571 research outputs found

    THE INFLUENCE OF PRODUCT PRESENTATION MODE AND ACADEMIC MAJOR ON THE MOTIVATION OF HAPTIC

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    Purpose of the study: This study was aimed to investigate the effect of product presentation mode and education background of the subject on the willingness of touch, preferences and visual imagery. Methodology: A total of 60 students were recruited to participate. The independent variables included product presentation mode (physical products, backgrounds removed image, scenario photo) and academic major of the subject (design major or management major). Three different kind dependent variables were measured in the study. On physical product condition, one sample was placed in front of subjects at a time. Both backgrounds removed image and scenario photo conditions, the subjects view experimental photos through a 22-inch LCD screen. They watched the sample item for 10 seconds and then were asked to assess the subjective questionnaire. Main Findings: The study results showed that when watching a physical product, the motivation of touch was greatest. The scenario photo generated more positive feelings and resulted in higher preference rating. The willingness of touch, preference and sensory ratings of management major students were higher than design major students. Applications of this study: The findings of this study can serve as a reference for enterprises to properly present products on web pages in order to increase consumers’ motivation to touch and preference. Novelty/Originality of this study: This study reinforces construction of a model of motivation to touch, and find that product presentation mode significant affect motivation to touch, preference and novelty feeling

    Experiential learning to introduce english vocabulary to early childhood at C.D.I regional Risaralda

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    El presente proyecto de aula describe la implementación del aprendizaje experimental para promover y facilitar la adquisición del vocabulario con la población de primera infancia. La implementación se llevó a cabo teniendo en cuenta que el vocabulario es un aspecto clave en el aprendizaje del lenguaje, ya que ayuda a desarrollar otras habilidades de la lengua. La población involucrada en este proyecto consiste en 31 niños de Jardín, de un Centro de Desarrollo integral público y mixto en Pereira, Risaralda. Los participantes fueron expuestos a etapas experienciales como: Explorar, Crear y Jugar en las que el vocabulario en Inglés se enseñaba implícitamente por aproximadamente tres meses durante una hora a la semana. Además las tres practicantes a cargo de la realización del proyecto emplearon algunos instrumentos como diarios, artefactos infantiles y reflexiones para recolectar la información, analizarla y notar el impacto de las clases de inglés

    Passing Time

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    In today’s fast paced world based around expedience and convenience, we often find ourselves lost in the hustle and bustle of daily life. While keeping up with our busy schedules it is hard to find those moments of pause in which we can regain our composure. The ceramic vessels in Passing Time are about those moments in between, like the space between musical notes they are essential to our understanding and being. This body of work represents the building and maintaining of relationships, the welcoming space of home and establishing invitation through the act of giving and sharing. I use functional, handmade, ceramic vessels to illustrate these ideas through groupings of like objects gathered around a shared theme. Tea sets, pitchers and cups and table settings symbolize family, friends and a sense of community. Each part has its own place, a home, within the wider scheme of the whole. I make handmade ceramic vessels because they have the ability to transcend the ordinary mass produced wares of industry. Certain qualities of form, surface and color are only achieved through a maker’s hands. These qualities offer the user time to sit with the piece and hopefully look at it deeper, beyond its utilitarian aspects. I extend the invitation to explore the work through those formal qualities, and through use, it is my hope that they can further the enjoyment of the user and become part of a conversation. The choices in surface and color reference memories of time spent outdoors with friends and taking in the beauty of nature. The memory of clay allows me to transfer those ideas into the work that I hope the user can connect to some of his/her own experiences. Our thoughts, ideas and experiences make up who we are, sharing them lets others learn more about us. Passing Time is the space where relationships and friendships can become more meaningful and intimately connected

    The Puppets Look Like Flowers At Last

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    The urge to uncover aspects of human condition permeates my work, from the fundamental curiosity of a child tearing apart their doll to uncover what lies within to continuing a quest in uncovering basic human urges through my puppet animated dramas and tragedies. There is a controversial line between the childlike and the adult-like that can be ambiguous, and at some times more discernible while other times less. I create handcrafted stop-frame puppet animations that explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. These are animations about inner life, attempting to resolve conflicting elements of the human psyche. At first glance, these puppets might appear scary, but upon closer observation the viewer may realize it is the puppet who is scared

    Recovery From Design

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    Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form

    Fine arts in undergraduate education - a possible and effective approach

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    This communication tells experiences lived by Universidade Federal do Paraná, Coastal Sector, which adopted the Visual Arts as cross wind axe inside of the curricular proposals of its diverse courses of graduation, technical and high school. This institution is the most recent campus of one of the oldest universities of the country and has as its main characteristic the innovation in the teach-learning process.Peer Reviewe

