Smart Costumes for Performance Art. Alexandra Cabral and Cristina Carvalho

Size: px
Start display at page:

Download "Smart Costumes for Performance Art. Alexandra Cabral and Cristina Carvalho"

Transcription

1 Smart Costumes for Performance Art Alexandra Cabral and Cristina Carvalho Abstract The costume design for the performance art is involved in an action field where fashion is understood as a contemporary work of art, contributing to evoke emotions. The usage of new textile technologies is fundamental in the creation of signifying shapes, which by being dynamic and interactive will support the performer during the performance, in an ever more narrow relationship between what he/she expresses and what the attire represents. The problematic at stake exposes the lack of true response to psychological stimuli from the wearer by the current intelligent and semi-intelligent prototypes, and therefore an absence of deliberate communication of specific emotions. The truly cognitive contribution of the clothing in question is in comprising the bidirectional communication between performer/audience, framed by the environment stimuli, in which a costume gains meaning. The combination of technology and cognition summarizes the coexperience in which they find themselves involved, regarding that particular action field. It s therefore necessary to understand the interrelationships and interaction levels between the smart textile and its bearer (the body), converging simultaneously functional and emotional territories, so as to allow the development of costumes that react to stimuli, placing both the wearer and the environment as actuators of specific functions. Science and art are then allied in a design practice that encompasses concepts such as interaction design, co-design and participatory design. In clothing that unites form and background, context and subject, performer and spectator, the innovation itself lies in the reciprocal contribution to the fields of design and textile engineering. Intelligence in textiles approaches the one that has invented it (the human being s), combining notions of materiality and immateriality. Having the dynamism in clothing and the interaction it provides linked to the redefinition of the body as a mirror of the mind, we challenge the conceptual and plastic limits of fashion. Key Words: Fashion design, costumes, performance art, performer, smart textiles. ***** 1. Fashion and body: bi-directionality in performance The transitory feature between the body and its surroundings is provided by the textile «second-skin» that covers it. It mirrors both the individual and society, due to the signifying function the textile surface acquires. While an emblem of an intertwined speech, fashion, like art, can be a language, a system of communication that can reflect dreams, desires, realities, fantasies, memories,

2 2 Smart Costumes for Performance Art values, changes, and even critical consciousness 1. Its closeness to the body makes it the most immediate element of communication with others. Fashion, in performance art, by having the body as a means, can comprehend a two-way tacit relationship perception due to its elements of fruition: one that dresses and another that is dressed (thus revealed). However, fashion depends on cultural connotations given to clothing in the social environment it belongs to, therefore body and aesthetic object, when exposed, complement each other as much as they set apart: a garment deprived of its bearer keeps containing it; the importance of the undressed body expresses the equivalence given to a specific garment. Therefore, the clothing thus becomes the body, a passage from same to same 2. In our hypermodern era, where singularity, competitiveness and self-separation are features of a world surrendered to the fugacity of things 3, artistic practices framing fashion as performance have no limits. Their rules and procedures do not belong to a line of thought; they are rather intuitive and tuned with the heart of life. Since Duchamp showed us that art can define itself as «anti-art», clothing, while «anti-fashion», can express the thoughts of the individual, in the present artistic universe constituted by a wave of experiments 4. Performances and happenings of the 1960 s brought about new concepts and ways of exhibiting, putting the audience in a closer interaction with the artist. Today, "fashion and art trace parallel paths, having the catwalk on one side and the museum on the other, which sometimes interlace or even interchange" 5, and if we analyse what s in between, we find a particular combination of time, spectator and performer. That s the one of the performance art s context, concerning the lingering over an action and a gesture and that allows a metamorphose as the motto for the renewal of each human being s life experience 6. In this experience, costumes have an essential role, for the reason that they are part of a creative process that is exposed, and they are pushed to their expressive limits by the unpredictability of the performative action. Body manipulation through clothing affects our perception of its original shape and confirms our relentless pursuit in understanding its physical and psychological condition: "What s a human being? What makes us test our sensations? What are the limits of the self?" 7. In a framework in which body and aesthetic object merge, the performer uses his/her body to transform it into pure signifying material 8, getting thus placed in the same level of signs 9. If the attire used by the performer is the expansion of the surface of his/her body, the role of the fashion designer is to interpret what has instilled that expansion because "the relationships amid body and self are the contents of knowledge that we call consciousness" 10, and in this case, the one of the character s being interpreted. On the other hand, if the performance is also the spectator, stimulating his/her feelings comprises the creation of affective thinking 11, the same way as understanding the audience implicates an adjustment in the way of performing. Therefore, the costume

3 Alexandra Cabral and Cristina Carvalho designer needs to understand the context of use while responsible for tracing the way the user will find information, interpret, establish relationships between components, interact with the interface and understand communication 12, to be able to contribute simultaneously to the performer s communication and allow the audience s perception. Even though this is an assumption which is relative to Eco because a work of art is open while surrounded by a dialectic of «decisiveness» and «openness» ( ) as communicative circumstance 13, these performative and materiality/immateriality notions enable us to contextualize wearable technologies and their performative potential on the body Inversions: the body as functional platform Seymour mentions that the context of use is tremendously important when creating meaningful fashion wearables. ( ) it truly determines the functional and expressive definition of a fashion wearable 15. That kind of wearable innovates fashion design thinking, since the inclusion of textile structures that respond both to the body and environment s stimuli demand new methodologies and techniques. The performer s body is increasingly considered a functional platform, since that it causes property changes in the textile surface (in colour, shape, opacity), clearly revealing the emotion meant to be transmitted to the audience. Clothing focuses on the equivalence to the individual, not only because the flesh can think and be designed 16, but also because, in this context being analyzed, we need to consider the way people interact both between themselves and with themselves alone through smart clothes. Artists such as Roosegaarde and brands like Philips Design Probes have explored new dimensions in this field. The first one presented us Intimacy 2.0 (2011), a dress that becomes transparent with excitement, responding to heart beat acceleration, using wireless technologies, leds, coper and other materials 17. The second created Bubelle Blush Dress (2006), a changing color garment, made of polyester, non-woven led and fiber glass materials 18, showing «emotions» by measuring biometric data. We question, however, their cognitive contribution regarding the core of the bidirectional communication between performer and audience, when what is at stake is the so called emotional design which consists in the attempt to awaken feelings through products 19. We think that the correspondence of emotions in these garments to truly psychological stimulus is still an illusion. By not being shown to society in the midst of performance art and at the service of culture, all prototypes fail in their goal: in intelligence, namely in their approach to the human being s it wasn t deliberately communicated any specific concept or emotion. Factors such as cold and exterior heat can interfere in how these textile materials react, but they need to be controlled in the art performance field so that the outcoming reactions gain meaning. Bugg mentions Quinn regarding the intensity of the sensorial experience, stating that it should be an allusion to a more intense experience somewhere else, or the promise of a richer, wider horizon to be found 20. 3

4 4 Smart Costumes for Performance Art The neuroscientist Nicolelis goes further and explores the limitations of the body regarding what science is able to achieve to overcome them. He uses exoskeletons controlled by brain waves in his investigation on the usage of neuroprosthesis 21. Even though this evolution is extreme in what we can call the merging between body and technology, it meets the foreseen perspectives of fashion designers. Seymour tells us that the immersion level through smart clothing demonstrates how much our bodies are rapidly becoming extensions of technical developments 22 and we say: and vice-versa. In this equivalence, the present evolution has shown that materials respond according to «our» laws, as that s what the integration of nanotechnology in textiles indicates, since the technical actions tend to be ever more intuitive and discrete in order to serve the user: technology produce fabrics that mimic many of the skin s properties 23. Interaction and dynamism (and even mimicry) are therefore present in new scientific progresses that affect the body as an organic, mobile and thinking object. Tao clarifies that most textiles and clothing have been inert, and it would be marvellous if they could behave like our skin, become intelligent material for being related to the brain 24. We can therefore foresee progresses in design, where static objects can, as a result, be transformed into new dynamic things, adding intelligence to the field and stimulating the design of innovative products and services 25, reflecting ourselves as humans. 3. User-centered fashion design: project methodology The methodology for designing dynamic and interactive smart costumes can be shared and complemented by two disciplines, fashion design and textile engineering, since relevant changes and improvements are the ones realized by designers, and by a specific breed of designers: those ( ) who are both artists and engineers 26. Tao also reinforces the importance of interdisciplinary team work 27 and Kaptelin e Bannon tell us about interaction design, the one involving research about human-machine interaction and linked to cognitive ergonomics, gathering science, engineering, social and human sciences, and of course, design 28. Actually, reinforcing the human factor in design is imperative nowadays 29 and the most common flaw is to think that the designer can have certainties without working in co-design with his/her peers or participatory design with the user 30, because intuitions about what will make a system useful and usable for the people who will use it are, on average, poor 31. When new investigation fields and technologies and materiality affect the way we express ourselves, we clearly need to revisit the foundations of design work and reflect on the ways in which we work ( ), forget conventions and suggest new styles and semantics 32. A user-centered design practice becomes essential in the complementarity between conceptual and production procedures, because according to Gulliksen e Göransson, the work practices of the users control the development 33. Plus, we need to ponder that an entity is committed in interacting with an object, and that

