Dissertations / Theses on the topic 'Design History and Theory'
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Kikuchi, Yuko. "Mingei theory and Japanese modernisation : cultural nationalism and 'oriental orientalism'." Thesis, Open University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287011.
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Rigby, Emma Dulcie. "Fashion design and laundry practices : practice-orientated approaches to design for sustainability." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12014/.
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This doctoral enquiry develops practice-orientated approaches to design for sustainability. It focuses on the relationship between garment design, laundry practices and sustainability, and responds to research that evidences domestic laundering as one of the most environmentally damaging stages in a garment’s lifecycle (Allwood, et al.,2006; Hansen, et al., 2007). A one-year laundry study surveyed the use and laundry of sixteen garments to ascertain the relationship between garment design and laundry behaviour. The research findings revealed that laundry behaviours are complex and unpredictable, and often not directly linked to producing cleaner clothes. Laundry routines are underpinned by factors beyond cleanliness including: garment use, social auditing, garment aesthetics,life stage, cultural norms, and spatial arrangements within the household. Through re-examining laundry as a social practice the research develops a series of design provocations to challenge the organisation of laundry practices, and by extension the frequencies and processes in which laundry is carried out. The findings highlight that understanding laundry as a social practice opens a space to reconceptualise design, laundry behaviour and sustainability. It decentres material products and attends to the embedded social dynamics that are set within a nexus of spaces, materials, thoughts, actions and emotions. This provides an alternative lens from which to view and develop design theories and practice for sustainability in fashion. The central insight from the research shows there are multiple benefits from incorporating social theory into methodologies for design for sustainability.
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Bugg, Jessica. "Interface : concept and context as strategies for innovative fashion design and communication : an analysis from the perspective of the conceptual fashion design practitioner." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/5663/.
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This practice-led PhD proposes alternative practices in a research and design context that explore the intersection of fashion, fine art and performance methodology and practice. The project exposes and documents the emergence and development of conceptual and experimental fashion and interdisciplinary practice at the edges of the fashion discipline. The research provides new insights into the way fashion designers can work conceptually and how their work might be perceived differently, dependent on contexts of presentation. It investigates how the concept behind the design and the context of presentation affect these readings for both the viewer and the wearer. It uncovers the emotional and experiential factors of fashion and exposes how we experience and respond to clothing/fashion in a variety of contexts. The thesis draws attention to the lack of specific identification given to conceptual thinking in fashion design as an outcome within its own right and proposes new applications and approaches to this practice. The research methodology developed within the practice extends the potential of communicating body related concepts to wearers and viewers through the medium of clothing worn on the body and can be applied in part or whole across a range disciplines. The thesis synthesises a body of knowledge to inform practitioners of conceptual fashion and reveals the complexity of communication between designer, wearer and viewer of conceptual fashion in specific contexts. The researcher has designed collections of concept-based work, which are not driven by market constraints, trends and seasons but by concepts and processes. These collections have been tested and analysed in a variety of contexts and written up as three major case studies. The process of design developed within this research focuses on the body, movement and behaviour; through experimentation and testing it reaffirms the emphasis on the creative process allowing for consideration of context as fundamental to the communication of embodied concepts. It is argued that it is necessary for fashion designers to review the way in which they design for specific contexts such as dance, exhibition and areas of fashion promotion and communication. This requires a different approach that pays attention to both concept and context at the point of inception.
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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.
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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
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Glasscock, Ann Marie. "THE SIXTY-NINTH STREET BRANCH OF THE PHILADELPHIA MUSEUM OF ART: A RESPONSE TO MUSEUM THEORY AND DESIGN." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197756.
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Art HistoryM.A.
By the 1920s, ideas about the function and appearance of the American art museum were shifting such that they no longer were perceived to be merely storehouses of art. Rather, they were meant to fill a present democratic need of reaching out to the public and actively helping to cultivate the tastes and knowledge of a desired culturally literate citizen. As a result of debates about the museum's mission, audience, and design, in 1931 the Philadelphia Museum of Art opened the first branch museum in the nation on 69th Street in the suburb of Upper Darby in an effort to improve the relationship between the museum and the community. With sponsorship by its parent institution and financing by the Carnegie Corporation of New York City, the two organizations hoped to determine, over a five-year period, whether branch museums, like branch libraries, would be equally successful and valuable in reaching out to the public, both physically and intellectually. The new Sixty-ninth Street Branch Museum was to serve as a valuable mechanism for civic education by encouraging citizens to think constructively about art and for the development of aesthetic satisfaction, but more importantly it was to be a catalyst for social change by integrating the visual arts into the daily life of the community. In this thesis I will demonstrate that, although the first branch museum was only open for a year and a half, it nonetheless succeeded in shaping the way people thought about art and how museums were meant to function as democratic institutions in American society.
Temple University--Theses
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Turner, Helen A. "Designing the Domus: enhancing the history, theory and practice of contemporary interior design through analysis of ancient Roman domestic space(s)." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892109.
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Escott, Anthony James. "Alan Cuthbert : colour theory and practice [1957 -79] English art school change in the early 1960s." Thesis, Kingston University, 2005. http://eprints.kingston.ac.uk/20219/.
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The core of this research are the paintings and cultural context of Alan Cuthbert, a hitherto un-researched figure who trained in the English art school of the late 1950s under the Constructionists Kenneth and Mary Martin and subsequently became the Head of the Foundation course at Wimbledon School of Art from 1963-1979. Cuthbert produced a substantial body of over a hundred geometric abstract paintings, lecture papers and writing and played a significant role in training future generations of artists and designers from the 1960s onwards. This thesis proposes that Cuthbert is part of a broader tendency in British art schools and that practice and teaching is intimately connected to the reorganisation of the art schools and the introduction of the Foundation course in the early 196Ös. I put forward the argument that through a study of Cuthbert and the shifts in art schools one can map a much under-researched aspect of British art. This research encompasses the three fields of art history, art education and art practice and centres on an artist-lecturer, a subject of study largely ignored by the majority of art historical writing, which is dominated by the modernist model of monographs, movements/groupings, and periods. In placing the case study of an artist-lecturer in a critical and historical context, this study maps British art through organicism, Constructivism and the Bauhaus art school pedagogy and colour as they pertain to basic design and the changes in art school teaching between 1955 and 1979. Through this case study of a colourist and systems painter this thesis suggests a different, Continental orientation for British post-war geometric abstraction.
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King, Julie. "Colour forecasting : an investigation into how its development and use impacts on accuracy." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5657/.
