scholarly journals Whose Job is it? 3D Scanning Design for Innovation

2017 ◽  
Vol 2 (2) ◽  
pp. 334 ◽  
Author(s):  
Chris Little ◽  
Jennifer Loy

<p>There are often references in design education to the idea that design graduates of the future will be working in jobs that do not yet exist. There are therefore opportunities emerging that are not currently recognised as within the designers’ purview. One such area of growth is emerging out around the potentials created by technological developments relating to 3D scanning. This technology is proving to be a catalyst for not only new product outcomes but also innovations in thinking and practice. This is particularly in relation to new workflows that are permeating traditional discipline boundaries. The wide range of advances in digital scanning over the last twenty years have resulted in a myriad of complex capabilities, and the potential of these technologies to support innovation in practice, outcome and thinking are only beginning to be explored. Examples of these explorations are considered in this paper, demonstrating how they can provide a basis for redirecting design for a future of digital immersion. This paper questions the rigour in current approaches to teaching 3D scanning technologies in design education.  It provides an argument that 3D scanning is part of a rapidly evolving suite of digital enablers that are challenging conventional design practice and suggests that educators need to more effectively research and understand the innovations that 3D scanning technologies can inspire. </p>

GIS Business ◽  
2019 ◽  
Vol 14 (6) ◽  
pp. 597-606
Author(s):  
Dr. Maha Mustafa Omer Abdalaziz

The study aims at the technological developments that are taking place in the world and have impacted on all sectors and fields and imposed on the business organizations and commercial companies to carry out their marketing and promotional activities within the electronic environment. The most prominent of these developments is the emergence of the concept of electronic advertising which opened a wide range of companies and businessmen to advertise And to promote their products and their work easily through the Internet, which has become full of electronic advertising, and in light of that will discuss the creative strategy used in electronic advertising;


2018 ◽  
Vol 35 (4) ◽  
pp. 62-64
Author(s):  
Nazar Ul Islam Wani

Pilgrimage in Islam is a religious act wherein Muslims leave their homes and spaces and travel to another place, the nature, geography, and dispositions of which they are unfamiliar. They carry their luggage and belongings and leave their own spaces to receive the blessings of the dead, commemorate past events and places, and venerate the elect. In Pilgrimage in Islam, Sophia Rose Arjana writes that “intimacy with Allah is achievable in certain spaces, which is an important story of Islamic pilgrimage”. The devotional life unfolds in a spatial idiom. The introductory part of the book reflects on how pilgrimage in Islam is far more complex than the annual pilgrimage (ḥajj), which is one of the basic rites and obligations of Islam beside the formal profession of faith (kalima); prayers (ṣalāt); fasting (ṣawm); and almsgiving (zakāt). More pilgrims throng to Karbala, Iraq, on the Arbaeen pilgrimage than to Mecca on the Hajj, for example, but the former has received far less academic attention. The author expands her analytic scope to consider sites like Konya, Samarkand, Fez, and Bosnia, where Muslims travel to visit countless holy sites (mazarāt), graves, tombs, complexes, mosques, shrines, mountaintops, springs, and gardens to receive the blessings (baraka) of saints buried there. She reflects on broader methodological and theoretical questions—how do we define religion?—through the diversity of Islamic traditions about pilgrimage. Arjana writes that in pilgrimage—something which creates spaces and dispositions—Muslim journeys cross sectarian boundaries, incorporate non-Muslim rituals, and involve numerous communities, languages, and traditions (the merging of Shia, Sunni, and Sufi categories) even to “engende[r] a syncretic tradition”. This approach stands against the simplistic scholarship on “pilgrimage in Islam”, which recourses back to the story of the Hajj. Instead, Arjana borrows a notion of ‘replacement hajjs’ from the German orientalist Annemarie Schimmel, to argue that ziyārat is neither a sectarian practice nor antithetical to Hajj. In the first chapter, Arjana presents “pilgrimage in Islam” as an open, demonstrative and communicative category. The extensive nature of the ‘pilgrimage’ genre is presented through documenting spaces and sites, geographies, and imaginations, and is visualized through architectural designs and structures related to ziyārat, like those named qubba, mazār (shrine), qabr (tomb), darih (cenotaph), mashhad (site of martyrdom), and maqām (place of a holy person). In the second chapter, the author continues the theme of visiting sacred pilgrimage sites like “nascent Jerusalem”, Mecca, and Medina. Jerusalem offers dozens of cases of the ‘veneration of the dead’ (historically and archaeologically) which, according to Arjana, characterizes much of Islamic pilgrimage. The third chapter explains rituals, beliefs, and miracles associated with the venerated bodies of the dead, including Karbala (commemorating the death of Hussein in 680 CE), ‘Alawi pilgrimage, and pilgrimage to Hadrat Khidr, which blur sectarian lines of affiliation. Such Islamic pilgrimage is marked by inclusiveness and cohabitation. The fourth chapter engages dreams, miracles, magical occurrences, folk stories, and experiences of clairvoyance (firāsat) and the blessings attached to a particular saint or walī (“friend of God”). This makes the theme of pilgrimage “fluid, dynamic and multi-dimensional,” as shown in Javanese (Indonesian) pilgrimage where tradition is associated with Islam but involves Hindu, Buddhist and animistic elements. This chapter cites numerous sites that offer fluid spaces for the expression of different identities, the practice of distinct rituals, and cohabitation of different religious communities through the idea of “shared pilgrimage”. The fifth and final chapter shows how technologies and economies inflect pilgrimage. Arjana discusses the commodification of “religious personalities, traditions and places” and the mass production of transnational pilgrimage souvenirs, in order to focus on the changing nature of Islamic pilgrimage in the modern world through “capitalism, mobility and tech nology”. The massive changes wrought by technological developments are evident even from the profusion of representations of Hajj, as through pilgrims’ photos, blogs, and other efforts at self documentation. The symbolic representation of the dead through souvenirs makes the theme of pilgrimage more complex. Interestingly, she then notes how “virtual pilgrimage” or “cyber-pilgrimage” forms a part of Islamic pilgrimage in our times, amplifying how pilgrimage itself is a wide range of “active, ongoing, dynamic rituals, traditions and performances that involve material religions and imaginative formations and spaces.” Analyzing religious texts alone will not yield an adequate picture of pilgrimage in Islam, Arjana concludes. Rather one must consider texts alongside beliefs, rituals, bodies, objects, relationships, maps, personalities, and emotions. The book takes no normative position on whether the ziyāratvisitation is in fact a bid‘ah (heretical innovation), as certain Muslim orthodoxies have argued. The author invokes Shahab Ahmad’s account of how aspects of Muslim culture and history are seen as lying outside Islam, even though “not everything Muslims do is Islam, but every Muslim expression of meaning must be constituting in Islam in some way”. The book is a solid contribution to the field of pilgrimage and Islamic studies, and the author’s own travels and visits to the pilgrimage sites make it a practicalcontribution to religious studies. Nazar Ul Islam Wani, PhDAssistant Professor, Department of Higher EducationJammu and Kashmir, India