5 Alexandra Cabral and Cristina Carvalho object causes a change in that entity during that same interaction 34, and to be aware that those conceptual probes that question the combination between cognition and technology summarize aspects of co-experience. These ones reinforce notions of time, space and response conditions during performance art, as co-experience encompasses three inter-relational moments of mutual influence: body and aesthetic object; aesthetic object and its environment; performer and audience. Skorpions (garments by Di Mainstone, Joanna Berzowska e XS Labs, 2007) constrain the performer s body like a «carapace», when changing its shape in specific areas for reacting to external stimuli. They don t only intervene in the notion of personal body, but they also shift and modulate personal and social space ( ). Their behavior, by hiding or revealing hidden layers, invite others inside the protective shell of fabric 35. Therefore, we can assume that user-centered design has to be thought in a hermeneutical circle, in a movement from the parts to the whole and vice-versa 36, so that the result induces a true reading and frames specific communication moments, centered in an actuation domain called action field 37. The performer acts in the midst of a network of diverse elements, because all that occurs in his/her mind happens in a time and space related both to an instance in the time his/her body is found and to a particular section of space it occupies 38. The surrounding space is physically circumscribed, but it s also metaphysical, and it embraces certain practices that are grasped to their limits and that depend on the movement of the body in order to take place. Plus, the unity composed by consciousness and body is, in its turn, related with social values, because consciousness, body and environment are all continuous. ( ) just as the brain needs the body to create conscious activity, so the body needs the environment to create conscious activity 39. The movement of the dress/undressed body is not isolated from an understanding of the body language by others, which repercussion gives us an awareness of their emotions. We expect smart costumes to enrich these intricate interactions, with fashion as art reflecting, as never, the human attitude. The smart textile becomes both an adjunct interface of the mind and an essential extender of the body, in the complex task of communication Designing the future Lamontagne admits that without the fashion/art s desire to explore fields once related to science fiction as cyborgs or bodies enhanced with technology, interactive garments wouldn t have reached the present progress 41. Santos says that nowadays fiction becomes reality and nothing seems to be impossible 42. When analyzing Tachi Lab s Invisible Cloak (2003) we see the creation of an illusion of invisibility, because images of the background are projected on the garment. In this case, the user s mobility represents an intrusion in the action field, even though the textile surface doesn t react to external stimuli (or the wearer s), it s only a screen 5

6 6 Smart Costumes for Performance Art for projecting visual information. If used in a performance, this cloak would make us reflect on perception matters regarding the audience and the performer s selfdefinition. Who is the performer inside that costume? Is the perception of his presence understood as being an illusion? In this quest, and through new plastic explorations and means of presentation and contextualization, "the question of what means to be human remains under constant investigation, over and over again" 43. Like in art, there is "a system that holds laws that are constantly renewed and that empower the dialectics between shape and possibility of multiple meanings" 44, and that awaken issues related to language, namely the aesthetic lexicon and communication frameworks. Let s consider that the significant shapes of visual elements are created and decoded through the cultural repertoire 45 and that the designer configures visual language into parameters that are intelligible for a society 46. It s a body covered by clothing, clothing with machine commands, transmutation of body into object and vice-versa, a performer as an aesthetic object in true contemplation and interaction with new shapes, probably with no matching to prior ones, gathering the fruition of more senses. Advances in technology lead to a reevaluation of premises in fashion design, like weight, scale and texture that are linked to the human body s proportions. Material limitations are increasingly being overcome, as our openness to what is innovative is higher than ever, since we are used to extraordinary results. Fashion wise, what is now stimulating to vision or touch can be stimulating to smell, but it can reach other levels of sensorial experience. Textile Resistence (2011), by Smart Textiles Design Lab and Syntjuntan are pieces of knitwear that produce sound due to conductive yarns; Nama Project#2 (2013), by Creators Project, is a piece of cloth with movement sensors that control the sound fractals being projected on a canvas; Lígia e Pires refer to speaking textiles researched by Chataignier, which intend to reflect our body and soul sensations 47. It might have been based on these examples that Kolko speaks of the body as a driver for inventive solutions, those ruled by a combination of usability engineering and cognitive psychology focusing on the human mind Interaction and Dynamism Boccioni, in his Futuristic Sculpture Manifesto (1912) defended that figure and background should remain together ( ) and the surrounding space should pervade sculpture 49. In fact, futurism celebrated the dynamism in technology of modern life portraying it like that. Futurism tried to transmit the sensation of movement in its artistic shapes; fashion, today, in a similar period of celerity and invention, literally produces moving shapes due to technological advances, merging figure and background, object and context. Now that we have explored what science and technology can do for art and design, we see that they haven t only revolutionized materials, but also the design

7 Alexandra Cabral and Cristina Carvalho thinking process on the revolution they allow: a non-human performance but inspired by it. This change, easily recognizable in haptic and kinetic technologies, demonstrates the increasing interest of design in approaching human will, and that s what happens in Montgomery s Pillow Talk - Networking Long Distance Lovers (2010), because two distant people feel each other s temperature and heartbeat, due to wireless technology 50. If interaction is needed and already justified in performance art, dynamism is also essential when fashion frames our gestures as individuals of a hypermodern era. We ponder on what distinguishes the conceptual approach in fashion design of nowadays from tomorrow s, and quote Simões: fashion pattern design based in the projection of the static body ( ) will possibly be altered to a paradigm sustained in the segmentation of the mobile body 51. On the other hand, if the costume is transformable and is a moving sculpture, a fashion designer needs to consider the reproduction of its movement by the wearer, while designing it. If it s true that the moving body is restrained by the object it interacts with 52, it s also true to say that the static body is conditioned (physically and emotionally) by the object while in movement. To transform means to give shape, transfigure, convert, mutate or disguise according to Machado 53 ; we can consequently understand the intrigue in Damásio, and demonstrate the interest in revolutionizing costumes both to the performer and the public, as well as to its contribution to fashion design itself while addressing these new issues: One of the reasons why we admire good actors is that they manage to convince us that they are other people, who have another mind and other self. But we know that this is not true, they only transmit ingenious simulations, and we value their work due to its difficulty, because what they do is not natural. However, isn t this intriguing? 54 Conclusion Technological advances point to developments on textile surfaces which indicate visual and tactile changes, based on shape alterations or its perception, as Tao explains: recent investigations ( ) have been ( ) concerned with shape memory effects. and responses to external stimuli 55. We insist on the emotional factor, as it has widely been used to describe the phenomenon. Textile engineering evolution has followed the one of electronic technologies, therefore it is imperative that fashion design keeps up with progress. Unthinkable creations in fashion have been achieved with experimental practices resulting from scientific discoveries, and its plasticity in keeping contextualizing itself in several domains has also allowed it. What we see in fashion is that "the expressive capacity of communicating through clothing is intensified by the technological factor, which results from the interaction between design, fashion, science and technology" 56. 7