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Colour forecasting is a sector of trend forecasting which is arguably the most important link in the product development process, yet little is known about it, the methodology behind its development or its accuracy. It is part of a global trend forecasting industry valued recently at $36bn, providing information which is developed commercially eighteen months to two years ahead of the season. Used throughout the garment supply chain, by the yarn and fibre manufacturers, the fabric mills, garment designers and retailers, it plays a pivotal role in the fashion and textile industry, but appears in many different forms. Colour forecasts were first commercially produced in 1917, but became more widely used during the 1970s, and in recent years digital versions of colour forecasts have become increasingly popular. The investigation aimed to establish the historical background of the industry, mindful of the considerable changes to fashion manufacturing and retailing in recent decades. For the purposes of the investigation, a period spanning 25 years was selected, from 1985 to 2010. In reviewing the available literature, and the methodologies currently used in developing forecasting information, it became clear that there was a view that the process is very intuitive, and thus a lack of in depth academic literature. This necessitated a considerable quantity of primary research in order to fill the gaps in the knowledge regarding the development, use and accuracy of colour forecasting. A mixed method approach to primary research was required to answer the aim of the thesis, namely to investigate how colour forecasts are compiled, and examine their use, influence and accuracy within the fashion and textiles industry, suggesting methods for developing more accurate forecasts in the future. Interviews were conducted with industry practitioners comprising forecasters, designers and retailers to better understand how colour was developed and used within industry. Two longitudinal studies were carried out with the two largest UK clothing retailers to map their development and use of colour palettes, and understand better how colour contributes to the critical path and supply chain. Two colour development meetings were observed, one with a commercial colour forecaster, the other with an industry association, and two colour archives were studied to establish whether or not any identifiable and predictable colour cycles existed. Data from the interviews and longitudinal studies were analysed using a grounded approach, and revealed some new insights into the influences upon the development of colour forecasts both commercially and from the retailer's perspective. The sell through rates of merchandise, EPOS analysis and range of practices between those interviewed and the two retailers studied provided an interesting insight into working practices and how colour forecasting information is changed when used by the retailers. It was found that a group of core colours existed, which were used season after season, and consistently demonstrated a high sell through rate, such as black, white, grey and navy. In order to establish whether or not colour cycles were consistently predictable in their repetition, two colour forecasting archives were assessed. If predictable colour cycles existed, they would be a useful tool in developing more accurate forecasts. Unfortunately this was not the case, as no clear colour cycles were found. However, the archive, together with evidence from the retailers demonstrated the 'lifecycle' of fashion colours was longer than expected, as they took time to phase in and out. It was concluded that in general the less fashion led brands used their own signature colours and were able to develop colour palettes far later in the product development timeline. This approach could be adopted more widely by retailers and designers as it was discovered that although accuracy rates for colour forecasts are generally accepted to be around 80%, the commercial forecasters provide colour update cards closer to the season where at least 40% of the colours are changed. Very early information, two years ahead of the season is no longer necessary in the contemporary fashion and textiles industry.
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Östman, Leif E. "A pragmatist theory of design : The impact of the pragmatist philosophy of John Dewey on architecture and design." Doctoral thesis, KTH, Architecture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-196.
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This study is an inquiry into design-theoretical aspects of architectural design in Finland based mainly on the pragmatist philosophy of John Dewey. The study comprises two case studies. The . rst case deals with a young family designing their future home – a detached house built from prefabricated components – in cooperation with an architect. The second case deals with the design process of a leading Finnish architect, Professor Ilmari Lahdelma, as he prepares his proposal for an architectural competition for a new city library in Lohja, a competition he eventually wins. The case describes and interprets Lahdelma’s design process, the processes of other competition entries made by the of. ce staff, as well as the process of the jury’s evaluation of the competition entries. The two cases are analysed and interwoven with aspects from three different theoretical perspectives: existing design theories, Pierre Bourdieu’s . eld theory and John Dewey’s thinking regarding art and research. In the study I argue that Dewey’s philosophy can provide a framework for a design-theoretical epistemology. I also arrive at conclusions regarding the interpretation of some key design-theoretical concepts and the position of design theory and its structures. I further argue that the Finnish architectural competition system is a strong tool for generating developments in the production of the architectural avant-garde, which acts as the leading light for the rest of the . eld of architecture. The present study also highlights the gap between ‘high-’ and ‘low culture’ in the . eld of architecture, yet points out that the design of a simple family house – assumedly a case of ‘low culture’ – is by no means trivial to the family itself, and is indeed . lled with moments of aesthetic experiences, which is a central issue in Dewey’s description of creative processes.
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Horrocks, C. W. "Techno-theory : critiques of culture and technological being." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22366/.
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The work comprises a critical commentary and a portfolio of ten published major texts by the author, presented in whole or part. It represents a set of related themes and approaches to the subject of culture, technology and being. The portfolio critiques and develops theories of technology in response to significant examples within cultural contexts, in order to address and interrogate contradictions and assumptions pertaining to technologically led readings of images, objects and environments. The publications range from critical approaches to major theorists of technology and culture, including Baudrillard, McLuhan and Heidegger; artists who have utilised technology within performative contexts (Warhol, Duchamp, Gorgerous): and phenomenological studies of network-based culture. The commentary focuses on dominant theoretical concepts in order to connect the texts. These include Baudrillard's principle of 'reversibility', McLuhan's reading of disembodiment, Heidegger's 'standing reserve' and Jarry's 'pataphysics'. The work concludes with a critical obituary of Jean Baudrillard, and shows how the portfolio of publications (1999-2011) has had an impact within academe and for a more general readership, and how it informs current research and future publications.
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Addis, W. "Theory and design in civil and structural engineering : A study in the history and philosophy of engineering." Thesis, University of Reading, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.483030.
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da, Motta Amadeu Flavia Regina. "Reflecting on capabilities and interactions between designers and local producers through the materiality of the rubber from the Amazon rainforest." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12018/.
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Designers have recently become increasingly involved with small-scale producer communities around the world, mostly in the southern hemisphere, and this increase has highlighted the significance of these encounters in the creation of economic and social opportunities for those peoples. This study identifies that, however, these encounters present challenges and imply ethical responsibilities that current design methodologies fail to embrace in their long-term goals. This research investigates the interaction between designers visiting local producers whose livelihood is deeply dependent not just on the natural environment and their local culture but also on the process of fabrication. This thesis proposes a new methodology to guide designers and producers through a reflective process of social change in producer communities. This methodology derives from a combination of activity theory and the capability approach to wellbeing applied within design and producer community practices. The aim is to support a dialogical and holistic design approach to this kind of cooperation, as well as to endorse research and professional practice in the field of design for social change. This research seeks to break new ground by generating perspectives that support both designers and local producers in tackling and resolving issues of individual and collective wellbeing. The research draws on interviews with designers working with local producers in different countries. In addition, the author presents her own experiences of researching and working with Amazon rainforest rubber-tapping communities which have adopted new production methods in order to acquire new capabilities and help conserve their environment. Two case studies illustrate the reflective methodology applied to the designer and producer interactions within social innovation and entrepreneurship. But it is fundamentally the materiality of the rubber, and the revelation of the interdependences within and without the locality, that form the framework of this thesis.
