scholarly journals Penelitian Atas Penelitian Seni dan Desain: Suatu Studi Kerangka Filosofis-Paradigmatis Bagi Penelitian Seni dan Desain Visual

Humaniora ◽  
2013 ◽  
Vol 4 (2) ◽  
pp. 995
Author(s):  
Karna Mustaqim ◽  
D. Rio Adiwijaya ◽  
Ferdinand Indrajaya
Keyword(s):  
Knowledge Production ◽  
Design Research ◽  
Art And Design ◽  
Visual Objects ◽  
Artistic Inquiry ◽  
Creative Art ◽  
Philosophical Framework ◽  
Subjective Context ◽  
Artistic Research

This paper discusses philosophical framework of practice-based artistic research within the field of art and design in contrast with research in the natural and social science. It is stated that paradigm of artistic inquiry is ilustrated with the role of practicioner as researcher wherein subjectivity, involvement and reflexivity are acknowledged, while (k)nowledge is negotiated – inter-subjective, context bound, and is a result of personal construction. Visual objects have been exhausting large amount of our physical and emotional energy in seeing it which certainly gives them a central role in contemporary ages. It is suggested that research could become part of the needs for experience, to inspire, or to collectively develop a profession. Recently, research as knowledge production has been increasing and gaining its interest within the creative art field. However, there is a foundation which underpins a research, at least some implicit philosophical assumptions of it, which serve as the basis of understanding of reality (ontology), and how to know and justify it (epistemology); and by explicating it, it is believed that scrupulous consideration of it may contribute practical benefits in conducting art and design research. In that regard, this paper presents ontological outlook of Heidegger and also epistemology of art of Merleau-Ponty – which rises within phenomenological tradition – as a philosophical framework which can serve as paradigmatic underpinning of artistic research, in contrast with objectivist approach already identical with research in general.  

Designing Indigenous Language Revitalization

2012 ◽  
Vol 82 (3) ◽  
pp. 381-402 ◽  
Author(s):  
Mary Hermes ◽  
Megan Bang ◽  
Ananda Marin
Keyword(s):  
Native American ◽  
Knowledge Production ◽  
Design Research ◽  
Language Revitalization ◽  
Indigenous Languages ◽  
Indigenous Language ◽  
Culturally Relevant Curriculum ◽  
Community Based Research ◽  
Indigenous Language Revitalization

Endangered Indigenous languages have received little attention within the American educational research community. However, within Native American communities, language revitalization is pushing education beyond former iterations of culturally relevant curriculum and has the potential to radically alter how we understand culture and language in education. Situated within this gap, Mary Hermes, Megan Bang, and Ananda Marin consider the role of education for Indigenous languages and frame specific questions of Ojibwe revitalization as a part of the wider understanding of the context of community, language, and Indigenous knowledge production. Through a retrospective analysis of an interactive multimedia materials project, the authors present ways in which design research, retooled to fit the need of communities, may inform language revitalization efforts and assist with the evolution of community-based research design. Broadly aimed at educators, the praxis described in this article draws on community collaboration, knowledge production, and the evolution of a design within Indigenous language revitalization.

scholarly journals Disclosing and Evaluating Artistic Research

2019 ◽  
Vol 4 (3) ◽  
pp. 35-54 ◽  
Author(s):  
Florian Vanlee ◽  
Walter Ysebaert
Keyword(s):  
Design Research ◽  
Research Output ◽  
Assessment System ◽  
Research Project ◽  
Art And Design ◽  
Assessment Culture ◽  
Traditional Research ◽  
Productive Potential ◽  
International Projects ◽  
Artistic Research

Abstract Purpose This study expands on the results of a stakeholder-driven research project on quality indicators and output assessment of art and design research in Flanders—the Northern, Dutch-speaking region of Belgium. Herein, it emphasizes the value of arts & design output registration as a modality to articulate the disciplinary demarcations of art and design research. Design/methodology/approach The particularity of art and design research in Flanders is first analyzed and compared to international examples. Hereafter, the results of the stakeholder-driven project on the creation of indicators for arts & design research output assessment are discussed. Findings The findings accentuate the importance of allowing an assessment culture to emerge from practitioners themselves, instead of imposing ill-suited methods borrowed from established scientific evaluation models (Biggs & Karlsson, 2011)—notwithstanding the practical difficulties it generates. They point to the potential of stakeholder-driven approaches for artistic research, which benefits from constructing a shared metadiscourse among its practitioners regarding the continuities and discontinuities between “artistic” and “traditional” research, and the communal goals and values that guide its knowledge production (Biggs & Karlsson, 2011; Hellström, 2010; Ysebaert & Martens, 2018). Research limitation The central limitation of the study is that it focuses exclusively on the “Architecture & Design” panel of the project, and does not account for intra-disciplinary complexities in output assessment. Practical implications The goal of the research project is to create a robust assessment system for arts & design research in Flanders, which may later guide similar international projects. Originality/value This study is currently the only one to consider the productive potential of (collaborative) PRFSs for artistic research.

