

The American Image of Starbucks Coffee as Perceived by Its Consumers (Case Study: Starbucks Coffee Paragon Mall Semarang)

Fenomena globalisasi melalui produk-produk Amerika selalu menarik perhatian penulis. Image atau gambaran tentang Amerika yang disampaikan melalui Starbucks Coffee di Paragon Mall Semarang bagi para konsumen yang datang menjadi pilihan topik utama yang penulis angkat di dalam skripsi ini. Pertemuan antara merk global dengan penduduk lokal di Semarang ini pastinya menimbulkan penggambaran tentang Amerika yang berbeda-beda di mata para pengunjungnya. Penelitian ini bertujuan untuk mengetahui apakah pengunjung mendapatkan American image melalui Starbucks Coffee serta menjabarkan apa saja image yang didapatkan oleh pengunjung ketika mereka mengkonsumsi Starbucks Coffee. Data yang dikumpulkan adalah kuisioner yang diajukan kepada 30 pengunjung Starbucks yang berusia 15-25 tahun. Dalam menganalisis data yang ada, penulis menggunakan teori globalisasi dari Rahayu Kusasi mengenai Tourist Gaze, Arjun Appadurai mengenai Disjuncture, George Ritzer mengenai Pastiche. Hasil analisa menunjukkan bahwa responden yang memiliki mindset Amerika menyadari dan merasakan American image dan globalisasi yang dihadirkan melalui Starbucks dan menempatkan gaya menyajikan sendiri (self-service) menjadi hal yang paling menggambarkan Amerika. Akan tetapi, penggambaran tentang Amerika yang mereka sadari ini tidak menjadi sebuah motivasi utama ketika mereka akan mengkonsumsi Starbucks

The persistence of parody in the music of Peter Maxwell Davies

In this article I take to task the uncritical use of terminology in relation to the music of Peter Maxwell Davies. Though my generating text is the quotation from John Warnaby’s 1990 doctoral thesis: "Since parody is implied in the notion of using pre-existing material as a creative model, it can be argued that, as traditionally understood, it is rarely absent from Maxwell Davies’s music". This is in no wise a criticism of Warnaby for whom I have much respect, and especially his ability to be able to perceive patterns, trends and unifying features between works and across extended periods of time. Rather, it is a commentary on particular aspects of Davies’s music which are often linked together under the catch-all term ‘parody’