Academic literature on the topic 'Aesthetic walkthrough'

Universitas123 adalah start up pendidikan digital. Portal yang dapat diakses melalui aplikasi Universitas123 ini menyediakan database lengkap tentang perguruan tinggi dan beasiswa, baik lokal maupun luar. Tujuan utama Universitas123 adalah untuk membantu mahasiswa mengidentifikasi perguruan tinggi yang sesuai dan mendapatkan beasiswa berdasarkan kebutuhan. Namun, berdasarkan komentar dari pengguna tertentu, pengguna terus mengalami masalah dengan aplikasi tersebut. Sehingga perlu adanya evaluasi terhadap aplikasi Universitas123. Penilaian kegunaan (usability evaluation) adalah salah satu metode yang sangat signifikan dalam mengevaluasi sistem informasi. Evaluasi usabilitas yakni penilaian terhadap tingkat keberhasilan dalam pencapaian tujuan yang telah ditetapkan dalam program. Prosedur evaluasi dapat menemukan cacat aplikasi dan masalah usability dengan menggunakan pendekatan Heuristic Evaluation dan Cognitive Walkthrough. Heuristic Evaluation secara umum merupakan pengujian dengan cara melibatkan ahli atau profesional dalam proses pengerjaannya dan proses pengevaluasian interface. Pada metode Cognitive walkthrough, untuk setiap tindakan pengguna, evaluator menganalisis apa yang ingin dilakukan oleh pengguna, apakah antarmuka mendukung langkah selanjutnya dari pengguna untuk menyelesaikan tugas. Dengan memberikan kuesioner kepada pengguna aplikasi Universitas123 dan memberikan skenario tugas kepada partisipan. Setelah melakukan uji heuristic evaluation dan cognitive walkthrough dihasilkan rekomendasi pebaikan. Evaluasi aplikasi Universitas123 menunjukkan perlu perbaikan pada Aesthetic and Minimalist Design (77%), saran termasuk menyederhanakan tampilan dan meningkatkan navigasi. Aspek Help and Documentation berhasil (89%). Hasil cognitive walkthrough menunjukkan keberhasilan pengguna 100% dengan tingkat usabilitas 85% (kategori “Sangat Tinggi”). Rekomendasi termasuk memperbaiki tampilan dan navigasi. Ini akan memudahkan pengguna mendapatkan informasi penting di halaman utama.

German director Christoph Schlingensief’s Animatographische Editionen (2004-06) included a series of three geographically-distinct labyrinthine walkthrough installations with a constellation of rooms and rotating platforms, leading to an Animatograph – a spinning carousel of material upon which videos were projected. Diverging from the current tendency in Schlingensief scholarship towards Niklas Luhmann’s systems theory, this paper focuses on the role of material in the Animatograph to show how it sympoietically enfolds autopoietic systems of communication. In particular, I investigate how humans explored the installations’ tight spaces, foul smells, swirling sights and cacophony of sounds, transforming materials and animals into performers. To do so, I derive concepts from Rebecca Schneider, Karen Barad and Donna Haraway to argue that in the encounter with the human, matter looks, touches back, and performs. In addition to providing a compelling site to investigate the intra-active entanglements of humans, animals, and materials in an aesthetic context, Schlingensief’s Animatograph allows us to see the ongoing (re)configuration of these entanglements, putting posthumanist performativity on display and highlighting the aesthetic contributions of the non-human.

Mosques are religious and cultural facilities that are used as a place of worship, social gatherings, and religious events by Islamic communities. The built environment in these facilities should meet certain technical, functional, and behavioral requirements for worshipers. Mosques could endure critical defects and inadequate performance, with gaps in knowledge, of appraisal tools for their overall performance assessment. Therefore, this research was motivated by the need to identify and purpose an exemplary systematic process upon the conduct of post-occupancy evaluation, owing to the fundamental need for satisfactory conditions that need to be met by mosque facilities. Thus, this paper presents an exemplary post-occupancy evaluation of mosque facilities in Saudi Arabia; as a religious built environment. A triangulation approach of data collection and assessment methods were followed and discussed in this research. A case study mosque was selected, following a review of literature. Interviews and walkthrough inspection identified 34 performance elements. Users’ satisfaction survey data were collected and analyzed. Recommendations were proposed towards improving performance of the case study mosque as a religious built environment that demands satisfactory occupancy conditions. The findings indicated that worshipers were strongly satisfied with the conditions of the built environment in the case study facility; including acoustical comfort, spirituality, and aesthetic performance elements. This paper expands the boundaries of knowledge in terms of identification of mosques’ performance elements