Don’t fence me in! Reconsidering the role of the librarian in a global age of art and design research

2009 ◽  
Vol 34 (2) ◽  
pp. 26-30 ◽  
Author(s):  
Heather Gendron
Keyword(s):  
Design Research ◽  
Global Society ◽  
Art And Design ◽  
Global Age ◽  
Society Today ◽  
Contemporary Artists

When we define society today as a ‘global society’ we are saying that we are, or at least we strive to be, an interconnected society, even more than if we were to say society is ‘worldwide’. In a global society, borders are crossed, and the phrase implies interaction, participation and inclusiveness. Artists and designers, as both a product of a global society and in response to the resulting all-inclusiveness, or ‘globality’, of their respective fields, are prompted to cross two kinds of border: physical and methodological. This paper focuses on the crossing of methodological boundaries and, in addition, recognizes the highly individualized nature of art and design research. This serves as a launch pad to explore the question of how librarians can shape their practice in order to respond better to the needs of contemporary artists and designers.

The connective role of improvisation in dealing with uncertainty during invention and design processes

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Satu MIETTINEN ◽  
Melanie SARANTOU
Keyword(s):  
Performing Arts ◽  
Participatory Design ◽  
Design Research ◽  
Design Thinking ◽  
Study Data ◽  
Design Problems ◽  
Design Processes ◽  
Art And Design ◽  
Design Activities

This paper explores the role of improvisation in design thinking for product design processes and design research methods. Improvisation is often at the core of practice-based and participatory design, permitting flexibility. The role of improvisation in the performing arts has received considerable academic attention, however its role in design processes has been neglected, because improvisation is often viewed as the second-best solution to design problems. This paper presents a framework for improvisation by surveying existing scholarship. Additionally, field study data collected between 2011 and 2016, primarily in Namibia and Australia, will be used to illustrate how improvisation is applied by practitioners during their art and design activities. The connective function of improvisation allows designers to negotiate, take risks, unmake and remake formations. This function enables the fluidity of design, to move from one moment in a process to the next, allowing designers to negotiate ways of work during uncertainty.

scholarly journals Between the Discursive and the Immersive – Editorial

2016 ◽  
Vol 1 ◽  
Author(s):  
Marie Laurberg ◽  
Margriet Schavemaker
Keyword(s):  
Knowledge Production ◽  
Art Museums ◽  
Sensory Experience ◽  
Public Programs ◽  
The Public ◽  
Artistic Research

How can exhibitions function as mediums for research? How can artistic research contribute to art museums? What is the research value of immersive exhibitions? What is the role of the sensory experience in gathering and disseminating knowledge in the museum? What is the function and position of public programs as curatorial models for research and knowledge production? And how does the public contribute to the museum’s knowledge production?

scholarly journals Le capitalisme fondé sur la connaissance et le changement dans les stratégies des entreprises industrielles

2005 ◽  
Vol 14 (3) ◽  
pp. 433-452 ◽  
Author(s):  
Lynn K. Mytelka
Keyword(s):  
Research And Development ◽  
Knowledge Production ◽  
Capital Accumulation ◽  
Design Research ◽  
Growth Strategy ◽  
Newly Industrializing Countries ◽  
Cheap Labour ◽  
The Third World ◽  
Funding Research

This paper explores the changing nature of contemporary capital accumulation focusing in particular on the increasing importance of knowledge inputs in the production process. The growing knowledge-intensity of production reflected in the role of design, research and development, marketing, management and advertising in the growth strategy of the firm, has had numerous consequences for the nature of competition amongst firms and for the internationalization of production. As increased knowledge-intensity of production gave rise to ever more rapid technological change in industry, the need for greater flexibility in production and labour processes became acute, more so as the global economic crisis deepened and competition from newly industrializing countries rose. Automation and sub-contracting were important new strategies. So too was the segmentation and delocalization of production processes to cheap labour countries in the Third World and Eastern Europe. More recently, as the costs and risks involved in R&D escalated, large corporations have also begun to decentralize knowledge production itself by funding research and development activities outside the MNC, and by internationalizing knowledge production itself through the establishment of research laboratories abroad or the implementation of a System of world product mandates for selected manufacturing subsidiaries.