2021 ◽  
pp. 1-27
Author(s):  
Tiberiu Dragu ◽  
Yonatan Lupu

Abstract How will advances in digital technology affect the future of human rights and authoritarian rule? Media figures, public intellectuals, and scholars have debated this relationship for decades, with some arguing that new technologies facilitate mobilization against the state and others countering that the same technologies allow authoritarians to strengthen their grip on power. We address this issue by analyzing the first game-theoretic model that accounts for the dual effects of technology within the strategic context of preventive repression. Our game-theoretical analysis suggests that technological developments may not be detrimental to authoritarian control and may, in fact, strengthen authoritarian control by facilitating a wide range of human rights abuses. We show that technological innovation leads to greater levels of abuses to prevent opposition groups from mobilizing and increases the likelihood that authoritarians will succeed in preventing such mobilization. These results have broad implications for the human rights regime, democratization efforts, and the interpretation of recent declines in violent human rights abuses.


2013 ◽  
Vol 470 ◽  
pp. 392-395
Author(s):  
Tzu Chuan Chou ◽  
Sheng Hsiung Wu ◽  
Ming Hung Shu

Applications of DC cooling fans in auto electronics cover a wide range of areas. Since they all need to meet the requirement of the clients in providing customized products, many product combinations have been developed. In the past, when DC cooling fans manufacturers have not implemented the requirements of TS16949 and the core tools, their developmental process could only meet the spirit of process-orientation suggested by ISO9001. There was an obvious deficiency in terms of the quality management tools during the development and manufacturing processes, as well as the development information that should be produced; therefore, they were unable to meet the requirements of TS16949. This study constructs a new product development (NPD) procedure through the application of the five core tools that meets the requirements of TS16949, and satisfies the characteristics of the DC cooling fans industry. With this process, the Taiwanese DC cooling fans industry can effectively control the entire production process, from sales and marketing, R&D, manufacturing, to customer services. Moreover, the manufacturers could not only elevate their ability to self-manage, but also meet the requirements and gain market shares in the international automobile supply chain.