8 8 Smart Costumes for Performance Art This makes us question its limits. Nicolelis induces the answer by developing his interfaces with neuroprosthetics: fashion limits correspond to the designs of the mind. Notes 1 Germano Celant and Guggenheim Museum Soho New York, Art/Fashion (Milan: Skira Editore, 1997), Ibid., Gilles Lipovetsky and Sebastien Charles, Les Temps Hypermodernes (Paris: Éditions Grasset & Fasquelle, 2004), 6. 4 Alexandra Cabral, Moda e Obra de Arte Contemporânea: Processos, Percursos e Contaminações na Obra de Joana Vasconcelos. Dissertação de Mestrado (Faculdade de Arquitectura da Universidade Técnica de Lisboa, 2010), Ibid., Nuno Miguel Vasco, Arte: comunicação ou não comunicação? Da objectividade elementar à subjectividade artística. Dissertação de Mestrado (Departamento de Comunicação e Arte da Universidade de Aveiro, 2009), Mikael Guedes and Tarcísio D Almeida, Moda e Corpo: (de)forma, (re)forma, (trans)forma, (in)forma, Anais do 8º Colóquio de Moda (2012): 6p (Rio de Janeiro: ABEPEM), 2. 8 David Santos, Anything Goes? Uma discussão sobre a necessidade de uma orientação ética na arte Contemporânea. Dissertação de Mestrado (Faculdade de Ciências Sociais e Humanas da Universidade de Aveiro, 2008), Ibid. 10 António Damásio, O mistério da Consciência: do Corpo e das Emoções ao Conhecimento de Si (São Paulo: Editora Shwarxz Lda, 2000), Santos, Anything Goes?, Bárbara Formiga and Hans Waechter, Futuro do Presente: Comunalidades Visuais entre Figurinos Futuristas e Moda Vigente, Anais do 8º Colóquio de Moda (2012):13p (Rio de Janeiro: ABEPEM), Umberto Eco, A Definição de Arte (Lisboa: Edições 70, 1972), Valérie Lamontagne, Wearable Technologies: From Performativity to Materiality, Studies in Material Thinking, vol.7: Where Art, Technology and Design Meet, (Feb 2012), AUT University. Viewed 4 December <http://www.materialthinking.org>, Sabine Seymour, Fashionable Technology: The Intersection of Design, Fashion, Science, and Technology (Wien and New York: Springer, 2008), Celant and Guggenheim Museum Soho New York, Art/Fashion, 29.

9 Alexandra Cabral and Cristina Carvalho 9 17 Studio Roosegaarde. Factsheet Intimacy 2.0, Viewed 23 de January <http://www.studioroosegaarde.net/uploads/files/2012/04/12/107/factsheet%20in TIMACY%202.0-%20Studio%20Roosegaarde.pdf>. 18 Seymour, Fashionable Technology, Daniela Brizola and Simone Maffei, Dos Processos Projetuais e da Produção em Moda ao Design Emocional, Anais do 8º Colóquio de Moda (2012): 8p (Rio de Janeiro: ABEPEM), Jessica Bugg, Fashion at the Interface: Designer Wearer Viewer, Fashion Practice vol. 1, Issue 9 (2009): 9 32, Miguel Nicolelis, Neuroprosthetics: Mind Out of Body, Scientific American, vol. 304, nr.2 (Feb 2011).Viewed 27 de June <www.scientificamerican.com>. 22 Seymour, Fashionable Technology, Ibid., Xiao-ming Tao, Smart Fibers, Fabrics and Clothing (Cambridge: Woodhead Publishing Limited and The Textile Institute, 2001), Daniel Agis and João Gouveia, Vestindo o Futuro: Microtendências para as Indústrias Têxtil, Vestuário e Moda até 2020 (Vila Nova de Famalicão: ATP- Associação Têxtil e Vestuário de Portugal, 2010), John Kolko, Thoughts on Interaction Design, 1st ed (Georgia: Brown Bear, 2007), Tao, Smart Fibers, Fabrics and Clothing, Victor Kaptelinin and Liam Bannon, Perspectives on the Design Process: From a Focus on Artefacts to Practices, Designing beyond the Product Understanding Activity and User Experience in Ubiquitous Environments (2009): 29-36, European Conference on Cognitive Ergonomics 2009 (Helsinki: Edita Prima Oy), Mike Press and Rachel Cooper, The Design Experience: The Role of Design and Designers in the Twenty First Century (Hants and Burlington: Ashgate Publishing Limited, 2003); Kolko, Thoughts. 30 Kaptelinin and Bannon, Perspectives. 31 Thomas Landauer, The Trouble with Computers: Usefulness, Usability and Productivity [1996] (Massachusetts: MIT Press, 1999), Linda Worbin, Designing Dynamic Textile Patterns, Studies in Artistic Research nº (Boras: Univertisty of Boras, 2010), Kaptelinin and Bannon, Perspectives, António Damásio, O mistério da Consciência: do Corpo e das Emoções ao Conhecimento de Si (São Paulo: Editora Shwarxz Lda, 2000), Joanna Berzowska and Di Mainstone, Skorpions: Kinetic Electronic Garments, 9th International Conference on Ubiquitous Computing (Ubicomop 07),

10 10 Smart Costumes for Performance Art Innsbruch (2007): 3p. Viewed 27 June <http://ambient.media.mit.edu/ transitive/papers/berzowska.pdf>.,2. 36 Adrian Snodgrass and Richard Coyne, Is Designing Hermeneutical? Architectural Theory Review, Journal of the Department of Architecture, vol. 1 (1), (1997): (Sidney: The University of Sydney). 37 Otto von Busch, FASHION-able Hacktivism and Engaged Fashion Design. PhD Thesis, School of Design and Crafts (HDK), (Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Johan Öberg, 2008). 38 Damásio, O mistério da Consciência, Roy Ascott, Art, Technology, Consciousness: Large (Bristol: Intellect Books, 2000), Alexandra Cabral and Isabel Cabral, Interaction and Transmutation in Fashion Design: Between Art and Tecnology, Proceedings of the 1st International Fashion and Design Congress (2012): , (Guimarães: Escola de Engenharia da Universidade do Minho), Lamontagne, Wearable Technologies, Santos, Anything Goes?, Ibid., Umberto Eco, Obra Aberta [1962] (Lisboa: Edições Difel, 1989), Formiga and Waechter, Futuro do Presente, Ibid., Lígia Viana and Beatriz Pires, Vestir o Corpo: Breve Painel das Pinturas Corporais aos Wearable Computers, Anais do 8º Colóquio de Moda (2012):10p (Rio de Janeiro: ABEPEM), Kolko, Thoughts, Christiane Fricke and Klaus Honnef, Arte do Século XX (Köln: Tashen GmbH, 2005), Joanna Montgomery, Pillow Talk, s.d. Viewed 23 January <http://cargocollective.com/joannamontgomery/ Pillow-Talk>. 51 Inês Simões, O Modelo de Representação do Corpo no Design de Moldes, Artitextos, n.º 5 (Dez. 2007): (Lisboa: CEFA e CIAUD), Ana Margarida Sargento, Design de Moldes para posturas de Dança: Esculturas com Movimento. Dissertação de Mestrado (Faculdade de Arquitectura da Universidade Técnica de Lisboa, 2011), Ana Margarida Machado, Vestuário Transformável: o Contributo de um Novo Sistema Modular. Dissertação de Mestrado (Faculdade de Arquitectura da Universidade Técnica de Lisboa, 2011), Damásio, O mistério da Consciência, Tao, Smart Fibers, Fabrics and Clothing, 84.

11 Alexandra Cabral and Cristina Carvalho Ana Rita Ribeiro, Design de Moda e Electrónica: LEDs aplicados a Vestido de Látex. Dissertação de Mestrado (Faculdade de Arquitectura a Universidade Técnica de Lisboa, 2011), 108. Bibliography Agis, Daniel, and Gouveia, João. Vestindo o Futuro: Microtendências para as Indústrias Têxtil, Vestuário e Moda até 2020.Vila Nova de Famalicão: ATP- Associação Têxtil e Vestuário de Portugal, Ascott, Roy. Art, Technology, Consciousness: Large. Bristol: Intellect Books, Bell, Clive. A Hipótese Estética [1914]. In A Arte de Pensar. Lisboa: Didática Editora, Berzowska, Joanna, and Mainstone, Di. Skorpions: Kinetic Electronic Garments, 9th International Conference on Ubiquitous Computing (Ubicomop 07), Innsbruch (2007): 3p. Viewed 27 June <http://ambient.media.mit.edu/ transitive/papers/ berzowska.pdf>. Brizola, Daniela, and Maffei, Simone. Dos Processos Projetuais e da Produção em Moda ao Design Emocional, Anais do 8º Colóquio de Moda (2012): 8p, Rio de Janeiro: ABEPEM. Bugg, Jessica. Fashion at the Interface: Designer Wearer Viewer, Fashion Practice vol. 1, Issue 9 (2009): Cabral, Alexandra. Moda e Obra de Arte Contemporânea: Processos, Percursos e Contaminações na Obra de Joana Vasconcelos. Dissertação de Mestrado, Faculdade de Arquitectura da Universidade Técnica de Lisboa, Cabral, Alexandra, and Cabral Isabel. Interaction and Transmutation in Fashion Design: Between Art and Tecnology, Proceedings of the 1st International Fashion and Design Congress (2012): , Guimarães: Escola de Engenharia da Universidade do Minho. Celant, Germano, and Guggenheim Museum Soho New York. Art/Fashion. Milan: Skira Editore, Damásio, António. O mistério da Consciência: do Corpo e das Emoções ao Conhecimento de Si. São Paulo: Editora Shwarxz Lda, Eco, Umberto. A Definição de Arte. Lisboa: Edições 70, 1972.