A study of practice based design research models from knowledge integration perspective

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Honghai LI ◽  
Jun CAI
Keyword(s):  
Knowledge Production ◽  
Theoretical Basis ◽  
Knowledge Integration ◽  
Design Research ◽  
Research Process ◽  
Two Dimensions ◽  
Design Knowledge ◽  
Research Projects ◽  
Proposed Model ◽  
Design Innovation

The transformation of China's design innovation industry has highlighted the importance of design research. The design research process in practice can be regarded as the process of knowledge production. The design 3.0 mode based on knowledge production MODE2 has been shown in the Chinese design innovation industry. On this cognition, this paper establishes a map with two dimensions of how knowledge integration occurs in practice based design research, which are the design knowledge transfer and contextual transformation of design knowledge. We use this map to carry out the analysis of design research cases. Through the analysis, we define four typical practice based design research models from the viewpoint of knowledge integration. This method and the proposed model can provide a theoretical basis and a path for better management design research projects.

Fluid Multilingual Practices among Youth in Cameroon and Mozambique

2020 ◽  
Author(s):  
Torun Reite ◽  
Francis Badiang Oloko ◽  
Manuel Armando Guissemo
Keyword(s):  
Knowledge Production ◽  
Urban Youth ◽  
Social Space ◽  
Empirical Studies ◽  
Theoretical Discussion ◽  
The South ◽  
African Cities ◽  
Social Lives ◽  
The Social

Inspired by recent epistemological and ontological debates aimed at unsettling and reshaping conceptions of language, this essay discusses how mainstream sociolinguistics offers notions meaningful for studying contexts of the South. Based on empirical studies of youth in two African cities, Yaoundé in Cameroon and Maputo in Mozambique, the essay engages with “fluid modernity” and “enregisterment” to unravel the role that fluid multilingual practices play in the social lives of urban youth. The empirically grounded theoretical discussion shows how recent epistemologies and ontologies offer inroads to more pluriversal knowledge production. The essay foregrounds: i) the role of language in the sociopolitical battles of control over resources, and ii) speakers’ reflexivity and metapragmatic awareness of register formations of fluid multilingual practices. Moreover, it shows how bundles of localized meanings construct belongings and counterhegemonic discourses, as well as demonstrating speakers’ differential valuations and perceptions of boundaries and transgressions across social space.

scholarly journals Survey of Emotions in Human–Robot Interactions: Perspectives from Robotic Psychology on 20 Years of Research

2021 ◽  
Author(s):  
Ruth Stock-Homburg
Keyword(s):  
Knowledge Production ◽  
Current Knowledge ◽  
Social Robots ◽  
Human Robot Interaction ◽  
Robot Interaction ◽  
Interdisciplinary Field ◽  
Artificial Emotions ◽  
Art Research ◽  
Research Domain

AbstractKnowledge production within the interdisciplinary field of human–robot interaction (HRI) with social robots has accelerated, despite the continued fragmentation of the research domain. Together, these features make it hard to remain at the forefront of research or assess the collective evidence pertaining to specific areas, such as the role of emotions in HRI. This systematic review of state-of-the-art research into humans’ recognition and responses to artificial emotions of social robots during HRI encompasses the years 2000–2020. In accordance with a stimulus–organism–response framework, the review advances robotic psychology by revealing current knowledge about (1) the generation of artificial robotic emotions (stimulus), (2) human recognition of robotic artificial emotions (organism), and (3) human responses to robotic emotions (response), as well as (4) other contingencies that affect emotions as moderators.

Walking, knowing, and the limits of the map: performing participatory cartographies in indigenous landscapes

2021 ◽  
pp. 147447402110344
Author(s):  
Bjørn Sletto ◽  
Gerónimo Barrera de la Torre ◽  
Alexandra Magaly Lamina Luguana ◽  
Davi Pereira Júnior
Keyword(s):  
Knowledge Production ◽  
Participatory Mapping ◽  
Participatory Processes ◽  
Indigenous Methodologies ◽  
Critical Understanding ◽  
Forms Of Knowledge

Post-representational cartography views maps as inherently unstable and unfinished, always in the making and thus singularly open for refolding and re-presentation. This perspective on maps calls for greater attention to the performances, negotiations, and contestations that occur during the ongoing production of maps, particularly in cases where maps are developed during collective, collaborative, and participatory processes in indigenous landscapes riven by conflict and struggle. In the following, we examine the role of walking for the continual (re)making of participatory maps, specifically engaging with work in indigenous methodologies to consider how an emphasis on performativity in map-makings may foster a post-representational perspective on indigenous cartographies. We understand walking as map-making, a form of knowledge production generated by performative and situated storytelling along paths and in places filled with meaning. Drawing on a critical understanding of ‘invitation’ and ‘crossing’, we build on our experiences from participatory mapping projects in Mexico, Venezuela, Ecuador, and Brazil to explore the ways in which the material, performative crossings of bodies through indigenous landscapes may inspire new forms of knowledge production and destabilize Cartesian cartographic colonialities.

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