Author(s):  
Warren F. Smith

The “Warman Design and Build Competition”, running across Australasian Universities, is now in its 26th year in 2013. Presented in this paper is a brief history of the competition, documenting the objectives, yearly scenarios, key contributors and champion Universities since its beginning in 1988. Assuming the competition has reached the majority of mechanical and related discipline engineering students in that time, it is fair to say that this competition, as a vehicle of the National Committee on Engineering Design, has served to shape Australasian engineering education in an enduring way. The philosophy of the Warman Design and Build Competition and some of the challenges of running it are described in this perspective by its coordinator since 2003. In particular, the need is for the competition to work effectively across a wide range of student group ability. Not every group engaging with the competition will be competitive nationally, yet all should learn positively from the experience. Reported also in this paper is the collective feedback from the campus organizers in respect to their use of the competition as an educational experience in their classrooms. Each University participating uses the competition differently with respect to student assessment and the support students receive. However, all academic campus organizer responses suggest that the competition supports their own and their institutional learning objectives very well. While the project scenarios have varied widely over the years, the intent to challenge 2nd year university (predominantly mechanical) engineering students with an open-ended statement of requirements in a practical and experiential exercise has been a constant. Students are faced with understanding their opportunity and their client’s value system as expressed in a scoring algorithm. They are required to conceive, construct and demonstrate their device with limited prior knowledge and experience, and the learning outcomes clearly impact their appreciation for teamwork, leadership and product realization.


Author(s):  
Steven J. Timmins

Abstract Development of high quality technical software in a university environment has been a persistent problem since the introduction of educational software to institutions of higher learning. Design software presents a number of special considerations. It differs significantly from other types of educational software in that it requires a free-form creative environment rather than a question-and-answer format or even a detailed analysis of a fixed set of specified problems. Ideally, the student should be able to explore a wide range of realistic problems and develop both optimal and non-optimal solutions using a variety of mechanisms. This paper outlines the differences between truly “commercial quality” software and that developed for use at the local campus and explores the difficulties involved in producing such a product. Users drastically underestimate the amount of manpower and funding required to develop software packages on a par with widely available applications such as AutoCAD, WordPerfect, or Lotus 1-2-3. Similarly, design education software developed at universities for national distribution represent thousands of man-hours of development and may be the work of a single individual or a team of programmers led by a faculty member.


1970 ◽  
Vol 4 (2) ◽  
pp. 121-148
Author(s):  
ZS Ebigbagha

Colour studies have generated much confusion in art and design education, particularly among students of the discipline in Nigeria. This is due to the complexity of the subject matter itself, wide-range of available materials and a variety of concepts developed in its multi-disciplinarity that is not kept distinct. Therefore, this paper utilizes a qualitative approach that employs the critical, historical, and analytic examination to provide clarification on the constructive and expressive aspects of colour studies. The paper introduces the reader to the pivotal role of colour and its multi-disciplinary interest. Also, it adequately clarifies paradigms and theories in the physical, psychophysical and psychological domains with particular emphasis on areas of practical value to art and design. Moreover, it considers the numeric adaptation of the colour wheel to a set of numbers for harmonic relationship. And it ends with the need for artists and designers to comprehensively grasp the contextual behaviour of colour and develop colour originality through creative construction and effective use in order to successfully express themselves in colour.


Author(s):  
Marina Gall

In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technology within their own educational contexts.


2018 ◽  
Vol 55 (2) ◽  
pp. 215-218
Author(s):  
Anca Bucuresteanu ◽  
Dan Prodan ◽  
Adrian Motomancea

In this paper, the authors show a part of research works performed on the use of 3D scanners and 3D printers to execute plastic parts with complex surfaces. 3D scanning allows copying of certain surfaces in our environment, based on existing models. Scanned models may represent various objects, made of a wide range of materials: metals, ceramics, fabrics, plastics, leather, organic materials etc. [1]. This paper shows the results achieved using a scanner and a common and affordable - low-price - printer. 3D scanners and printers allow execution of clones of certain parts with irregular surfaces.


2020 ◽  
Vol 18 (1) ◽  
Author(s):  
Lara Furniss

Since 2000, design practice in the UK has changed dramatically. Boundaries between design disciplines have dissolved, and many contemporary design studios now defy classification. These studios are reconfiguring the design landscape, yet a uni-disciplinary structure still dominates undergraduate education. This is creating a disconnection between practice and education and posing critical questions for the current design education system. This article outlines the findings of a PhD research study exploring this disconnection, and although situated within the UK, the findings have international relevance. An initial scoping exercise draws on interviews with leading commentators from the UK design sector, examining the evolution of design practice over the past 10 years, and possible future directions for undergraduate education. Findings highlight that UK policy for creative education has placed undergraduate design courses in potential crisis. Arguably, the current university system for design education is outdated. It is now necessary to redefine the skills and processes twenty-first-century designers need. The body of the research is situated within five internationally renowned creative studios which defy classification. In-depth ethnographic studies cross-analyse the creative processes of these studios and their views on education. Findings identify key components of each studio’s processes, while also exploring studio members’ educational experiences, and reflections on future implications for pedagogy. This article argues that this growing disconnect between practice and education calls for existing pedagogic models to be challenged, proposes alternative approaches and highlights the need for policymakers, practitioners and educators to work together to best prepare young designers to meet today’s challenges.


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