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Vuletich, Clara. "Transitionary textiles : a craft-based journey of textile design practice towards new values and roles for a sustainable fashion industry." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12402/.
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The current fashion textiles industry is based on an outdated, exploitative system that encourages fast consumption, generates huge amounts of textile waste, creates toxic impacts to ecosystems and causes significant social impacts to production workers. The move towards a more sustainable industry is a complex challenge and will be based on circular and social systems that prioritise values, collaboration and empathy for the environment and all stakeholders. This research defines the move towards a more sustainable fashion textiles industry as a transition that operates across environmental, social, and human domains. At the human level, the transition is an emergent process that involves both ‘inner’ and ‘outer’ dimensions (Maiteny & Reed 1988). For fashion textile designers, this process will demand new ways to practice and engage with the sustainability agenda, including the ‘outer’ dimensions of better materials or more ethical production models; and the ‘inner’, reflective dimensions of values and the self. This research proposes new roles for designers in these transitionary contexts, through craft-based fashion textile design practice. The practice projects presented in the thesis demonstrate three new roles that evolve through the sustainable design continuum to the highest level of Design for Social Equity (Manzini & Vezzoli 2008), where designers will support all stakeholders towards systemic, sustainable change. The practice projects reveal a collaborative and inter-disciplinary approach to fashion textile design practice in industry, local communities and the global supply chain. The research draws on a range of literature from sustainability theory, design/craft thinking, and psychology. The mixed methodology includes an action–research phase of collaborative practice projects, facilitation of workshops with designers in industry, and a reflective phase of textile making and writing. A model for the Transitionary Textile Designer is presented as a final outcome. In order for fashion textile designers to practice in transitionary contexts ‘beyond the swatch’, the research presents new methods and tools to connect individual values to social values inherent in the transition towards sustainability.
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Whitney, Marilyn Corson. "A History of the Professionalization of Interior Design: Viewed Through Three Case Studies of the Process of Licensure." Diss., Virginia Tech, 2008. http://hdl.handle.net/10919/29412.
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Since the 1950s, interior decoration evolved into interior design. Throughout the 1970s, all of the components for professionalization were in place, but it was not until the 1990s that the final transformation made interior design into a profession. This dissertation documents these changes and posits that is the conflicts inherent in the process of licensure transformed it into a profession.
The transformation of interior design is examined through the lens of the theory of professions, especially Andrew Abbottâ s delineation of transformation through conflict. The historical case studies of the legislative process were of the District of Columbia, which has practice legislation; the Commonwealth of Virginia; which has title legislation; and the State of Ohio, which has no licensing of interior designers as of 2007. Data collection was by interviews with participants of the process of licensure and with the leadership of the interior design community. In addition, primary and secondary documents examined include books, journals, trade magazines, and documents from professional organizations.
Specifically, this dissertation addresses these questions: Is interior design a profession? If so, what forces transformed interior design into a profession? And, how is interior design different from architecture?
This dissertation posits that interior design is unique from architecture because it developed in home economic programs at state universities during the 1950s, 1960s and 1970s. In this locale, the primary focus of interior design was the micro-environment based on the theory of behavior. This gives students and practitioners a unique viewpoint that allows for the consideration for each end user as integral to the design process. These attributes contribute to the unique qualities of the services interior design offers and separate it from those of architecture.
A simplified definition of interior design that I developed is that interior design utilizes the theory of behavior to design spaces in a micro-environment that function at a safe and efficient level for every end user and are aesthetically pleasing. Finally, interior designers need to understand that the strength of their position in the built environment is in the unique services they offers and celebrate their qualities as outlined in this document.Ph. D.
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Choi, Jin Won. "The design and implementation of a multimedia information and authoring system for teaching and learning architectural history and theory /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972137761.
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Sim, Jean C. R. "Designed Landscapes in Queensland, 1859-1939: experimentation - adaptation - innovation." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/10835/1/wholePHDsim1999.pdf.
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The conservation of historic cultural landscapes in Queensland is in its infancy. Effective conservation practice, however is based on sound historical information, and no previous study has investigated the historical development of local parks, gardens and other landscapes. The objectives of this research were to examine the factors which influenced landscape design in Queensland, to identify the forms and expressions of design derived from these influences, and to identify any distinctive aspects related to local landscape character. The timeframe chosen for this investigation was from the beginning of the separate colony of Queensland (1859) to the outbreak of World War 2 (1939). Using historical method, the research began with an exploration of published primary sources (particularly garden literature from the 1860s to 1930s) related to Queensland and other 'tropical' areas. A series of hypotheses was proposed to explain the findings, and these were tested by further analysis and data gathering. There followed a triple-layered central proposition, suggesting that: (i) in Queensland, the traditional delineation of styles to describe landscape design is of limited application because of the lack of elite professional designers and wealthy clients; (ii) there developed a discernible 'tropical landscape design character' in suitable climatic areas, which included two distinct visual aspects expressed in the landscape (the 'exotic' and the 'prosaic'); and, (iii) these design outcomes were the result of a design process of 'acclimatisation' experienced by early settlers (gardeners and designers) working in unfamiliar lands and climates, and includes the stages of experimentation, adaptation and innovation.
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Tilley, Elizabeth Heidi. "Bridging the Gap: Fertility Timing in the United States, Theoretical Vantage Points, Effective Public Policy, and Prevention Design." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/265612.
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The United States has one of the highest teen pregnancy rates among developed countries and ranks third overall in rates of teen pregnancy out of thirty countries in the Organization for Economic Cooperative Development, OECD (UNICEF, 2007). However, as a country we are spending an enormous amount of money on teen pregnancy prevention programs. For example, the Office of Adolescent Health has implemented grant funding opportunities for teen pregnancy prevention programs and provides approximately $105 million to states to design these programs. These programs include personal responsibility education and abstinence only education (http://www.hhs.gov/ash/oah/oah-initiatives/tpp). If we are spending this much on these programs, why do we still have one of the highest teen pregnancy rates among developed countries? Based on what we have learned from current prevention efforts, the goal of this dissertation is two-fold, to introduce alternative theoretical approaches for prevention design and test determinants and protective factors of sexual risk-taking in adolescence. To obtain these goals, this dissertation was written using the three paper option that contains a theoretical paper and two empirical papers that test hypotheses of determinants of sexual risk-taking in adolescence and possible factors that protect youth from engaging in sexual risk-taking, such as school-wide communication and sexual education. The theoretical paper introduces alternative theoretical approaches to not only target individual behavior that may be risky, but also target the contextual constraints in which teens are operating. The empirical papers analyze possible determinants and protective factors for sexual risk-taking in youth.
