Ian McArthur
Ian McArthur PhD Media Arts, MDes (Dist), BAEd, BTeach) is a hybrid practitioner working in the domains of experimental and speculative multidisciplinary practice, transcultural collaboration, metadesign and education change. His recent collaborations with artist and design academic Brad Miller (2011 – 2012) have involved developing techniques that utilise granular and generative synthesis, mobile technologies, open source platforms and protocols including PureData (PD) and OpenSoundControl (OSC) to create experimental sonifications for responsive interactive media environments manifested in public art and exhibitions. Ian's PhD (Media Arts) was titled "Activating a Framework For Transcultural Interdisciplinary Collaboration in Design Education".
In 2001-2003 Ian was Program Director of Graphic Design at La Salle DHU (Donghua University, Shanghai) where he initiated The Collabor8 Project (C8) with Annie Morrad, Senior Lecturer, Lincoln School of Art and Design, Faculty of Art Architecture and Design University of Lincoln to foster online collaboration between design education programs in China and Australia/UK. This initiative has lead to a decade of developing culturally adaptive pedagogies using online, social and responsive technologies to create collaborative experimental spaces where shared visions for as yet unimagined futures can be created.
Recent Works: umwelten, Morrad A., McArthur, I., GNARL Festival, Lincoln, UK (2014); starry_night, Miller, Hindsaw, McArthur, Bateman (VIVIDSydney 2014); #capillary, Miller, McArthur, Hindsaw, Running the City Exhibition, ISEA2013 (Sydney 2013); plasma_flow, mediated_moments, Miller, McArthur, Hinshaw, Adams, Smart City Geo City Exhibition, Beijing Design Week, (Beijing 2012); plasma_flow, Miller, Hinshaw, McArthur (VIVIDSydney 2012); Rare Earth: Hacking the City studioLAB (Shanghai 2011) with Brad Miller and Professor Richard Goodwin; PorosityC8 e-SCAPE Studio (Shanghai 2009) with Professor Richard Goodwin.
Ian currently coordinates UNSW Art & Design's Graphics Media Undergraduate program and lectures in Design studies at UNSW Art & Design
Address: UNSW Art & Design
The University of New South Wales Greens Road Paddington Sydney, NSW 2021 Australia | CRICOS Provider Code: 00098G
In 2001-2003 Ian was Program Director of Graphic Design at La Salle DHU (Donghua University, Shanghai) where he initiated The Collabor8 Project (C8) with Annie Morrad, Senior Lecturer, Lincoln School of Art and Design, Faculty of Art Architecture and Design University of Lincoln to foster online collaboration between design education programs in China and Australia/UK. This initiative has lead to a decade of developing culturally adaptive pedagogies using online, social and responsive technologies to create collaborative experimental spaces where shared visions for as yet unimagined futures can be created.
Recent Works: umwelten, Morrad A., McArthur, I., GNARL Festival, Lincoln, UK (2014); starry_night, Miller, Hindsaw, McArthur, Bateman (VIVIDSydney 2014); #capillary, Miller, McArthur, Hindsaw, Running the City Exhibition, ISEA2013 (Sydney 2013); plasma_flow, mediated_moments, Miller, McArthur, Hinshaw, Adams, Smart City Geo City Exhibition, Beijing Design Week, (Beijing 2012); plasma_flow, Miller, Hinshaw, McArthur (VIVIDSydney 2012); Rare Earth: Hacking the City studioLAB (Shanghai 2011) with Brad Miller and Professor Richard Goodwin; PorosityC8 e-SCAPE Studio (Shanghai 2009) with Professor Richard Goodwin.
Ian currently coordinates UNSW Art & Design's Graphics Media Undergraduate program and lectures in Design studies at UNSW Art & Design
Address: UNSW Art & Design
The University of New South Wales Greens Road Paddington Sydney, NSW 2021 Australia | CRICOS Provider Code: 00098G
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Researchers at UNSW Sydney (The University of New South Wales) in the faculty of UNSW Art & Design are seeking volunteer research participants to learn about industry practices and future trends in relation to the deployment and consumption of urban media in Chongqing. The study will observe, describe and record urban media, media architecture infrastructure, and media content currently present in Chongqing’s unique urban environment. Researchers will interview urban media stakeholders from creative industries, media companies, content producers, façade consultants, architects, urban planners, government, and academics working in the field.
