scholarly journals Metacognitive Transcendence in the Learning of the Project Activity of Design through the Sketchbook Visuality

Kepes ◽  
2022 ◽  
Vol 19 (25) ◽  
pp. 295-324
Author(s):  
Diego Aníbal Restrepo-Quevedo ◽  
Juanita González Tobón ◽  
Roberto Cuervo ◽  
Jorge Camacho ◽  
Edgar Hernández-Mihajlovic
Keyword(s):  
Cognitive Processes ◽  
Graphic Design ◽  
Sampling Method ◽  
Industrial Design ◽  
Intentional Action ◽  
Technical Aspects ◽  
Cognitive Artifact ◽  
Project Activity ◽  
Metacognitive Processes ◽  
Design Students

This article aims to report the transition from intuitive to intentional projective activities in design recorded in the visual modes of sketchbook to analyze the metacognitive processes of design students. Phenomenography was used as an empirical sampling method to diagnose the sketchbooks of industrial design and graphic design students. The observation criteria focused on describing the metacognitive characteristics of the students with respect to the way they recorded their ideas visually, which showed design-specific projective actions. This research demonstrated and codified how students externalize intentional approaches in their sketchbook iterations, which can be grouped into three representation strategies: technical, methodological, and reflective; they are related to their experiences in projective activity. Consequently, we propose a new category called metacognitive transcendence, which refers to a strategy for controlling and regulating cognitive processes to transform an intuitive action into an intentional action mediated by a cognitive artifact: the design sketchbook. Three ways of metacognitive transcendence are suggested: instrumental (technical aspects), procedural (related to projection), and comprehensive (own reflection about the project itself).

Distinguishing The Cognitive Processes Of Mindfulness: Developing A Standardised Mindfulness Technique For Use In Longitudinal Randomised Control Trials

2019 ◽  
Author(s):  
Ben Isbel ◽  
Mathew J Summers
Keyword(s):  
Cognitive Processes ◽  
Mindfulness Training ◽  
Mindfulness Practice ◽  
Explanatory Framework ◽  
Cognitive Faculty ◽  
Metacognitive Processes ◽  
Capacity Model ◽  
Developmental Progression ◽  
Open Monitoring ◽  
Randomised Control Trials

A capacity model of mindfulness is adopted to differentiate the cognitive faculty of mindfulness from the metacognitive processes required to cultivate this faculty in mindfulness training. The model provides an explanatory framework incorporating both the developmental progression from focussed attention to open monitoring styles of mindfulness practice, along with the development of equanimity and insight. A standardised technique for activating these processes without the addition of secondary components is then introduced. Mindfulness-based interventions currently available for use in randomised control trials introduce components ancillary to the cognitive processes of mindfulness, limiting their ability to draw clear causative inferences. The standardised technique presented here does not introduce such ancillary factors, rendering it a valuable tool with which to investigate the processes activated in this practice.

Effect of physical activity through virtual reality on design creativity

2021 ◽  
Vol 35 (1) ◽  
pp. 99-115
Author(s):  
Kenton B. Fillingim ◽  
Hannah Shapiro ◽  
Catherine J. Reichling ◽  
Katherine Fu
Keyword(s):  
Physical Activity ◽  
Virtual Reality ◽  
Industrial Design ◽  
Peak Performance ◽  
Creative Performance ◽  
Creative Processes ◽  
Design Creativity ◽  
Within Subjects ◽  
Design Students ◽  
Institute Of Technology

AbstractA deeper understanding of creativity and design is essential for the development of tools to improve designers’ creative processes and drive future innovation. The objective of this research is to evaluate the effect of physical activity versus movement in a virtual environment on the creative output of industrial design students. This study contributes a novel assessment of whether the use of virtual reality can produce the same creative output within designers as physical activity has been shown to produce in prior studies. Eighteen industrial design students at the Georgia Institute of Technology completed nine design tasks across three conditions in a within-subjects experimental design. In each condition, participants independently experienced one of three interventions. Solutions were scored for novelty and feasibility, and self-reported mood data was correlated with performance. No significant differences were found in novelty or feasibility of solutions across the conditions. However, there are statistically significant correlations between mood, interventions, and peak performance to be discussed. The results show that participants who experienced movement in virtual reality prior to problem solving performed at an equal or higher level than physical walking for all design tasks and all designer moods. This serves as motivation for continuing to study how VR can provide an impact on a designer's creative output. Hypothesized creative performance with each mode is discussed using trends from four categories of mood, based on the combined mood characteristics of pleasantness (positive/negative) and activation (active/passive).

scholarly journals The Importance of Perception and Imagination in Designing 3D Image