12 12 Smart Costumes for Performance Art Eco, Umberto. Obra Aberta [1962]. Lisboa: Edições Difel, Formiga, Bárbara and Waechter, Hans. Futuro do Presente: Comunalidades Visuais entre Figurinos Futuristas e Moda Vigente, Anais do 8º Colóquio de Moda (2012):13p, Rio de Janeiro: ABEPEM. Fricke, Christiane and Honnef, Klaus. Arte do Século XX. Köln: Tashen GmbH, Guedes, Mikael, and D Almeida, Tarcísio. Moda e Corpo: (de)forma, (re)forma, (trans)forma, (in)forma, Anais do 8º Colóquio de Moda (2012): 6p, Rio de Janeiro: ABEPEM. Kaptelinin, Victor, and Bannon, Liam Perspectives on the Design Process: From a Focus on Artefacts to Practices, Designing beyond the Product Understanding Activity and User Experience in Ubiquitous Environments (2009): 29-36, European Conference on Cognitive Ergonomics 2009, Helsinki: Edita Prima Oy. Koch, Sabine, and Fuchs, Thomas Embodied Arts Therapies, The Arts in Psychotherapy (38), (2011): , Elsevier Inc. Viewed 27 June <www.sciencedirect.com>. Kolko, John. Thoughts on Interaction Design, 1st ed. Georgia: Brown Bear, Lamontagne, Valérie. Wearable Technologies: From Performativity to Materiality, Studies in Material Thinking, vol.7: Where Art, Technology and Design Meet, (Feb 2012), AUT University. Viewed 4 December <http:// Landauer, Thomas. The Trouble with Computers: Usefulness, Usability and Productivity [1996]. Massachusetts: MIT Press, Lipovetsky, Gilles and Charles, Sebastien. Les Temps Hypermodernes. Paris: Éditions Grasset & Fasquelle, Machado, Ana Margarida. Vestuário Transformável: o Contributo de um Novo Sistema Modular. Dissertação de Mestrado, Faculdade de Arquitectura da Universidade Técnica de Lisboa, Montgomery, Joanna. Pillow Talk, s.d. Viewed 23 January <http://cargocollective.com/joannamontgomery/ Pillow-Talk>. Nicolelis, Miguel. Neuroprosthetics: Mind Out of Body, Scientific American, vol. 304, nr.2 (Feb 2011). Viewed 27 de June <www.scientificamerican.com>.

13 Alexandra Cabral and Cristina Carvalho 13 Press, Mike and Cooper, Rachel. The Design Experience: The Role of Design and Designers in the Twenty First Century. Hants and Burlington: Ashgate Publishing Limited, Ribeiro, Ana Rita. Design de Moda e Electrónica: LEDs aplicados a Vestido de Látex. Dissertação de Mestrado, Faculdade de Arquitectura a Universidade Técnica de Lisboa, Santos, David. Anything Goes? Uma discussão sobre a necessidade de uma orientação ética na arte Contemporânea. Dissertação de Mestrado, Faculdade de Ciências Sociais e Humanas da Universidade de Aveiro, Sargento, Ana Margarida. Design de Moldes para posturas de Dança: Esculturas com Movimento. Mestrado, Faculdade de Arquitectura da Universidade Técnica de Lisboa, Seymour, Sabine. Fashionable Technology: The Intersection of Design, Fashion, Science, and Technology. Wien and New York: Springer, Simões, Inês. O Modelo de Representação do Corpo no Design de Moldes, Artitextos, n.º 5 (Dez. 2007): , Lisboa: CEFA e CIAUD. Snodgrass, Adrian, and Coyne Richard. Is Designing Hermeneutical? Architectural Theory Review, Journal of the Department of Architecture, vol. 1 (1), (1997): 65-97, Sidney: The University of Sydney. Studio Roosegaarde. Factsheet Intimacy 2.0, Viewed 23 de January <http://www.studioroosegaarde.net/uploads/files/2012/04/12/107/factsheet%20in TIMACY%202.0-%20Studio%20Roosegaarde.pdf>. Tao, Xiao-ming. Smart Fibers, Fabrics and Clothing. Cambridge: Woodhead Publishing Limited and The Textile Institute, Vasco, Nuno Miguel. Arte: comunicação ou não comunicação? Da objectividade elementar à subjectividade artística. Dissertação de Mestrado, Departamento de Comunicação e Arte da Universidade de Aveiro, Viana, Lígia, and Pires, Beatriz Vestir o Corpo: Breve Painel das Pinturas Corporais aos Wearable Computers, Anais do 8º Colóquio de Moda (2012):10p, Rio de Janeiro: ABEPEM. von Busch, Otto. FASHION-able Hacktivism and Engaged Fashion Design. PhD Thesis, School of Design and Crafts (HDK), Faculty of Fine, Applied and Performing Arts, University of Gothenburg, Johan Öberg, 2008.

14 14 Smart Costumes for Performance Art Worbin, Linda. Designing Dynamic Textile Patterns, Studies in Artistic Research nº Boras: Univertisty of Boras, 2010.

Concept-Mapping Software: How effective is the learning tool in an online learning environment?

Concept-Mapping Software: How effective is the learning tool in an online learning environment? Concept-Mapping Software: How effective is the learning tool in an online learning environment? Online learning environments address the educational objectives by putting the learner at the center of the

More information

4 th INTERNATIONAL FORUM OF DESIGN AS A PROCESS

4 th INTERNATIONAL FORUM OF DESIGN AS A PROCESS DIVERSITY: DESIGN / HUMANITIES 4 th INTERNATIONAL FORUM OF DESIGN AS A PROCESS DIVERSITY: DESIGN/HUMANITIES Scientific thematic meeting of the Latin Network for the development of design processes 19 th

More information

Abstract Number: 002-0427. Critical Issues about the Theory Of Constraints Thinking Process A. Theoretical and Practical Approach

Abstract Number: 002-0427. Critical Issues about the Theory Of Constraints Thinking Process A. Theoretical and Practical Approach Abstract Number: 002-0427 Critical Issues about the Theory Of Constraints Thinking Process A Theoretical and Practical Approach Second World Conference on POM and 15th Annual POM Conference, Cancun, Mexico,

More information

ART A. PROGRAM RATIONALE AND PHILOSOPHY

ART A. PROGRAM RATIONALE AND PHILOSOPHY ART A. PROGRAM RATIONALE AND PHILOSOPHY Art education is concerned with the organization of visual material. A primary reliance upon visual experience gives an emphasis that sets it apart from the performing

More information

of knowledge that is characteristic of the profession and is taught at professional schools. An important author in establishing this notion was

of knowledge that is characteristic of the profession and is taught at professional schools. An important author in establishing this notion was Mathematics teacher education and professional development João Pedro da Ponte jponte@fc.ul.pt Grupo de Investigação DIFMAT Centro de Investigação em Educação e Departamento de Educação Faculdade de Ciências

More information

From User-Centered to Participatory Design Approaches

From User-Centered to Participatory Design Approaches From User-Centered to Participatory Design Approaches Elizabeth B.-N. Sanders SonicRim Abstract There is a shift in perspective occurring today at the collaborative edge of design and social science. It