Abstract Background: Ptosis and volume atrophy of the breasts are common symptoms for various ages of women and may induce a considerable amount of stress in daily life. Periareolar augmentation mastopexy is an effective procedure for such conditions, and planning the new nipple position is very important. Aim: To provide a simple, straightforward planning and walkthrough of this operation in a journey to find the ideal level of breast lifting for natural upper fullness. Materials and methods: From January 2019 to December 2021, a total of 193 patients with volume deflation and ptosis of the breast received periareolar augmentation mastopexy in our institute. We retrospectively reviewed data on demographics, surgical procedures, outcomes, and complications. Results: All operations were done with periareolar incisions, and the mean follow-up period was 29.48 ± 9.11 months. The Likert scale of outcome satisfaction scored 9.02 ± 0.61. Complications were minimal, and no symmastia or bottoming out occurred. Conclusion: We present our basic strategies of periareolar augmentation mastopexy with a slight modification of the design. We believe that lifting the nipple to 3–4 cm above the inframammary fold (IMF) (making the top of the areola about 5–6 cm above the IMF) yields satisfactory aesthetic results.

As the climate crisis accelerates, consumers, lawmakers, and activists demand transparent supply chains in industries that form the material backbone of cultural fields such as fashion. Consequently, new apps have emerged that promise to make supply chains transparent by translating opaque production data into easily comprehensible product ratings. Integrating the literature on transparency, cultural intermediaries, and digital consumption apps, this article asks: how do these apps, which I call transparency apps, afford politics in cultural fields and new political ways of consumption? Using fashion as a strategic case of a cultural field with strong material underpinnings, this paper combines a walkthrough analysis of Good On You, Retraced, and Renoon with interviews of employees of the first two. I found these apps to afford a politics of transparency consist of eco-progressive values embedded in ideologies of consumer rights and self-optimization, which elevates the technical-material logic of fashion at the cost of its aesthetic logic. This politics is usually offered in a personalized form resembling platformized cultural production. Transparency apps are thus politicizing cultural intermediaries that simultaneously enable and limit the political contestation of fashion. This article demonstrates how transparency apps bring politics to cultural fields, upsetting usual logics in the process, carrying implications for any cultural field that faces demands for supply chain transparency.

Adaptive reuse of old house with rich architectural heritage into a boutique hotels or speciality tourism sector becoming a popular strategy while catering to sustainable use of resources. In addition, adaptive reuse helps to preserve architectural uniqueness, strength the local economy through environmentally friendly manner. This study focused to explore reuse house as boutique hotels in Sri Lanka, the vernacular and colonial approach by analysing the process and changes that occur on its application and identify the tourist perception on unique experience. Mixed method approach was instrumental in data collection. Site visits, walkthrough tour to identify building performance, analysis of the photographs, videos and online user satisfaction reviews were used to obtain tourist perceptions on reuse of old houses. Case studies approach used to study the 15 old houses converter to boutique hotels. Adaptive reuse of boutique hotels carter to the high-end tourist market and specially cratering to families and groups. Renovating old houses into boutique hotels enhances the value of the structures while preserving the passive design strategies inherent in vernacular and colonial buildings. Tourists appreciate the remarkable design layout, refined decor, aesthetic appeal of the space, and the ability of the interior to maintain its charm despite the tropical climate, offering mesmerizing views of the architecture. The result shows that a significant number of vernacular and colonial residences belonging to rich individuals have been transformed into boutique hotels, attracting a discerning clientele of high-end tourists. Conservation and restoration of economically and culturally important but abandoned buildings through its adoptive reuse contributes to the enhancement of tourist attraction, liveability, tackle the challenges of resource scarcity, waste prevention and preserve heritage. Keywords: Old houses, Tourist perception, Adaptive reuse, Sri Lanka

The article is sanctified to consideration of the modern stateof conception of integral r ationalism, that originates theideological sources from the paradigm of Europe adogmatism. An author distinguishes her ontological andepistemological intensions that direc tly touch themodern mainstream of Interdisciplinary and thinking in complication. Postmetaphysical tendencies areexposed to the walkthrough in philo sophy, science, andreligions that gravitate to rapprochement as a generalmental structure of i ntegral rationalism of new Logos.The world view factors of the European thinking, that entail edthe crisis phenomena in the coexistence of countries ofEuropean Union, are studied, on the basis of adogmatic reflection of historical preconditions of European integration. The present day is the post-metephysical period of awareness of the need for a return to holistic thinking, the focus of which at present is synergetic. Science, remaining "a high-tech knowledge center", paves the way through interdisciplinarity and transdisciplinarity to the transversal mind, which is still an imaginary horizon of ontological unity of various types of rationality and the definition of reason as such. In theology, there is an acute reformist need for the creation of a "new intellectual non-church religion", which would first of all honor ethical and aesthetic functions that produce the moral safeguards of human life. Each aspect of integral rationalism is in a state of intrinsic imbalance, which is capable of showing the intentions of convergence (or dispersal in the event of deepening of the crisis trends) to each other through a sinergetic antagonism around the idea of the "faith is the entelechy of mind" integral rationalism. Such intentions arise primarily through the awakening of an ontological inquiry into the metaphysical unity of being and being in their hermeneutic circle. The world, immersed in a pathos train (stable perseverance) of globalization with the intention to change the existence in space measurements, made a fatal mistake, not taking into account that such a change is heavy for itself and the change of things, namely, human-being. The expectation that a person under the influence of technological pressure (since it was he who became the driving factor for global development) automatically turned into a "citizen of the world" did not materialize: the regionality of thinking, the location of traditions, nationalism, religious isoletionism, the existence of "poles of influence" on geopolitics and therefore the existence (human) among the technical revolutions is in the forgotten frontier of "globalization-anti- globalism".