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Barford, Katie Elizabeth. "Drawing, interpretation and costume design : a study of the costumed body informed by watching 'Tanztheater Wuppertal' in rehearsal and performance." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12001/.
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This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performance. It also extends the theorisation of costume, through its application of texts by Charles Sanders Peirce on semiosis, interpretation and habits, and contributes new insight into costume design practice by enabling the first costume-focussed analysis of works by 'Tanztheater Wuppertal' in the English language. The first part of the thesis discusses three cycles of drawing, interpretation and costume design. The starting points for these investigations are my experiences watching dancers perform in the German dance theatre company 'Tanztheater Wuppertal'. These experiences were enriched by my being granted access to rehearsals and performances,which facilitated unique opportunities to observe dancers in and out of costume. Blind drawing was used to look more attentively at costumes and to record my observations of these dancers. The complexities of using blind drawing and annotation, as methods to articulate this visual, auditory and spatial information, were tested through drawing practice and analysed using a theoretical framework incorporating Peircean theory,costume studies and scenography. Questions and uncertainties that arose through this process were then explored through experimental costume practice, in which costumes were designed and tested on volunteer performers. The second stage of the research describes and analyses my costume design for three experimental performances shown in public spaces that were informed by these cycles of practice and theory.
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Sacchetti, Maria José. "A minimal aesthetic : the relationships between fashion and art in New York and Paris, from 1964 to the present day." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6528/.
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This thesis identifies and characterises a minimal aesthetic evident in a strand of fashion emerging in New York and Paris from 1964 onwards. It examines the way in which a minimal aesthetic has been applied to the practice of fashion design and retail architecture, specifically in a high-fashion context. The research establishes that the earliest manifestation of a minimal aesthetic in fashion design, took place in 1964, in the work of the French fashion designer André Courrèges. Designers who later adopted similar principles include Jil Sander (1968), Calvin Klein (1968), Zoran Ladricorbic (1976), Donna Karan (1984), Helmut Lang (1986) and Narciso Rodriguez (1997), among others. The study identifies the origins of the principles of a minimal aesthetic and examines them through two distinct case studies that consider the practice of designers Donna Karan and Helmut Lang, both of whose work emerged during the 1980s. The investigation re-evaluates the significance of Minimalism in fashion history. It challenges accepted views of Minimalism in fashion as merely a trend of the mid-1990s, or as a local phenomenon. The thesis maintains that these principles find expression in the designers’ work, in the architecture of the flagship stores and in the inter-relationship between the two. Additionally, it investigates the meanings that these products convey to the consumer. Through an evaluation of the retail architecture, it establishes parallels between the principles of this aesthetic and earlier elements of a post-war Modernist architecture. The study of the dynamic inter-relationship between elements of fashion design and those of architecture focuses on the definition of a minimal aesthetic. Furthermore, these claims are contextualized within other fields such as material culture, cultural and historical studies and sociology. The thesis employs a qualitative methodology comprising empirical research based on case studies and object-based analysis, all of which draw upon theory that addresses the means of interpretation. The study has developed through an analysis of dress and the retail architecture associated with the case study designers’ work. Through empirical research, the research shows how contemporary attitudes, practices and theories have emerged which are essential for the analysis of dress and the spaces it inhabits. The primary sources, garments from the collections of André Courrèges, Donna Karan and Helmut Lang held at key international costume archives at the Victoria & Albert Museum, London and the Fashion Institute of Technology and the Metropolitan Museum of Art, New York, are discussed in relation to other archival and published sources.
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Cambridge, Nicolas Adam. "Son of Samurai, daughter of butterfly : fashioning Japan in the sartorial culture of the United Kingdom, 1980-2006." Thesis, University of the Arts London, 2008. http://ualresearchonline.arts.ac.uk/6508/.
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The thesis addresses the reception and consumption of Japanese fashion in the U.K. between 1980 and 2006 and concomitant constructions of Japanese identity in the critical discourses surrounding fashion. It examines the impacts of the sartorial traffic emanating from the Japanese fashion system, the creative outputs of which are polarised in Western critical thought as either unreflective cultural borrowings (Japanisation, appropriation) or as embodying an unfathomable Eastern aesthetic (zen, wabi/sabi, wa). Building on a substantive account of the cultural impacts of the initial encounters with the West, the investigation identifies sites where Japanese sartorial culture is consumed in the form of text, image and artefact. A variety of methodological approaches are mobilised in the analysis of data from retail outlets, cultural institutions and media publications. Material pertaining to "high-concept designers" whose outputs are largely consumed within visual and intellectual contexts is balanced by that from "high street apparel makers" operating in a more commercially-oriented manner. Findings regarding the role of an "intermediate matrix" of designers/brands employing creative approaches and retail strategies that supersede issues of culture, race and historicity are presented in order to map a creative continuum in contemporary Japanese fashion design. In addressing the imbrications of Japanese identity and contemporary sartorial practice, the thesis interrogates research findings from creative, commercial, critical, curatorial and mass media sources within a framework of existing academic accounts of the construction of Japan in the Western mind. The conclusion articulates new readings of the nature of "Japanese-ness" available to a globally connected audience and identifies a gendered differentiation between visual representations of Japanese-designed fashion mediated through the gatekeepers of sartorial culture in the United Kingdom.
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Narielwalla, Hormazd Geve. "Patterns as documents and drawings : an artistic exploration of tailoring patterns as historical documents and drawings abstracting the human form : an analysis from the perspective of a creative art practitioner." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6761/.
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This practice-led thesis places archival research within the framework of a contemporary art practice and proposes an interpretive reading of tailoring patterns as informative documents and inspiring drawings in their own right. Conventionally, patterns are treated only as a means to an end, aiding garment production. It is rare for patterns to be analysed by contemporary dress historians for their contribution to history. This thesis will demonstrate how tailoring patterns are undervalued and neglected, and remain a hidden craft. This qualitative research is conducted in the archive in order to gain a deep understanding of a group of patterns – here military patterns – that in turn inspired an artistic and curatorial output. An archive of uniforms worn by officers of the British Raj held at the National Army Museum was identified for this research; these uniforms were closely examined, handled and drawn in situ. The drawings were placed next to military patterns from different sources and scrutinized using a case-study method. The analysis revealed that information could be derived from the patterns making them relevant in respect to an understanding of dress history. The archival research is further interpreted in art and curatorial practice in the second half of the thesis by suggesting that patterns are unique abstracted drawings of the human form, carrying with them not only the outline of the garment but also impressions of the body. A reflective approach to the practice illustrates how the archival research became the primary source materials to create romantic Love Garden sculptures. The researcher positions his own emerging practice at the blurring of fashion, art and curatorial practice; and articulates how other artists, practitioners and designers have responded to the pattern as an object and a drawing, producing work in the context of art, fashion and design. The thesis demonstrates that military patterns and the tailoring knowledge they comprise represent rich and rewarding source materials for producing contemporary artworks, and also vital historical documents in the context of dress history.