如欲了解更多信息或有兴趣参与本研究,请联系:
姓名:麦卡瑟伊恩博士(Dr. Ian McArthur)
电子邮件: ian.mcarthur@unsw.edu.au
https://www.artdesign.unsw.edu.au/about-us/our-staff/dr-ian-mcarthur
If you would like more information or are interested in being part of the study please contact:
Name: Dr. Ian McArthur
Email: ian.mcarthur@unsw.edu.au
https://www.artdesign.unsw.edu.au/about-us/our-staff/dr-ian-mcarthur
COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.
If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.
As online communication technologies rapidly evolve, the creative industries continue to move towards globally networked and interdisciplinary modalities of practice. These inescapable shifts in the ways designers work have challenged many long held assumptions about the nature of individual design processes.
Such revolutionary changes mean that designers must increasingly master new skills to effectively communicate and collaborate in online environments with colleagues from different cultures, disciplines and locations world-wide. Since they may never meet face-to-face, the success of this new working methodology relies on high levels of trust between practitioners, both personally and professionally in order to achieve effective design outcomes.
In turn the need for design educators to equip students with skills to thrive in the face of this new industrial paradigm is highlighted. Trust is integral to developing the personal and professional relationship building and collaborative skills necessary for contemporary digital working practices. By being sensitive to, and cognisant of these issues, educators can initiate and implement strategies that help create the right conditions for trust to emerge between participants in online learning scenarios.
In reality however, the relative suddenness of this shift has seen some educationalists engage in unconsidered responses to this challenge. In the rush to embrace online technologies, the social and cultural dimensions of online pedagogies are often neglected while the relative functionality of digital tools and spaces is given prominence.
Drawing upon three specific case studies of very different applications of online learning in a design context, this paper aims to highlight the impact that fostering positive, interpersonal, interdisciplinary and transcultural relationships between students in online design education can have upon their levels of trust and the effectiveness and outcomes of their online collaborative processes. The projects examined were conducted by COFA Online and The Omnium Research Group at The College of Fine Arts (COFA), University of New South Wales, Sydney, Australia. Each case study examines particular dynamics associated with global, local and cross-cultural contexts. They include:
• Global - Fully online Masters of Cross Disciplinary Art and Design
• Local - Blended Learning at The College of Fine Arts
• Cross-Cultural (Australia and China) - The Collabor8 Project, East-West online design collaboration
By triangulating data that examines student/teacher experiences through online surveys, interviews, responses to targeted online discussions and peer reviews, this paper outlines online pedagogical approaches that have successfully engaged students in active, collaborative and trust building online learning environments. It also pinpoints problems that can occur in online teamwork related to trust, communication and interpersonal relationships, and investigates several potential solutions.
If strong human-to-human relationships are seen as the foundation for effective collaborative design practice online, educators will be helping emerging generations of designers maximise their creative potential in a globally competitive market where online collaborative, cross-cultural, interdisciplinary creative skill-sets are demanded as the ‘norm’.
Keywords: online, collaboration, pedagogy, cross-cultural, blended learning
Researchers undertaking scholarly work at the PhD level are invited to take part in the Doctoral Consortium via the presentation of papers, work-in-progress and multimedia presentations (approximately 30 minutes in length).
Relevant topics include, but are not limited to:
• Participatory Architecture & City Planning
• Social & Cultural Aspects of Media Architecture
• Spatial Locative Media
• Case Studies
• Media Facades & Urban Displays and Future Trends
• Interaction Techniques & Interfaces
• Critical & Historical Perspectives on Media Architecture
• Design Tools, Processes & Methods
Submissions
Paper submissions should follow the same format as short papers of TWO pages in length (see the call for papers for details) and submitted via email to dc@mediaarchitecture.org
DC papers will be included in the non-refereed part of the MAB 2016 conference proceedings.
Key Dates
Submission deadline: March 31 2016
Notification of acceptance: April 21 2016
Doctoral Consortium: June 1 2016
Information
Twitter: @MABiennale
Facebook: Facebook.com/MABiennale
Web: http://www.mab16.org
Proceedings of the Media Architecture Biennale Conference 2014: http://dl.acm.org/citation.cfm?id=2421076
Venue: The Concourse, Chatswood in Sydney, Australia
Doctoral Consortium Chairs: Ian McArthur (UNSW, Australia) & Katharine S. Willis (Plymouth University, UK)
COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.
If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.
As online communication technologies rapidly evolve, the creative industries continue to move towards globally networked and interdisciplinary modalities of practice. These inescapable shifts in the ways designers work have challenged many long held assumptions about the nature of individual design processes.
Such revolutionary changes mean that designers must increasingly master new skills to effectively communicate and collaborate in online environments with colleagues from different cultures, disciplines and locations world-wide. Since they may never meet face-to-face, the success of this new working methodology relies on high levels of trust between practitioners, both personally and professionally in order to achieve effective design outcomes.