Virtual heritage is able to provide visual aesthetics, real-time navigation and interaction to impress and entertain users. This article describes the design and development of three dimensional (3D) virtual heritage to view and navigate the 3D representation of Malay traditional house which is rare to be found today. The Virtual Traditional House allows flexible exploration with real-time navigation in order for users to walkthrough the 3D reconstruction of the house while viewing relevant historical information at certain parts of the house. The process of design and development of Virtual Traditional House is outlined and points of particular importance are explained. The article discusses the preliminary results of user evaluation for Virtual Traditional House. Future work includes extensive user evaluation and to what extend user may absorb the historical information surfaced around the virtual environment.

Since its release in 2013, Facetune has risen to become the top paid photo and video app in the US. In this study, we document that the types of retouching tools Facetune make available mark a more significant shift in the American cultural practice of image editing, signaling an adoption of East Asian attitudes toward beauty standards and the plasticity of the image. Working within the Critical Technocultural Discourse Analysis (CTDA) framework, we track this shift by undertaking a Walkthrough Analysis of the Facetune app. This combination of methods allowed us to examine not only cultural beliefs around the self-image but also the affordances and materiality of the app by directly engaging the interface and technical functions of the app. We found evidence of Facetune pushing certain East Asian beauty ideals that may fall outside of American standards such as the Face resizing features that allow users to adjust nose, eyes, forehead, and lips by size and position. Furthermore, Facetune uses the photo not in its traditional role as a vessel for depicting a certain scene in time, but as a blank canvas on which to produce an ideal digital self. These findings offer a significant contribution in understanding shifting image editing practices online, particularly by highlighting the new technological tools and cultural beliefs that are leading this shift.

This paper critically investigates the ethical perspectives and practices of individuals and organizations who make persuasive technologies (“persuasive technologists”). An organization that claims to be at the forefront of ethical persuasion is behavioral software company Boundless Mind. Yet Boundless Mind sells ostensibly oxymoronic software products: an Application Programming Interface for third-party applications that optimizes the capture of end user attention, and an application for end users on how to make third-party applications less persuasive. Drawing upon Foucault’s interpretation of ethics as an “aesthetics of existence” and the related concept of “therapeutic authority,” I argue Boundless Mind justify the “poaching” and “protecting” of user attention based on a view of the human subject as fixable and their capability to instrumentalize user subjectivity to socially desirable ends. I walkthrough Boundless Mind’s technology-habit-breaking application Space and highlight a behavioral technique administered by Space called stimulus devaluation, which enables the user to develop a transformative relationship with their technology habits and persuasive applications. I conclude the paper by arguing that a persuasive technology ethics based on fixing the user obfuscates the power of persuasive technologists by limiting the scope of ethical inquiry to the activities of the user.

Entre le début des années 2000 et celui des années 2010, quatre artistes contemporains occidentaux Christoph Büchel, Mike Nelson, Jonah Freeman et Justin Lowe construisent en Europe et aux États-Unis de gigantesques et énigmatiques installations multi-pièces. Notre hypothèse initiale était qu’il existait des relations entre les super-productions labyrinthiques de ces artistes, tant du côté de leurs conceptions que de celui de leurs réceptions. Notre étude s’attache à décrire et analyser les spécificités (construction, accueil du public, thèmes et références …) et les enjeux (exploration, élaboration d’un récit, mise en danger et prise de risques du spectateur…) des expériences esthétiques offertes par ces dispositifs aujourd’hui invisibles. La réunion et le dépouillement d’archives inédites concernant dix de ces œuvres et leurs génétiques ainsi qu’une enquête de terrain menée auprès de leurs spectateurs nous ont permis de reconstituer des images mentales de ces œuvres. Les plans et les ekphraseis, récits fictionnels illustrés, que nous présentons dans cette thèse témoignent des dimensions spatiales et temporelles de ces parcours scéniques et mettent au jour un ensemble de mises en scène, matériaux, thématiques analogues. Prenant pour objet les stratégies scénographiques des artistes et les ressentis des spectateurs, notre analyse nous conduit à envisager ces œuvres comme des installations émotionnelles et comme des narrations environnementales dystopiques. La traversée de celles-ci, tel un voyage initiatique, permet à chaque spectateur de déployer son imagination et de se ressaisir comme individu et sujet-agissant
Between the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action