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Knapp, Petra C. "The Architecture of Education: Public Schools in Akron, 1890-1920." Connect to resource online, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1252415666.
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Wisdom, Kendra Lee. "A study of the effects of communication design of synchronous online graduate courses on level of transactional distance and student satisfaction." Ashland University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ashland1617644159395173.
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Chmelik, Brian. "Immigrant Integration in the United Kingdom: Transnationalism and Nativism in Post-Brexit Britain." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1936.
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I will examine how immigration into the United Kingdom has changed due to globalization, the strength of immigrant transnational networks, and rising hostile nativism. Changing immigrant experiences in the United Kingdom are contextualized by Britain’s “leave” Brexit vote and devolution of integration systems. I will argue that economic and local political integration are the most important contributors to improving immigrant outcomes and reducing tensions between minority and majority groups in the United Kingdom. Using policies from Denmark and Germany, I will compare how different integration regimes across Europe include immigrants as stakeholders in social and economic processes and how transnational networks interact with policy. I will recommend a set of policies at the national and local level to combat rising tensions between minority and majority groups. I will conclude by forecasting the likely and ideal scenarios for the future of minority-majority relations and integration regimes in the United Kingdom.
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Hagström, Anders. "Poetically Man Dwells in Game Space : A Phenomenological Investigation of Video Games as Art." Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326132.
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The studies of digital games is a young scientific field notable for its interdisciplinary nature that seeks to unite several epistemological positions in order to properly encompass the wide array of questions raised by the subject matter. During the last two decades strides have been made towards the introduction of a unified game theory, with several of the more recently suggested methods coalescing towards a similar end. This paper posits a phenomenological game theory which circumvents the usual aesthetic arguments for a focus on game as space, and analyses what it means to be in that space. The result of the initial reading of mainly three well-known and critically acclaimed digital games strongly indicates that using Heideggerian phenomenological thought reveals things about games as art that a) reinforces the validity of commonly held beliefs in current game theory, and b) suggests new ways forward for game design to improve games through enhancing the player’s comportment into their spaces by means of phenomenological game theory.
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Burton, Leah Michelle. "Influencing Capitalist Attitudes to Drive More Capital Towards Social Good." Antioch University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1627048054529815.
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Gaier, Samantha. "Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.
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Maiden, Shelby. "The Commodity Club: Commodity Fetishism in Modern Art and Tattoos." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/467.
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The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.
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Sandberg, Emma. "Respektfull design: För ökad förståelse och vilja att förändra : FUCK ME, en utställning om den svåra sjukdomen ME/CFS." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79356.
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In this essay, I go through the different parts that compile my degree project. I have explored the power of graphic design for educational purposes. During my process, I have found a new area of graphic design, respectful design. Something that can be briefly described as design created with the greatest reverence for conveying a difficult subject without diminishing the affected person behind. An approach where one works closely with the involved and frequently checks in, so that nothing is portrayed incorrectly. This along with the constant search for information makes up the basics of respectful design. The disease ME has finally begun to be talked about in society. But the way the disease is portrayed can be argued as incorrect in relation to the bigger picture. As a graphic designer I have analyzed the problem and worked out a possible solution. My conclusion is that strong colors mixed with melancholy and straightforward information can make the subject less heavy and easier to handle. This can open the senses to problem solving and understanding instead of stopping at pity. The aim of the project has been to get away from these dark quilts that the media has placed on us. The goal was to create something that does not hide the awfulness of the disease but informs in a more fun and more inviting way. I strongly believe that graphic design can reduce the social stigma around a topic if done properly. When life is the toughest it has helped me and (after the response of the exhibition) others to learn more about our disease. Above all, if more people know more about the disease, ME- patients will get help. Hopefully society will open it’s arms so that no more people are forced to choose suicide.I denna uppsats går jag igenom de olika delarna som sammanställer mitt examensprojekt. Jag har i grunden utforskat kraften av grafisk design i utbildningssyfte. Under min process har jag kommit fram till ett nytt område inom grafisk design, respektfull design. Detta går kort att beskriva som design utformat med största vördnad inför att förmedla ett svårt ämne utan att förminska den drabbade människan bakom. Respektfull design innebär att man jobbar nära med inblandade, kollar av hela tiden så att inget porträtteras felaktigt och läser på om ämnet så långt det går. Sjukdomen ME har äntligen börjat talas om i samhället. Men sättet sjukdomen porträtteras kan argumenteras som svartvitt och felaktigt gentemot helhetsbilden. Som grafisk designer har jag analyserat problemet och jobbat fram en möjlig lösning. Min slutsats är att starka färger blandat med melankolisk och rak information kan göra ämnet mindre tungt och mer lätthanterligt. Detta kan öppna sinnena för problemlösning och förståelse istället för att stanna vid medlidande. Syftet med projektet har varit att komma ifrån detta mörk täcke som media lagt över oss. Målet var att skapa något som inte döljer det hemska med sjukdomen men informerar på ett roligare och mer inbjudande sätt. Jag tror stark på att grafisk design kan minska det sociala stigmat runt ett ämne om det görs på rätt sätt. När livet är som tuffast har det hjälpt mig och (efter respons av utställningen) också andra med att utbilda och läsa på. Framför allt om fler vet mer om sjukdomen kommer det att gå att få bättre hjälp. Förhoppningvis öppnar samhället sina armar så att inte fler tvingas till att välja självmord.
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Begum, Taslima. "A postcolonial critique of industrial design : a critical evaluation of the relationship of culture and hegemony to design practice and education since the late 20th century." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3410.