    Cultural Products: Definition and Website Evaluation

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    This study explored cultural product on young consumers' perspectives by looking at their understanding of cultural product definitions, preferred terms and preferences on cultural product websites. The theory of reasoned action (Fishbien & Ajzen, 1975) was used as a framework to examine relationships between consumer characteristics, belief and attitudes, and shopping intentions. Methods included paper-based and web-based questionnaires. Subjects browsed two websites selling cultural products and answered a series of questions about their perspective on cultural product as a whole and cultural product from the two websites. Findings from this study indicated that young consumers preferred to call cultural product by the term "handcraft." Young consumers who have similar characteristics to a group called Cultural Creatives (Ray & Anderson, 2000) have positive attitudes toward cultural products and a higher intention to purchase cultural products. Important characteristics of cultural products and websites, recommendations for producers, retailers, and future research were discussed.Department of Design, Housing and Merchandisin

    Wallflowers: Tapestry, Painting, and the Nabis in fin-de-siècle France

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    This dissertation examines the dialogue between painting and tapestry that developed in late nineteenth-century France, specifically at the Manufacture nationale des Gobelins, and in the work of the avant-garde artists known as the Nabis. Nineteenth-century tapestry remains an obscure subject in scholarship and its influence on painting is thus not well-known or understood. This study aims to recover the symbiotic relationship that existed between tapestry and painting, and demonstrate the importance of studying the fine and decorative arts in tandem. It furthermore presents an evaluation of tapestry’s place in the history of modern art, as well as a study of the socio-cultural anxieties that accompanied rapid industrialization and technological progress in the late nineteenth century, examined through the luxury craft of tapestry. Part I outlines a history of the Manufacture Nationale des Gobelins, the state tapestry manufactory, from the birth of the Third Republic in 1871, to the 1900 Universal Exposition in Paris. It is divided into three chapters following the tenure of three directors: Alfred Darcel, Édouard Gerspach, and Jules Guiffrey. Part II examines the needlepoint hangings of the Nabi circle in the 1890s. With a chapter each on Aristide Maillol, Paul Ranson, and József Rippl-Rónai, this section compares and contrasts the approaches of these three artists to needlepoint “tapestry,” in order to elucidate the issues of art’s relationship to industry, nationalism, ideals of patronage, and gendered labor. With regard to the last issue, it was the artists’ wives/ companions—Clotilde Narcisse, France Ranson, and Lazarine Boudrion— who executed the majority of their designs. Part III analyzes how Édouard Vuillard drew from tapestry to re-conceptualize modern painting through two monumental decorative commissions: The Album (1895), and the Vaquez panels (1896). These are exemplary of his so-called “tapestry aesthetic.” I go beyond the general scholarly assessment that his paintings resemble tapestry to argue that tapestry provided him a haptic model for painting, and explore how his painting engaged with tapestry in the wider circulation of material culture of the fin-de-siècle. An epilogue follows Vuillard’s tapestry aesthetic into the twentieth century and examines how it was buried and replaced by Henri Matisse’s re-definition of the decorative in modernist painting.Nochlin, Linda, dissertation adviso

    English as a foreign language in early childhood through the implementation of art crafts with recycled materials

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    La enseñanza de la educación ambiental en el mundo ha jugado un papel muy importante cuyo fin ha sido promover el cuidado y la protección de nuestros recursos naturales. En el presente proyecto de aula, participan niños cuyas edades oscilan entre los cuatro y cinco años lo que facilita la creación de conciencia ambiental con su impacto esperado a presente y a futuro sobre la importancia de la reutilización de elementos reciclables. Por lo tanto, se presentará los resultados encontrados durante su implementación, dirigida a la población de primera infancia a niños y niñas, con el propósito de crear un ambiente de aprendizaje lúdico-dinámico para dicha población, a través de un aprendizaje basado en proyectos: en este caso basado en reciclaje. Dicho lo anterior, en éste proyecto se dará a conocer las estrategias y actividades que se realizaron para el aprendizaje del inglés con el uso de materiales reutilizables, con la finalidad de aprender y desarrollar habilidades en dicho idioma en la población anteriormente mencionada, con el objetivo de crear manualidades sencillas donde los participantes aprenden haciendo, experimentando, creando y así mismo consiguiendo interés y disposición para aprender el vocabulario en inglés, y lograr crear conciencia en los mismos sobre el cuidado del medio ambiente e indirectamente el desarrollo de un segundo idioma
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