More information

BIOGRAPHICAL INFORMATION

BIOGRAPHICAL INFORMATION BIOGRAPHICAL INFORMATION NAME Stelarc (This has been the artist s legal name since 1972). BIRTH DATE 19 June, 1946. EDUCATION T.S.T.C (Art and Crafts), Monash and Melbourne Universities. ADDRESS 4 Dorset

More information

Designing Interactive Systems

Designing Interactive Systems THIRD EDITION Designing Interactive Systems A comprehensive guide to HCl, UX and interaction design David Benyon PEARSON Harlow, England London * New York Boston San Francisco Toronto Sydney * Auckland

More information

2012 VISUAL ART STANDARDS GRADES K-1-2

2012 VISUAL ART STANDARDS GRADES K-1-2 COGNITIVE & K Critical and Creative Thinking: Students combine and apply artistic and reasoning skills to imagine, create, realize and refine artworks in conventional and innovative ways. The student will

More information

Gedney Church End and Lutton St. Nicholas Federated Primary Schools. Policy for the Teaching of Art and Design

Gedney Church End and Lutton St. Nicholas Federated Primary Schools. Policy for the Teaching of Art and Design Gedney Church End and Lutton St. Nicholas Federated Primary Schools Policy for the Teaching of Art and Design Contents: Introduction Expectations in Key Stage 1 Expectations in Key Stage 2 Aims Teaching

More information

Chapter 117. Texas Essential Knowledge and Skills for Fine Arts. Subchapter C. High School, Adopted 2013

Chapter 117. Texas Essential Knowledge and Skills for Fine Arts. Subchapter C. High School, Adopted 2013 High School, Adopted 2013 117.C. Chapter 117. Texas Essential Knowledge and Skills for Fine Arts Subchapter C. High School, Adopted 2013 Statutory Authority: The provisions of this Subchapter C issued

More information

B 1 S 1 P 1 T 1 PL 1 M

B 1 S 1 P 1 T 1 PL 1 M RODRIGO TISI Universidad Católica de Chile B 1 S 1 P 1 T 1 PL 1 M Six Ways to Approach Architecture Collaborative studio projects tested as full-scale models allow students of architecture to learn about

More information

Fashion Department. Newsletter

Fashion Department. Newsletter Assistant Professor Doreen Burdalski, M.B.A., Chair Associate Professor Connie Heller-Horacek, M.F.A. and Paula Trimpey, M.F.A. Instructor MeeAe Oh-Ranck Lecturers Amanda Condict, Sara Nelson and Denise

More information

The Need of Continuous Teachers Training in the Coaching of Vocational Education 1

The Need of Continuous Teachers Training in the Coaching of Vocational Education 1 Casanova, M. P., Santos, C. e Silva, M. A. (2014). The Need of Continuous Teachers Training in the Coaching of Vocational Education. In ECER 2014. The Past, Present and Future of Educational Research in

More information

MMSD 6-12 th Grade Level Visual Arts Standards

MMSD 6-12 th Grade Level Visual Arts Standards MMSD 6-12 th Grade Level Visual Arts Standards The Madison Metropolitan School District does not discriminate in its education programs, related activities (including School-Community Recreation) and employment

More information

Table of Contents. Visual Arts

Table of Contents. Visual Arts Table of Contents Introduction to the Program..................... 1 Adolescents and.............................. 1 Types of Programs.................................... 2 Subject-Specific Competencies

More information

Presentation of Visual Art in Interactive 3D Environments

Presentation of Visual Art in Interactive 3D Environments Presentation of Visual Art in Interactive 3D Environments Jeni Maleshkova Queen Mary University of London Media and Arts Technology DTC School of Electronic Engineering and Computer Science j.maleshkova@qmul.ac.uk

More information

Joining Forces University of Art and Design Helsinki September 22-24, 2005

Joining Forces University of Art and Design Helsinki September 22-24, 2005 SCHOOLS OF CREATIVITY AND INNOVATION: DRAWING TABLE OUT, STORYTELLING IN Jose Rivera-Chang, California State University Long Beach, USA Abstract How do you teach innovation? How do you teach creativity?

More information

EFTWeb: a working model proposal to support Education, Learning and Training

EFTWeb: a working model proposal to support Education, Learning and Training EFTWeb: a working model proposal to support Education, Learning and Training Luís Gouveia a e Joaquim Borges Gouveia b e Francisco Restivo b lmbg@mail.telepac.pt, bgouveia@fe.up.pt, fjr@fe.up.pt a Associate

More information

MOBILE LEARNING WITH CELL PHONES AND MOBILE FLICKR: ONE EXPERIENCE IN A SECONDARY SCHOOL

MOBILE LEARNING WITH CELL PHONES AND MOBILE FLICKR: ONE EXPERIENCE IN A SECONDARY SCHOOL MOBILE LEARNING WITH CELL PHONES AND MOBILE FLICKR: ONE EXPERIENCE IN A SECONDARY SCHOOL Adelina Moura University of Minho Gualtar, Braga, Portugal adelina8@gmail.com Ana Amélia Carvalho University of

More information

AAT Portuguese Project

AAT Portuguese Project Gabriel Moore Forell Bevilacqua gabrielmoore@gmail.com Assistant Professor Information Science Department Universidade Federal Fluminense (Niterói, Rio de Janeiro, Brazil) Juliana Rodrigues Alves julira@yahoo.com

More information

Degree requirements 2016 2020

Degree requirements 2016 2020 Degree requirements 2016 2020 Master s Degree Programme in Dance Pedagogy (120 credits) The Master s Degree Programme in Dance Pedagogy is intended for graduates from a BA programme in dance or persons

More information

IoT Week 2015 Lisbon June 16th 18th

IoT Week 2015 Lisbon June 16th 18th IoT Week 2015 Lisbon June 16th 18th Towards Large- Scale Internet- of- Things deployments IoT IS LIFE, LIFE IS ART: The role of artistic practices as catalysts of innovation in IoT. of the Roundtable Discussion

More information

Foundations For Fashion and Interior Design The Howard County Public School System Sydney L. Cousin Superintendent

Foundations For Fashion and Interior Design The Howard County Public School System Sydney L. Cousin Superintendent Foundations For Fashion and Interior Design The Howard County Public School System Sydney L. Cousin Superintendent Ellicott City, Maryland 2009 Edition Board of Education Frank J. Aquino Chairman Ellen

More information

A Study on the Actual Implementation of the Design Methods of Ambiguous Optical Illusion Graphics

A Study on the Actual Implementation of the Design Methods of Ambiguous Optical Illusion Graphics A Study on the Actual Implementation of the Design Methods of Ambiguous Optical Illusion Graphics. Chiung-Fen Wang *, Regina W.Y. Wang ** * Department of Industrial and Commercial Design, National Taiwan

More information

Basic Theory of Intermedia Composing with Sounds and Images

Basic Theory of Intermedia Composing with Sounds and Images (This article was written originally in 1997 as part of a larger text to accompany a Ph.D. thesis at the Music Department of the University of California, San Diego. It was published in "Monochord. De

More information

E-learning Curricula Search in Geographical Information Systems and Science

E-learning Curricula Search in Geographical Information Systems and Science 309 E-learning Curricula Search in Geographical Information Systems and Science Marco PAINHO 1, Ignacio JOVANI 2, Paula CURVELO 3 ISEGI- Universidade Nova de Lisboa Campus de Campolide, 1070-312 Lisboa,

More information

Duarte Miguel Machado Carneiro de Brito

Duarte Miguel Machado Carneiro de Brito Duarte Miguel Machado Carneiro de Brito Work Address: DCSA, Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, Quinta da Torre, 2829-516 Caparica, Portugal. Phone: +351 21 294 85 03; E-mail:

More information

CHAOS, COMPLEXITY, AND FLOCKING BEHAVIOR: METAPHORS FOR LEARNING

CHAOS, COMPLEXITY, AND FLOCKING BEHAVIOR: METAPHORS FOR LEARNING GIVING WINGS TO NEW IDEAS Wingspread Journal, Summer 1996 CHAOS, COMPLEXITY, AND FLOCKING BEHAVIOR: METAPHORS FOR LEARNING by Stephanie Pace Marshall Sir Isaac Newton saw the universe as an orderly clock.