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This thesis specifically focuses on the professional practices and training of Western industrial designers using postcolonial theory to inform working practices in a complex global ecology. It investigates the culturally hegemonic construction of design solutions in man-made products. By adopting key ideas from postcolonial and cultural studies as a lens to evaluate fields of industrial design discourse, practice and pedagogy, the work proceeds from the premise that design is not intrinsic to a product but the result of a myriad different forces and factors acting on it externally including hegemonic potencies. By reinterpreting technological formations in light of research emerging from post-colonial studies, it attempts to broaden our intellectual understanding of how product design in theory, practice and education can often rely upon western [hegemonic] aesthetic and deep cultural archetypes. The purpose of this enquiry is to highlight the potentials that exist to explore a synergy between east and west in industrial design with a prospective vision for global, trans-cultural design. The research claims that current design practice often leads to culturally determined - rather than universal - conceptions in design and it attempts to re-conceptualise design as practice within a necessarily hegemonic culture. This hegemony needs to be acknowledged and redressed via increased awareness and changes to the intellectual heritage and autonomy of West European and American industrial design, in its dialogue, practice and education. As an epistemological project to identify knowledge within this discourse, it suggests new methodological and strategic approaches to engage with the crisis the discipline faces in light of globalisation so as to open up future discussions in design discourse and give a voice to the many silences that make up the noise of the world. It attempts to: • Further understand the trajectory of hegemony and globalisation in relation to design, technology and culture. • Critically engage with cross- and trans-cultural, global and social design implications. • Address the discrepancies between designers’ culture and users’ culture, to expose the necessity for more culturally-cognizant design practice and pedagogic provision. The research was initiated by identifying a number of questions that designers and users may consciously or subconsciously confront when faced with products that problematise the imagined universal values of designed products in terms of gender and culture. It explores how certain design solutions produced and developed in the west and their diffusion into global, international markets and foreign cultures could affect those cultures by asking in what ways the usability, aesthetic and symbolic characteristics of these artefacts often unwittingly contribute to the privilege or marginalisation of people from particular socio-cultural backgrounds. The thesis intervention is that product designers are neither explicitly trained to comprehend nor surmount their respective cultural constraints and design education both nationally and internationally is not sufficiently equipped with the tools to acknowledge and confront this. The key arguments presented in this thesis are: 1. Products can often be deconstructed to identify cultural connotations or omissions in their design. 2. Global, a-cultural design and universal usability are fallacies that frequently deny the existence of an underlying cultural hegemony at play. 3. Mass-produced products can gradually homogenise and eradicate cultural diversity contributing to the negative effects of colonialist attitudes and/or globalisation. 4. Academia and educational institutions have the potential to extend awareness in this field to inform and train future designers and graduates to better advance design obligations in global, trans-cultural, cross-cultural and multicultural contexts.
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Poulton, Delwynn V. "Water conservation in Brisbane's residential landscapes : towards the optimisation of water in front garden design." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/13614/1/13614.pdf.
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One of the most critical issues that the world faces as it enters the new millennium is the provision of a continued supply of fresh water – the source of all life. The depletion problem of this resource through uneducated use is world-wide as well as being specific to Australia. This study centres on this issue in the Australian context with particular reference to gardening practices in Brisbane, the capital city of Queensland. The study examines methods by which fresh water can be saved through innovative garden design options. The cultural philosophies which underpin Brisbane’s suburban residential front gardens were investigated through an examination of literature, painting, and letters of the early settlement days in Australia and, in particular in Queensland. The findings were used to establish the theoretical framework for a qualitative study of seventy two Brisbane gardeners and their gardens. These gardens were selected from sites in a corridor of seven suburbs occupying a south-east segment of the city. The corridor included these components – an outward historical growth pattern, a range of socio-economic and cultural issues, varying soil types, topographical forms and a variety of residential forms and styles with a range of compass frontages. Each selected gardener was encouraged to ‘talk’ about the garden and its design and ‘making’ and the comments were analysed in the light of the author’s theoretical investigations. The results of this investigation provided an understanding of current gardening practices which also involve the use of 50-60 per cent of Brisbane’s domestic water on the garden. The findings suggest that Brisbane’s, and indeed, Australian gardens are based on philosophical notions that have Eurocentric foundations. Alternative and innovative water saving practices were explored and these techniques were modified to suit the design and construction of Brisbane gardens, whilst still satisfying the cultural values behind existing garden practices. The conclusions suggest that if gardeners are to be convinced about adopting water saving techniques, future garden designs must meet existing norms in terms of form and function as well as being able to conserve water.
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Watts, Chelsea Anne. "Painting Parisian Identity: Place and Subjectivity in Fin-de-siecle art." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3403.
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In this thesis I provide analysis of several nineteenth-century artworks in order to elucidate the connections between place and identity as expressed in visual representations of Paris. I utilize Bakhtin's idea of the dialogical as a means of identifying multiple subject positions that might be accessed by particular individuals who live in socially constructed spaces specific to fin-de-siècle Paris. I discuss the construction of three performed identities unique to nineteenth-century Paris: the Flâneur, the bohemian, and the primitivist. In each chapter I will parse out the social construction of the spaces where these identities existed and were performed, and link those identities to their discursive functions as particular models of Parisian life. I will discuss the relationship of each representation of identity to Henri Lefebvre's concept of socially-produced space through analysis of the stylistic and compositional choices made by the artist. The visual artworks I discuss include Edouard Manet's A Bar at the Folies-Bergère, Vincent van Gogh's The Outskirts of Paris, Night Café, and Café Terrace at Night, and Henri de Toulouse-Lautrec's Jane Avril and Divan Japonais.
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Swatzel, James Paul. "A partial differential equation to model the Tacoma Narrows Bridge failure." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2631.
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The purpose of this thesis was to examine a partial differential equation to model the Tacoma Narrows bridge failure. This thesis will examine the equation developed by Lazer and McKenna to model a suspension bridge in no wind.
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Coetzee, Sonja. "Sustaining teacher career resilience in a resource-constrained rural education setting : a retrospective study." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/40230.
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The purpose of this study was to gain an in-depth understanding of whether or not, and how teachers in a resource-constrained rural school sustain their motivation in and commitment to teaching over a life-span. The Social Cognitive Career Theory was chosen as theoretical framework because it recognises the importance that factors in the environment play when the career paths of individuals unfold. A conceptual framework for ‘teacher career resilience’ was developed by merging current thinking on resilience, teacher resilience and career resilience. The life-history design was framed methodologically as biographical research with participatory principles. Teacher participants (n=5, 3=female and 2=male) were selected according to purposive sampling. Data were generated through participatory interview-conversations, which were audio-recorded and transcribed verbatim, as well as memory books, joint photograph-taking and field notes in a researcher diary.
Five themes emerged from the guided phenomenological analysis process (Hycner, 1985) and narrative comparison. First, this study exposes illiteracy of learners’ parents, demotivated learners, and a negative national teacher fraternity as sources of adversity not previously noted as significant for teachers in rural settings. Second, rural teachers in this study drew strength from their own life experiences of adversity (being from rural areas themselves); and they relied on their own agency in problem solving. Third, in addition participating rural teachers make use of encouraging memories of their own teachers from childhood and partake in informal professional development activities such as collaborative peer discussions rather than mentoring to grow professionally. Fourth, participating teachers in rural resource-constrained South Africa thus use similar internal protective resources (problem solving, strategizing, cognitive restructuring and emotional regulation) in their adaptive coping repertoire to those of other teachers globally. Fifth, teachers did not enter the teaching profession in the same way as has been documented elsewhere; but entered the teaching profession as a result of socio-political and financial influences, chance happenings and the influence of significant teachers in their past.
