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Visualizing Research guides postgraduate students in art and design through the development and implementation of a research project, using the metaphor of a 'journey of exploration'. For use with a formal programme of study, from masters to doctoral level, the book derives from the creative relationship between research, practice and teaching in art and design. It extends generic research processes into practice-based approaches more relevant to artists and designers, introducing wherever possible visual, interactive and collaborative methods. The Introduction and Chapter 1 'Planning the Journey' define the concept and value of 'practice-based' formal research, tracking the debate around its development and explaining key concepts and terminology. ’Mapping the Terrain’ then describes methods of contextualizing research in art and design (the contextual review, using reference material); ’Locating Your Position’ and ’Crossing the Terrain’ guide the reader through the stages of identifying an appropriate research question and methodological approach, writing the proposal and managing research information. Methods of evaluation and analysis are explored, and of strategies for reporting and communicating research findings are suggested. Appendices and a glossary are also included. Visualizing Research draws on the experience of researchers in different contexts and includes case studies of real projects. Although written primarily for postgraduate students, research supervisors, managers and academic staff in art and design and related areas, such as architecture and media studies, will find this a valuable research reference. An accompanying website www.visualizingresearch.info includes multimedia and other resources that complement the book.
Design gilt zunehmend als autonome Wissenskultur. Diese Sichtweise folgt einerseits epistemologischen Prämissen, andererseits befördert sie strategische Interessen hinsichtlich der disziplinären Autonomie des Feldes. Dabei werden die demarkierten Grenzen zwischen Design, Kunst und Wissenschaft in Frage gestellt und unter dem Leitmotiv eines Design Turns neu ausgehandelt. Claudia Mareis zeichnet Interferenzen zwischen Design- und Wissensdiskursen seit dem »Design Methods Movement« in den 1960er Jahren nach und trägt damit zur Erforschung historischer Einflüsse bei, welche die aktuellen Wissensdebatten in Designtheorie und -forschung prägen.
A guide on how to visualise and tell stories with data, providing practical design tips complemented with step-by-step tutorials.
Künstlerische Bildung konzipiert Kunstpädagogik von der Kunst her. Dabei fokussiert sie in komplexer Weise die verschiedenen Ebenen von Bildung, Philosophie und Kultur. Diese Festschrift für Carl-Peter Buschkühle versammelt zahlreiche Perspektiven aus den angesprochenen Bereichen zu einem interdisziplinären und internationalen Diskurs über die Grundannahmen, Ziele und Methoden Künstlerischer Bildung. Mit Beiträgen von Kunibert Bering, Manfred Blohm, Andreas Brenne, Carl-Peter Buschkühle, Ludwig Duncker, Sidonie Engels, Marc Fritzsche, Christina Griebel, Sara Hornäk, Timo Jokela, Joachim Kettel, Nanna Lüth, Roland Meyer-Petzold, Rolf Niehoff, Wolfgang Sautermeister, Lutz Schäfer, Ansgar Schnurr, Diederik Schönau, Johanna Staniczek, Andreas Steffens, Mario Urlaß, Jan Veldman, Raphael Vella, Christian Wagner, Klaus Werner.
The increasing interest in artistic research, especially in music, is throwing open doors to exciting ideas about how we generate new musical knowledge and understanding. This book examines the wide array of factors at play in innovative practice and how by treating it as research we can make new ideas more widely accessible. Three key ideas propel the book. First, it argues that artistic research comes from inside the practice and exists in a space that accommodates both objective and subjective observation and analyses because the researcher is the practitioner. It is a space for dialogue between apparently opposing binaries: the composer and the performer, the past and the present, the fixed and the fluid, the intellectual and the intuitive, the abstract and the embodied, the prepared and the spontaneous, the enduring and the transitory, and so on. It is not so much constructed in a logical, sequential manner in the way of the scientific method of doing research but more as a “braided” space, woven from many disparate elements. Second, the book articulates the notion that artistic research in music has its own verification procedures that need to be brought into the academy, especially in terms of the moderation of non-traditional research outputs, including the description of the criteria for allocation of research points for the purposes of data collection, as well as real world relevance and industry engagement. Third, by way of numerous examples of original and creative music making, it demonstrates in practical terms how exploration and experimentation functions as legitimate academic research. Many of the case studies deliberately cross boundaries that were previously assumed to be rigid and definite in order to blaze new musical trails, creating new collaborations and synergies.
Metaphern sind integraler Bestandteil unserer alltäglichen Sprache, nicht bloß praktische oder rhethorische Mittel. Sie bestimmen unsere Wahrnehmung, unser Denken und Handeln und somit unsere Wirklichkeit. Die Lektüre dieses fesselnden und unterhaltsamen Buches führt dazu, dass man ganz neu über die Sprache und darüber, wie wir sie benutzen, denkt.

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