More information

DRAFT Proposed Revisions Texas Essential Knowledge and Skills (TEKS) Fine Arts, High School Art

DRAFT Proposed Revisions Texas Essential Knowledge and Skills (TEKS) Fine Arts, High School Art Proposed Revisions Texas Essential Knowledge and Skills (TEKS) Fine Arts, High School Art Prepared by the State Board of Education (SBOE) TEKS Review Committees First Draft, These draft proposed revisions

More information

Logical Evaluation of Consciousness: For Incorporating Consciousness into Machine Architecture

Logical Evaluation of Consciousness: For Incorporating Consciousness into Machine Architecture Logical Evaluation of Consciousness: For Incorporating Consciousness into Machine Architecture Mr C.N.Padhy, Ms. R.R.Panda Institute of Knowledge and Information Technology(IKIT) Abstract Machine Consciousness

More information

Guidelines for Integrative Core Curriculum Themes and Perspectives Designations

Guidelines for Integrative Core Curriculum Themes and Perspectives Designations Guidelines for Integrative Core Curriculum Themes and Perspectives Designations The purpose of this document is to provide guidelines for faculty wishing to have new or existing courses carry Themes and

More information

BA (Hons) Fashion Design

BA (Hons) Fashion Design BA (Hons) Fashion Design IED Barcelona is the only Spanish school that teaches Bachelor of Arts (Hons) validated by the University of Westminster. Since 2010, offers the possibility to students of studying

More information

Design Philosophy. Should the School Building be Part of the Pedagogy? (From the Perspective of an Architect)

Design Philosophy. Should the School Building be Part of the Pedagogy? (From the Perspective of an Architect) Design Philosophy Should the School Building be Part of the Pedagogy? (From the Perspective of an Architect) The futurist thinker Dr. Jonas Salk, American medical researcher and virologist, is best known

More information

The Study on the Graphic Design of Media art: Focusing on Projection Mapping

The Study on the Graphic Design of Media art: Focusing on Projection Mapping , pp.14-18 http://dx.doi.org/10.14257/astl.2015.113.04 The Study on the Graphic Design of Media art: Focusing on Projection Mapping Jihun Lee 1, Hyunggi Kim 1 1 Graduate School of Advanced Imaging Science,

More information

Summit Public Schools Summit, New Jersey Grade Level 4: Content Area: Visual Arts

Summit Public Schools Summit, New Jersey Grade Level 4: Content Area: Visual Arts Summit Public Schools Summit, New Jersey Grade Level 4: Content Area: Visual Arts Curriculum Course Description: The fourth grade visual art curriculum provides experiences for students to explore their

More information

MASTER FASHION DESIGN

MASTER FASHION DESIGN MASTER FASHION DESIGN L.UN.A., Libera Università delle Arti, Piazza San Martino 4F Bologna Italy +39 051 0393690 +39 051 0393691 info@uniluna.com wwwuniluna.com Libera Università delle Arti, which has

More information

Overview... 2. Basic Design Studio A (MCD1330)... 3. Visual Arts Studio A (MCD1340)... 3. Drawing A (MCD1270)... 4

Overview... 2. Basic Design Studio A (MCD1330)... 3. Visual Arts Studio A (MCD1340)... 3. Drawing A (MCD1270)... 4 Unit guide Diploma of Art & Design Contents Overview... 2 Basic Design Studio A (MCD1330)... 3 Visual Arts Studio A (MCD1340)... 3 Drawing A (MCD1270)... 4 Art and Design Theory A (MCD1280)... 4 Basic

More information

Incompatible Pencil - Chance for Changing in Design Process. Alexander Asanowicz Technical University of Bialystok Poland

Incompatible Pencil - Chance for Changing in Design Process. Alexander Asanowicz Technical University of Bialystok Poland The House of Illusion : Extending the Boundaries of Space Incompatible Pencil - Chance for Changing in Design Process Alexander Asanowicz Technical University of Bialystok Poland The existing CAAD systems

More information

Teaching Methodology for 3D Animation

Teaching Methodology for 3D Animation Abstract The field of 3d animation has addressed design processes and work practices in the design disciplines for in recent years. There are good reasons for considering the development of systematic

More information

2013-2014 Academic Year Catalog

2013-2014 Academic Year Catalog The School of Architecture and Design 2013-201 Academic Year Catalog Özyeğin University School of Architecture & Design [ OzU SArDes ] http://www.ozyegin.edu.tr/akademik-programlar/architecture Özyeğin

More information

Georgia Performance Standards Fine Arts

Georgia Performance Standards Fine Arts Grades 9 12 Visual Arts Introduction Georgia Performance Standards Building on the educational outcomes of Visual Arts in elementary and middle school education, high school art prepares students for personal

More information

Undergraduate Degree in Graphic Design

Undergraduate Degree in Graphic Design Biada 11, 08012 Barcelona in Graphic Design IED Barcelona is offering a 4 year official s in Design (240 ECTS). Its objective is to transform passion, talent and creativity into knowledge and abilities

More information

By Carmela Lipsker. This material is made publicly available by the Centre for Playback Theatre and remains the intellectual property of its author.

By Carmela Lipsker. This material is made publicly available by the Centre for Playback Theatre and remains the intellectual property of its author. Constructing Nursing Knowledge Via Playback Theatre in Professional Training of Community Nurses: A Study of the Effect on Learning and Behavior Patterns By Carmela Lipsker This material is made publicly

More information

wearable technology solutions for increased body awareness

wearable technology solutions for increased body awareness wearable technology solutions for increased body awareness In our design innovation project Keep your shirt on! we are investigating how we can increase our body awareness using wearable technology, with

More information

a. Identify physical qualities that might reveal a character s inner traits in the imagined world of a drama/theatre work.

a. Identify physical qualities that might reveal a character s inner traits in the imagined world of a drama/theatre work. CREATING THEATRE Anchor Standard 1: Generate and conceptualize artistic ideas and Enduring Understanding: Theatre artists rely on intuition, curiosity, and critical inquiry. Essential Question(s): What

More information

Course Description Graphic Design Department

Course Description Graphic Design Department Course Description Graphic Design Department Free drawing : 1021705 / 3 Credit Hours This course introduces the student to basic drawing skills and techniques. The emphasis is on traditional approaches

More information

ON EXTERNAL OBJECTS By Immanuel Kant From Critique of Pure Reason (1781)

ON EXTERNAL OBJECTS By Immanuel Kant From Critique of Pure Reason (1781) ON EXTERNAL OBJECTS By Immanuel Kant From Critique of Pure Reason (1781) General Observations on The Transcendental Aesthetic To avoid all misapprehension, it is necessary to explain, as clearly as possible,

More information

1/10. Descartes 2: The Cogito and the Mind

1/10. Descartes 2: The Cogito and the Mind 1/10 Descartes 2: The Cogito and the Mind Recap: last week we undertook to follow Descartes path of radical doubt in order to attempt to discover what, if anything, can be known for certain. This path

More information

Lecture 2, Human cognition

Lecture 2, Human cognition Human Cognition An important foundation for the design of interfaces is a basic theory of human cognition The information processing paradigm (in its most simple form). Human Information Processing The

More information

ONTOLOGY BASED FEEDBACK GENERATION IN DESIGN- ORIENTED E-LEARNING SYSTEMS

ONTOLOGY BASED FEEDBACK GENERATION IN DESIGN- ORIENTED E-LEARNING SYSTEMS ONTOLOGY BASED FEEDBACK GENERATION IN DESIGN- ORIENTED E-LEARNING SYSTEMS Harrie Passier and Johan Jeuring Faculty of Computer Science, Open University of the Netherlands Valkenburgerweg 177, 6419 AT Heerlen,

More information

KEYWORDS: Co-design, design games, distributed design processes, network theories, relationship management

KEYWORDS: Co-design, design games, distributed design processes, network theories, relationship management Co-Creation in Distributed Value Creation Systems and Networks (blank line) Anne Louise Bang Kolding School of Design, Kolding, Denmark alb@dskd.dk (blank line) Poul Rind Christensen Kolding School of

More information

Portugal. Sub-Programme / Key Activity. HOSPITAL GARCIA DE ORTA PAR 2007 ERASMUS Erasmus Network European Pathology Assessment & Learning System

Portugal. Sub-Programme / Key Activity. HOSPITAL GARCIA DE ORTA PAR 2007 ERASMUS Erasmus Network European Pathology Assessment & Learning System HOSPITAL GARCIA DE ORTA PAR 2007 ERASMUS Erasmus Network European Pathology Assessment & Learning System UNIVERSIDADE DE AVEIRO PAR 2007 ERASMUS BeFlex Plus: Progress on Flexibility in the Bologna Reform

More information

Preface. A Plea for Cultural Histories of Migration as Seen from a So-called Euro-region

Preface. A Plea for Cultural Histories of Migration as Seen from a So-called Euro-region Preface A Plea for Cultural Histories of Migration as Seen from a So-called Euro-region The Centre for the History of Intercultural Relations (CHIR), which organised the conference of which this book is

More information

Standard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama and visual arts.