Teachers seem to balance their use of protective resources between internal and external resources in their current practice. Over time, however they draw more on internal protective resources. Teachers conceptualised their teacher career resilience on a continuum: persevering through adversity, both as young children, and as growing professionals. They use their self-efficacy beliefs, embedded in an adversity drenched past, to manage, overcome and cope despite current chronic adversity. Teachers’ overt behavior in adaptive coping processes was dependent on the interrelatedness between their attributes (especially internal protective resources), the environment (chronic adversity) and the continuous loop of influence (appraisal) between these three factors. Teachers became skilled in resilience processes because of the chronic adversity they face. Teachers’ self-efficacy beliefs about their adaptive coping extended beyond what they themselves can achieve to what their efforts in teaching may mean to model hope to learners, as their teachers modelled to them, fostering a certain altruistic career anchor.Thesis (PhD)--University of Pretoria, 2013.
gm2014
Educational Psychology
unrestricted
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Grover, Barbara L. "The Antiquities Act of 1906 : The Public Response to the Use of Presidential Power in Managing Public Lands." PDXScholar, 1998. https://pdxscholar.library.pdx.edu/open_access_etds/2427.
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President Clinton created Grand Staircase-Escalante National Monument on September 17, 1996. The Antiquities Act of 1906 gives the president power to establish national monuments on public lands through presidential proclamation. The Act has been used to create national monuments in places such as Muir Woods, Grand Canyon, Mount Olympus, Jackson Hole, and the 1978 Alaskan d-2 lands. Its use has also produced negative public response, manifested as demonstrations, lawsuits, and congressional bills.
In spite of significant legal and legislative challenges, the Antiquities Act and most of the monuments established through its use remain. The negative public response to the Act and the monuments has not been able to dissuade presidents from using executive authority. In each of the controversial cases the scope of the Antiquities Act was expanded in regards to the values being protected, monument size, or land use. The public had little influence in reversing that expansion.
The Antiquities Act was designed as a tool to provide protection to threatened lands. It has protected federal lands, and in many cases the national interest. The historic and scientific values of once controversial monuments such as the Grand Canyon, Muir Woods Mount Olympus, Jackson Hole, and the d-2 lands, are now indisputable. These monuments have evolved to represent part of our natural national heritage. Only time will tell if the same can be said for Grand Staircase-Escalante National Monument.
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Timney, Todd F. "Design History Matters: Visualizing Graphic Design History Through New Media." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/38.
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New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challengeto develop open-ended systems that adapt to dynamic content, customization, and multiple authorshipcan be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.
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Duncan, John C. "Nature, history and critical theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/NQ33530.pdf.
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Золотова, Світлана Григорівна, Светлана Григорьевна Золотова, Svitlana Hryhorivna Zolotova, and V. V. Petrov. "The history of coding theory." Thesis, Видавництво СумДУ, 2008. http://essuir.sumdu.edu.ua/handle/123456789/16065.
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Ingebrigtsen, Anna. "Grounds For Healing : Tales of Toxic Terrain." Thesis, KTH, Arkitektur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-140580.
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This project proposes the restoration of Vinterviken’s contaminated grounds, a legacy of Nobel’s dynamite production. How can we live with toxicity? The design sows phytoremediating meadows, extracts toxins, harvests, decomposes, burns, and grows new crops. Elevated pathways offer a procession through the site, to green roofs, mountain paths, an open kitchen & hearth, a floating barge with biopools & a sauna. As the fields are healed, the structures move into the barge and sail to other polluted sites.Projektet är ett förslag till återställandet av Vintervikens förorenade marker, ett arv från Nobels dynamitproduktion. Hur kan vi leva med toxicitet? Modellen sår fytoremedierande ängar, skiljer ut gifter, skördar, bryter ned, bränner, och odlar nya grödor. Förhöjda stigar erbjuder en gångväg genom området, till gröna tak, bergsstigar, ett öppet kök och härd, en flytande pråm med biopooler och en bastu. När områdena har läkts, flyttar strukturerna in i pråmen och seglar till andra förorenade platser.
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Tedeschi, Carla. "Design theory and methodology /." Online version of thesis, 1992. http://hdl.handle.net/1850/11771.
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Halsall, Francis. "Art, art history and systems-theory." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/5392/.
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Gantier, Samuel. "Contribution au design du documentaire interactif : jonction et disjonction des figures de l'utilisateur de B4, fenêtres sur tour, coproduit par France Télévisions." Thesis, Valenciennes, 2014. http://www.theses.fr/2014VALE0031.
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Ces dix dernières années, plusieurs centaines de web-documentaires ont été publiés sur Internet. Si ce format émergent connaît un succès d’estime important auprès des professionnels des médias, son design ne va pas de soi. Dès lors, comment les théories du cinéma documentaire et des médias informatisés éclairent-elles les métamorphoses médiatiques caractéristiques de ces « nouvelles écritures » ? Quels sont les enjeux ontologico-esthétiques et communicationnels d’un documentaire interactif ? Quel rôle et quel pouvoir l’instance d’énonciation doit-elle octroyer à un « spectateur-actant » ? Afin de répondre à ces questions, un état des lieux de la production francophone permet tout d’abord d’établir une typologie des différents modes d’interaction. Ensuite, une approche ethnographique, fondée sur une observation participante du design de B4, fenêtres sur tour, au sein de France Télévisions, interroge l’ensemble des controverses socio-techniques et sémio-pragmatiques qui jalonnent les six mois de conception. Une analyse par théorisation ancrée met en exergue les différentes dimensions d’un Utilisateur Modèle négociées, de manière plus ou moins implicite, par l’ensemble des acteurs. Enfin, les usages supposés du web-documentaire sont confrontés à une évaluation de l’expérience utilisateur. Les jonctions et disjonctions entre les figures d’un Utilisateur Modèle, Statistique et Empirique contribuent in fine à mieux appréhender le design de ce format hybride et non stabiliséIn the last few years, several hundred interactive documentaries (i-docs) have been published on the Internet. If many media professionals prize the i-doc format, its design remains a challenging feat. Given this, what light do film documentary theories and digital media shed on the mediated metamorphoses that typify the “New Writings” movement? What are the communicational and ontologico-aesthetic issues of i-docs? What role and what power should an instance of enunciation accord to the “actant-spectator”?In response to these questions, our study of the current state of the French-speaking production scene brought to the fore a typology of interaction modes. Following this observation, an ethnographic approach, based on a participant observation method, questioned the overall sociotechnical and semio-graphic issues that marked the six-month design process of an i-doc called B4, fenêtres sur tour for the State-run France Télévisions. A Grounded Theory analysis of the data highlighted the different dimensions of a more or less implicit negotiated Model User used by the actors. Finally, the purported uses of i-docs were questioned in evaluating users’ experience. The junctions and disjunctions involving the interaction of the User, Statistical and Empirical Models contributed to a better grasp of the designing of the hybrid and non-stabilised i-doc format
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Rockhill, Paul Hunter. "The Reception Theory of Hans Robert Jauss: Theory and Application." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5153.