2018 ◽  
Vol 3 (2) ◽  
pp. 215-222
Author(s):  
Mohd Khairulnizam Ramlie ◽  
◽  
Hanafi Mohd Tahir ◽  
Ahmad Sofiyuddin Mohd Shuib ◽  
◽  
...  
Keyword(s):  
Digital Media ◽  
Graphic Design ◽  
Cognitive Skills ◽  
3D Animation ◽  
3D Image ◽  
Art And Design ◽  
Perceptual Skills ◽  
Good Memory ◽  
Visual Skills ◽  
Design Students

3D animation and modelling has been known as one of the main subjects in the field of Arts and Design in Malaysia. This subject is applicable to all fields in the Faculty of Art and Design, including courses offered at the Universiti Teknologi MARA. As we all know, this 3D subject requires students to have great visual skills. In order to produce an attractive design, students need to have good memory, cognitive, and perceptual skills. However, problems arise when final year students of graphic design and digital media departments are found to be incompetent in that aspect. Thus, this study aims to investigate the problems and identify the most suitable time to apply so that the problems can be solved when students are in their final year of study. Keywords: 3D Image, Education, Multimedia, Cognitive skills

Emotional Tools Design: A Project to Increase Empathy, Engagement and Interest in Industrial Design Students

2021 ◽  
Author(s):  
Juan-Carlos Rojas ◽  
Juan Luis Higuera-Trujillo ◽  
Gerardo Muniz
Keyword(s):  
Industrial Design ◽  
Design Students

Value of Adaptation of Methodologies Between Different Knowledge Areas

2018 ◽  
pp. 221-248
Author(s):  
Eduardo Manchado-Pérez ◽  
Ignacio López-Forniés ◽  
Luis Berges-Muro
Keyword(s):  
Product Development ◽  
Learning Outcomes ◽  
Case Studies ◽  
Graphic Design ◽  
Industrial Design ◽  
Project Based Learning ◽  
Engineering Degree ◽  
First Moment ◽  
University Degree ◽  
Shared Context

Project-based learning (PBL) is a powerful tool for teaching that helps students to get the best in terms of ratio effort/learning outcomes, especially in studies with a very practical basis, such as university degree studies in engineering. A way of getting even more out of this is by means of the adaptation of methodologies from different knowledge areas, because this allows the launch of innovative ways of working with certain guarantees of success from the very first moment, and at the same time to integrate skills from different fields within a shared context. Furthermore, it helps to put into practice some transversal competences, which are very useful for future professionals. The chapter also includes some case studies on the successful adaptation of different methodologies coming from different fields such as graphic design, biology, and social sciences in the context of a university engineering degree in industrial design and product development.

Cognitive Processes in Fashion Design

2017 ◽  
pp. 205-222
Author(s):  
Geraldo Coelho Lima Júnior
Keyword(s):  
Learning Environment ◽  
Cognitive Processes ◽  
Teaching And Learning ◽  
The Body ◽  
Fashion Design ◽  
Key Factors ◽  
Learning Program ◽  
Design Students ◽  
Visually Handicapped

This chapter is concerned with the teaching and learning of modelling in fashion design courses. Following a series of observations, it was found that fashion design students, with normal sight, have difficulties in fully understanding how an item of clothing can be transposed to a modelling display bust, which represents the body of the wearer. The same obstacle affects visually-handicapped students. This study seeks to explore ways of overcoming this problem. It involves seeking to introduce features into teaching that can allow a comprehensive learning program to be taught and in particular, to concentrate on certain key factors - cognition, constancy and abstraction - with regard to the information on fashion projects that can be found in the surrounding learning environment.

Blossfeldt, Karl (1865–1932)

2018 ◽  
Author(s):  
Jonathan Long
Keyword(s):  
19Th Century ◽  
Industrial Design ◽  
Walter Benjamin ◽  
Arts And Crafts ◽  
Geometrical Structures ◽  
Plant Modeling ◽  
Natural Forms ◽  
Design Students ◽  
New Vision ◽  
The 19Th Century

Karl Blossfeldt was a sculptor and a teacher of plant modeling at the Unterrichtsanstalt des Königlichen Kunstgewerbemuseums (Institute of the Royal Arts and Crafts Museum) in Berlin, where he worked from 1898 until 1930. His reputation as a photographer rests on two books: Urformen der Kunst (Art Forms in Nature, 1928) and Wundergarten der Natur (Magic Garden of Nature, 1932). Both consist of extreme close-ups of plants, and seek to identify in natural forms the blueprints of industrial design. The images are characterized by extraordinary detail, revealing to the eye the geometrical structures and formal complexities of common flora. Blossfeldt had been using photographs since the early 1900s as tools of instruction for his design students, but the resonance of his books goes beyond instrumental applied photography. His artistic lineage has been traced to Jugendstil, while his use of the plants’ Latin names and their serial presentation link his work to the tradition of the herbarium and to the scientific photography of the 19th century. Urformen der Kunst was enthusiastically received by critics (Walter Benjamin and Lászlo Moholy-Nagy among them), and Blossfeldt’s work has also often been seen as part of the inter-war German Neues Sehen (New Vision) movement.

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