Standard 1: Learn and develop skills and meet technical demands unique to dance, music, theatre/drama and visual arts. ART CONTENT STANDARDS FOR VISUAL ARTS Grades K-5 Note: Each standard requires the application of the elements of art and principles of design. Strand: Visual Arts Standard 1: Learn and develop skills and

More information

Degree in Art and Design

Degree in Art and Design Subjects Summary Degree in Art and Design Fourth Year Semester ECTS Subject 1 12 Workshop on Applied Arts This practical subject focuses on mastering techniques, materials and the professions of artistic

More information

INFORMING A INFORMATION DISCOVERY TOOL FOR USING GESTURE

INFORMING A INFORMATION DISCOVERY TOOL FOR USING GESTURE INFORMING A INFORMATION DISCOVERY TOOL FOR USING GESTURE Luís Manuel Borges Gouveia Feliz Ribeiro Gouveia {lmbg, fribeiro}@ufp.pt Centro de Recursos Multimediáticos Universidade Fernando Pessoa Porto -

More information

Master of Fine Arts (MFA) in Communications Design

Master of Fine Arts (MFA) in Communications Design Program Summary Design plays a central and formative role in shaping communities, technology and business. Never have designers been expected to cultivate such a diverse set of skills and knowledge. MFA

More information

The Dynamics of Effective Business Communication Through the Lens of Neuroscience

The Dynamics of Effective Business Communication Through the Lens of Neuroscience The Dynamics of Effective Business Communication Through the Lens of Neuroscience This paper was written through the collaborative efforts of Ken Abendschein, Paula Godar, Jill Eichwald, Melanie Mihal,

More information

ST. MICHAEL S CE SCHOOL ART & DESIGN POLICY SUMMER 2015

ST. MICHAEL S CE SCHOOL ART & DESIGN POLICY SUMMER 2015 ST. MICHAEL S CE SCHOOL ART & DESIGN POLICY SUMMER 2015 A CELEBRATION AND UNDERSTANDING OF THE SCHOOL S AIMS AND OBJECTIVES FOR TEACHING AND LEARNING IN THIS CURRICULUM AREA St Michael's C.E Primary School.

More information

ISO 9001 CERTIFICATION: THE CUSTOMERS PERSPECTIVE

ISO 9001 CERTIFICATION: THE CUSTOMERS PERSPECTIVE Diana Matias, Paulo Sampaio, Ana Cristina Braga University of Minho, Portugal, dianamatias27@gmail.com; paulosampaio@dps.uminho.pt; acb@dps.uminho.pt ABSTRACT Based on our own experience and on the literature

More information

Visual Rhetoric/Visual Literacy: Writing About Film

Visual Rhetoric/Visual Literacy: Writing About Film h t t p : / / u w p. a a s. d u k e. e d u / w s t u d i o Visual Rhetoric/Visual Literacy: Writing About Film This handout discusses ways to approach film as a visual medium. It offers suggestions for

More information

Terrace Road Primary School

Terrace Road Primary School Terrace Road Primary School Art Policy TERRACE ROAD PRIMARY SCHOOL ART POLICY Introduction Terrace Road is an inner city school in Swansea. At Terrace Road school children are encouraged to develop Art/Craft

More information

Interview. Interview by Thomas Caron

Interview. Interview by Thomas Caron Interview Interview by Thomas Caron In your artistic practice you carry out in-depth research into the relationship between matter and void. Would you give us a brief explanation of this? It s true that

More information

Figure 1. Basic Petri net Elements

Figure 1. Basic Petri net Elements ABCM Symposium Series in Mechatronics - Vol. 3 - pp.653-658 Copyright c 2008 by ABCM A REAL OBJECT CONTROL SYSTEM FOR USE IN MANUFACTURING TELEPRESENCE ENVIRONMENTS. Claiton de Oliveira Department of Mechanical

More information

IMPORTANCE AWARDED TO KNOWLEDGE FOR COACHING AND SELF-PERCEPTION OF COMPETENCE MANIFESTED BY PORTUGUESE BASKETBALL COACHES

IMPORTANCE AWARDED TO KNOWLEDGE FOR COACHING AND SELF-PERCEPTION OF COMPETENCE MANIFESTED BY PORTUGUESE BASKETBALL COACHES Revista de Psicología del Deporte 2009. Vol. 18 - suppl., pp. 451-455 ISSN: 1132-239X Universitat de les Illes Balears Universitat Autònoma de Barcelona IMPORTANCE AWARDED TO KNOWLEDGE FOR COACHING AND

More information

The Development of Visual Literacy in Art Education. Jaroslav Vancat & Daniel Riha

The Development of Visual Literacy in Art Education. Jaroslav Vancat & Daniel Riha The Development of Visual Literacy in Art Education Jaroslav Vancat & Daniel Riha Abstract: The conception of General Educational Program in the Czech Republic in the art education sector, implemented

More information

An easy-learning and easy-teaching tool for indoor thermal analysis - ArcTech

An easy-learning and easy-teaching tool for indoor thermal analysis - ArcTech An easy-learning and easy-teaching tool for indoor thermal analysis - ArcTech Léa Cristina Lucas de Souza 1, João Roberto Gomes de Faria 1 and Kátia Lívia Zambon 2 1 Department of Architecture, Urbanism

More information

We invite submissions, which may react to, and expand on to the following questions of Digital Material/ism :

We invite submissions, which may react to, and expand on to the following questions of Digital Material/ism : Call for Papers Digital Material/ism: How Materiality shapes Digital Culture and Social Interaction First Issue of Digital Culture & Society Abstract deadline: February 1, 2015 The idea of a society, in

More information

Introduction to 30th Anniversary Perspectives on Cognitive Science: Past, Present, and Future

Introduction to 30th Anniversary Perspectives on Cognitive Science: Past, Present, and Future Topics in Cognitive Science 2 (2010) 322 327 Copyright Ó 2010 Cognitive Science Society, Inc. All rights reserved. ISSN: 1756-8757 print / 1756-8765 online DOI: 10.1111/j.1756-8765.2010.01104.x Introduction

More information

Composition and Layout Techniques

Composition and Layout Techniques Composition and Layout Techniques Composition Techniques Composition Composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the subject of a work.

More information

Information Systems Technological Infrastructure in the Polytechnic Institute of Setúbal Steps to Evolution

Information Systems Technological Infrastructure in the Polytechnic Institute of Setúbal Steps to Evolution Information Systems Technological Infrastructure in the Polytechnic Institute of Setúbal Steps to Evolution Nuno Pina Gonçalves ¹, João Filipe dos Santos Daniel ² ¹Systems and Informatics Department, Superior

More information

ART AND DESIGN. Syllabus for Primary Schools. Curriculum Department, Floriana

ART AND DESIGN. Syllabus for Primary Schools. Curriculum Department, Floriana ART AND DESIGN Syllabus for Primary Schools Curriculum Department, Floriana RATIONALE Curriculum Department, Floriana i THE ART AND DESIGN PROGRAMME For Primary Schools Rationale Art is the visual language.

More information

Methodological Issues for Interdisciplinary Research

Methodological Issues for Interdisciplinary Research J. T. M. Miller, Department of Philosophy, University of Durham 1 Methodological Issues for Interdisciplinary Research Much of the apparent difficulty of interdisciplinary research stems from the nature

More information

Jeff, what are the essential aspects that make Schema Therapy (ST) different from other forms of psychotherapy?