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Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.
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Faust, Juergen. "Discursive designing theory : towards a theory of designing design." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3210.
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Motivated by the immature theoretical framework of design, this thesis employs transdisciplinary discourse to provide a contemporary and forward-looking model of design and design theory, as well as the linkages between the two, along with the necessary methodology. The discourse involves research into the current understanding of design, its principles, its practice and conceptual framework. The methodology developed and employed in this thesis can be outlined in five steps: 0. Design briefing 1. Developing a conceptual model based on the writings of Michel Foucault and Helmut Krippendorff. 2. Presenting the model in a written form. 3. Using accounts of conferences as tools for Designing Design and building monuments. 4. Interrogating the theory through an expert system. 5. Summarising and evaluating the findings. Design Briefing The present study delves into design, and into the design of theory. In Chapter A.1.6, a summary of Chapter A.0−A.1.5 is given, highlighting the underlying discourse. As shown, the theory behind this work is based on a hypothesis, which cannot be proved experimentally, or deduced from experimental data, at least at the time of its construction. Therefore, it needs to be understood that the case studies (A.3.2−A.3.5) in this thesis are not intended to serve as experiments that were conducted in order to prove the theory; rather, these case studies are design cases—products and artefacts—and should be viewed as discourse frameworks that can be adopted to design design. As described in Chapter 3.1, these are elements of monuments—in reference to Raichman (1988)—that have resulted from the discursive strategies and were designed within a community of designers, allowing the design understanding to be shaped. Methodologically, the theory is created through an indication of differences. These differences were elaborated on in the literature review, and can be explained using either logic-based or hermeneutical metaphors. As the latter approach is more flexible, it might be more applicable to the design environment. The generated knowledge can be located in three areas—design knowledge, epistemology, methodology (the process to get there), and phenomenology (the composition of the artefacts). While the main focus of this thesis has been on theory design, it was also important to delineate how to get there, as well as analyse the questionable differences between theory and practice, since they are ideal types that mark the extreme ends of a continuum (Jonsen and Toulmin 1988, p.36). The work presented in this thesis was conducted in a circular manner, like a design process, in order to encapsulate the instance. Therefore, essential topics reappear, allowing them to be reframed and newly contextualised. Chapter 0.0 to 0.7 reperesent the introductory part of this work. Thus, the content presented could be referred to as ‘the briefing’—as a parallel to a design case—to provide the background. It shows the motivation, a first hypothesis, some methodological considerations, and the research design and decisions. The aim is to provide insight into the phenomenon of interest and discuss some preconceptions. Thus, these introductory chapters provide orientation through locating some statements of the provided (design) discourse. Developing a conceptual model based on the writings of Michel Foucault and Helmut Krippendorff. As a follow up, Section A consists of several key components, and encompasses the research methodology specificity, its theoretical underpinning, and its connection to design, a reframing and contextualisation. This section also provides the means to overcome the discrepancy between researching and designing. Therefore, in Chapter A1−A1.6, a more substantial discourse of design is provided, along with the theory and the essential knowledge. Here, we can see the method in operation, as a patching of discursive statements—akin to an additive process of designing. Clearly, the attempt made here belongs to the constructivist epistemology, as the idea of design is a mental construct. Nonetheless, the aim is to provide a broad perspective of what can be presently observed in the design field. The employed methodology strategically aims to overcome the divide between designing and researching—between acting and reflecting—in order to provide a conceptual model. Still, it also makes the designing practice a conscious process, whereby theory is designed through discourse. Such discourse is revealed within the discovery of textual statements based on an extensive literature review, as well as through the discovery of textual statements from organised interactive conferences. The theory developed here is, in fact, a theory derived from theory, and is shaped through finding patterns and the simplification of the overall structure they form. In A.2, the concept of discourse and its designing quality is revealed. It shows how discourse, as the guiding method, is ‘excavated’ from the writings of Michel Foucault and Helmut Krippendorff. Methodologically, Michel Foucault’s ‘Archeology of Knowledge’ was analysed against and parallel to Helmut Krippendorff’s ‘Semantic Turn’, as these sources are complementary to each other. The goal of this process is a comparison of statements, yielding reasoning towards discourse and design discourse. In sum, this analysis helped reveal that it is a matter of design how the discourse is provided. The outcome of the aforementioned comparison is very interesting and satisfying. The findings revealed a difference in discourse, because engineering and design discourses are informed by rhetoric of design, rhetoric of deliberation, in opposite to humanistic discourse, which consumes textual objects (Perelman 1999). The discursive designing process within these chapters reveals some important elements, such as the conceptual frame of politics, referred to in Foucault’s discourse explorations. According to the author, power is a generating force in shaping discourse (Faucault 1980, p.119). In contrast, Krippendorff (1995b) sees power as emanating from language, which can be overcome through avoiding the construction of certain language. In the research presented, the designing practice that took place during the conferences, as well as the aforementioned notions, play a role, as was shown in Chapter 3. Power, as it was experienced, is unavoidable. Yet, rather than seeing it as a problem, it should be viewed as a generating force. A second more substantial question arises around the notion of discontinuity (A.2.3), which is essential in Foucault’s concept. According to Krippendorff, knowledge is not partitioned; it rather provides continuity through the various disciplines. As this research shows, this view should not be seen as an opposite to Foucault’s concept of discontinuity, because statements can refer to the same object, but coming from a discontinuous field, from various disciplines. In other words, as design discourse can be viewed as a discourse hosted by various disciplines, it is discontinuous! With respect to Foucault’s concern of grasping of statements, the main goal of this thesis is to provide support for this perspective. As the author noted, the grasping of the statements needs to follow the exact specificity of their occurrence (Foucault 1972). The prudence and success of dissociating statements from their original context to place them in a new context is questionable, since no discontinuity can be ignored (Foucault 1972). Often, rather than paraphrasing the text so that it reflects one’s own understanding of it, the result is a mere citation of the original texts and con-texts. The awareness of discontinuity does not allow for this thesis to be presented according to the positivistic paradigm.
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