Jeff, what are the essential aspects that make Schema Therapy (ST) different from other forms of psychotherapy? An Interview with Jeffrey Young This is a revised transcription of an interview via internet on Dec. 30 th 2008. The interviewer was Eckhard Roediger, the current secretary of the ISST. Jeff, what are

More information

Masters in Information Technology

Masters in Information Technology Computer - Information Technology MSc & MPhil - 2015/6 - July 2015 Masters in Information Technology Programme Requirements Taught Element, and PG Diploma in Information Technology: 120 credits: IS5101

More information

BA (Hons) Fashion Knitwear Design and Knitted Textiles course content

BA (Hons) Fashion Knitwear Design and Knitted Textiles course content BA (Hons) Fashion Knitwear Design and Knitted Textiles course content Year One In Year One you will be encouraged to develop the skills that are required of the modern, professional fashion knitwear designer.

More information

The Core Concepts of Mobile-Visual Analytics. Meeting the Next Generation of Analytics Professionals

The Core Concepts of Mobile-Visual Analytics. Meeting the Next Generation of Analytics Professionals The Core Concepts of Mobile-Visual Analytics Meeting the Next Generation of Analytics Professionals he history of science fiction is peppered with devices that eventually became real. One of the areas

More information

Worlds Without Words

Worlds Without Words Worlds Without Words Ivan Bretan ivan@sics.se Jussi Karlgren jussi@sics.se Swedish Institute of Computer Science Box 1263, S 164 28 Kista, Stockholm, Sweden. Keywords: Natural Language Interaction, Virtual

More information

CREATIVE TECHNOLOGIES A FUTURE IN

CREATIVE TECHNOLOGIES A FUTURE IN CREATIVE TECHNOLOGIES A FUTURE IN CREATIVE TECHNOLOGIES WHAT IS CREATIVE TECHNOLOGIES? Think of creative technologies (CT) graduates as possessing a Swiss army knife of creative talents across different

More information

COURSE OUTLINE PSYC 100-ONLINE INTRODUCTION TO PSYCHOLOGY 45 HOURS 3 CREDITS

COURSE OUTLINE PSYC 100-ONLINE INTRODUCTION TO PSYCHOLOGY 45 HOURS 3 CREDITS APPLIED ARTS DIVISION School of Liberal Arts Fall, 2015 COURSE OUTLINE PSYC 100-ONLINE INTRODUCTION TO PSYCHOLOGY 45 HOURS 3 CREDITS PREPARED BY: James McClelland DATE: May 26, 2015 APPROVED BY: DATE:

More information

Op Art: Working With Optical Illusions Review Questions

Op Art: Working With Optical Illusions Review Questions Op Art: Working With Optical Illusions Review Questions Name Period Date Answer the following questions in complete sentences. PAGES 2-3 1. How did Op art reflect 1960s culture? a. The 1960s were a time

More information

Syllabus Development Guide: AP Psychology

Syllabus Development Guide: AP Psychology The guide contains the following sections and information: s Scoring Components Evaluation Guideline(s) The curricular requirements are the core elements of the course. Your syllabus must provide clear

More information

A Framework of Context-Sensitive Visualization for User-Centered Interactive Systems

A Framework of Context-Sensitive Visualization for User-Centered Interactive Systems Proceedings of 10 th International Conference on User Modeling, pp423-427 Edinburgh, UK, July 24-29, 2005. Springer-Verlag Berlin Heidelberg 2005 A Framework of Context-Sensitive Visualization for User-Centered

More information

UNIVERSITY OF BELGRADE FACULTY OF PHILOSOPHY. Part two: INFORMATION ON DEGREE PROGRAMS

UNIVERSITY OF BELGRADE FACULTY OF PHILOSOPHY. Part two: INFORMATION ON DEGREE PROGRAMS Part two: INFORMATION ON DEGREE PROGRAMS Part two: Information on Degree Programs Philosophy Bachelor s Degree Philosophy Master s Degree Philosophy Doctoral Degree Sociology Bachelor s Degree Sociology

More information

Chapter 13: Directing and Producing

Chapter 13: Directing and Producing Chapter 13: Directing and Producing Playwright Producer Functions are distinct yet entwined Director Writing, producing, and directing come together in a variety of ways and meet in production Playwright

More information

Ciritical Interaction Design

Ciritical Interaction Design Ciritical Interaction Design Project 2: Information Ecologies and Wicked Problems in Design Thinking March 3, 2005 Prepared by Peng-Hui Maffee Wan Introduction This paper is about the exploration of the

More information

International Conference Meanings of the Rural between social representations, consumptions and rural development strategies

International Conference Meanings of the Rural between social representations, consumptions and rural development strategies International Conference Meanings of the Rural between social representations, consumptions and rural development strategies 28-29 September 2015, University of Aveiro, Portugal Theme 3 PUBLIC SERVICES

More information

Psychodrama in the Training of Practical Psychologists

Psychodrama in the Training of Practical Psychologists Review of European Studies; Vol. 7, No. 5; 2015 ISSN 1918-7173 E-ISSN 1918-7181 Published by Canadian Center of Science and Education Psychodrama in the Training of Practical Psychologists Vera P. Zeleeva

More information

An explicit model for tailor-made ecommerce web presentations

An explicit model for tailor-made ecommerce web presentations An explicit model for tailor-made ecommerce web presentations S. G. Loeber 1,L.M.Aroyo 1, L. Hardman 2 1 TU/e, Computer Science, P.O. Box 513, 5600 MB Eindhoven, The Netherlands, telephone:+31.40.247.5154,

More information

FASHION DESIGN COURSE DESCRIPTIONS

FASHION DESIGN COURSE DESCRIPTIONS FASHION DESIGN COURSE DESCRIPTIONS BA Year 2 30 credits DES 201 Theory of Art and This course is a general overview of a movement or a period in the art and design. Students are introduced to a specific

More information

Interfacing design and making of Ceramics

Interfacing design and making of Ceramics Interfacing design and making of Ceramics Expansion of ceramics practice through technology By Flemming Tvede Hansen, Ceramicist and Research Assistant professor, Martin Tamke, Architect and Associate

More information

A Sense of Place! A/Professor Charles Walker! colab @ AUT. Sensors in the Built Environment! March 04 2015

A Sense of Place! A/Professor Charles Walker! colab @ AUT. Sensors in the Built Environment! March 04 2015 A Sense of Place! A/Professor Charles Walker! colab @ AUT Sensors in the Built Environment! March 04 2015 the university for the changing world Established as a university in 2000 110 year history of industry-relevant

More information

Academic Education in Era of Digital Culture

Academic Education in Era of Digital Culture Academic Education in Era of Digital Culture Ilya Levin Tel Aviv University, Tel Aviv, Israel ilia1@post.tau.ac.il Abstract: The paper reports results of a theoretical research studying the academic education

More information

Leah Hughes Capstone Project Faculty Teaching Certificate Program 2005 2006

Leah Hughes Capstone Project Faculty Teaching Certificate Program 2005 2006 Leah Hughes Capstone Project Faculty Teaching Certificate Program 2005 2006 Background I believe visual arts courses to inherently incorporate many active learning techniques. Students work individually

More information

Bachelor of Creative Design. Game Art. www.mediadesign.com. Course Components

Bachelor of Creative Design. Game Art. www.mediadesign.com. Course Components Course Components Game Art Bachelor of Creative Design www.mediadesign.com Year One 01 Interdisciplinary Components Theoretical Foundations of Art and Design: GA1A01 GA1A01 utilises traditional art theories

More information

The use of Emotions in Student Assessment in a Virtual Learning Environment

The use of Emotions in Student Assessment in a Virtual Learning Environment PROGRAMA DE PÓS-GRADUAÇÃO EM SISTEMAS E PROCESSOS INDUSTRIAIS - MESTRADO The use of Emotions in Student Assessment in a Virtual Learning Environment Nadiesca Homrich Scherer Jacques Nelson Corleta Schreiber

More information

NSF Workshop: High Priority Research Areas on Integrated Sensor, Control and Platform Modeling for Smart Manufacturing

NSF Workshop: High Priority Research Areas on Integrated Sensor, Control and Platform Modeling for Smart Manufacturing NSF Workshop: High Priority Research Areas on Integrated Sensor, Control and Platform Modeling for Smart Manufacturing Purpose of the Workshop In October 2014, the President s Council of Advisors on Science

More information