In turn the need for design educators to equip students with skills to thrive in the face of this new industrial paradigm is highlighted. Trust is integral to developing the personal and professional relationship building and collaborative skills necessary for contemporary digital working practices. By being sensitive to, and cognisant of these issues, educators can initiate and implement strategies that help create the right conditions for trust to emerge between participants in online learning scenarios.
In reality however, the relative suddenness of this shift has seen some educationalists engage in unconsidered responses to this challenge. In the rush to embrace online technologies, the social and cultural dimensions of online pedagogies are often neglected while the relative functionality of digital tools and spaces is given prominence.
Drawing upon three specific case studies of very different applications of online learning in a design context, this paper aims to highlight the impact that fostering positive, interpersonal, interdisciplinary and transcultural relationships between students in online design education can have upon their levels of trust and the effectiveness and outcomes of their online collaborative processes. The projects examined were conducted by COFA Online and The Omnium Research Group at The College of Fine Arts (COFA), University of New South Wales, Sydney, Australia. Each case study examines particular dynamics associated with global, local and cross-cultural contexts. They include:
• Global - Fully online Masters of Cross Disciplinary Art and Design
• Local - Blended Learning at The College of Fine Arts
• Cross-Cultural (Australia and China) - The Collabor8 Project, East-West online design collaboration
By triangulating data that examines student/teacher experiences through online surveys, interviews, responses to targeted online discussions and peer reviews, this paper outlines online pedagogical approaches that have successfully engaged students in active, collaborative and trust building online learning environments. It also pinpoints problems that can occur in online teamwork related to trust, communication and interpersonal relationships, and investigates several potential solutions.
If strong human-to-human relationships are seen as the foundation for effective collaborative design practice online, educators will be helping emerging generations of designers maximise their creative potential in a globally competitive market where online collaborative, cross-cultural, interdisciplinary creative skill-sets are demanded as the ‘norm’.
Keywords: online, collaboration, pedagogy, cross-cultural, blended learning
Chapter submissions are invited that address the following themes:
1. Transcultural and Interdisciplinary collaboration
2. Mapping sustainable futures
3. Culture as transformational pedagogy
4. Digital aesthetics / visual transformations
...
Based around an Interactive Media Platform (IMP) augment_me, developed by artist and academic Brad Miller, RARE EARTH was the second collaboration between architect and artist Professor Richard Goodwin’s innovative Porosity Studio and The Collabor8 Project (C8) , and the Institute of Fashion, Art and Design, Donghua University (DHU), Shanghai. RARE EARTH established an ongoing research trajectory (augmented_studio) that explores participatory and interactive data visualisation to create accelerated communication pathways for building shared vision around complex problems in urban environments. This has led to the development of a model for Cross-Cultural Interdisciplinary Collaboration (CCIC). CCIC uses the potential of IMP as intercultural communication and collaborative tools to explore a pliant methodology advocating sensitivity to divergent institutional and community expectations, language difference, and culturally based assumptions about learning and creativity. CCIC highlights the crucial role for open, technologically augmented laboratories in creating adaptive, interdisciplinary design processes and pedagogy, In these laboratories we may be empowered to reflect on meaningful ways designers, researchers, governments and citizens from different cultures might work together in a ‘joined up’ way to envisage our as yet unimagined collective urban futures.
The city and it’s inhabitants are central in this research in combination forming a crucial site for thinking about collaborative action concerned with the transformation of design practice, design education and re-visioning what a sustainable urban-centric future means. However, collaboration is often complex and hard to explain and difficult to understand from the outside. The themes discussed in this research encompass questions about interactivity in public space; how IMP mediate and re-modulate relations between people and between people and machines; and ideas about how people from different cultures might collaboratively use interactive media to think about complex global problems using cities as "labs for the future."
RARE EARTH was conceived around an Interactive Media Platform (IMP) integrated into the studio as a means to document and exhibit the diverse work being carried out. The participants uploaded and tagged their content to a live Flickr database that regularly updated the IMP. The database of image, sound and video content produced describes the creative processes, social and studio encounters, and the outputs of students and other actors involved in the project. RARE EARTH offered students opportunities to think ‘beyond possibilities’ (Wood, 2012) in exploring the significance and implications of culture amid the emergence of complex network technologies, Asia’s rapid urbanisation, and this century’s reconfigured geopolitical relationships.
However, despite technological interconnectedness, collaboration between people from different cultures is subject to communication breakdowns because our realities are comprised of differing norms, symbols, and representations reinforced through education (Snow 1993, Sussman 2000). Additionally, opportunities for students from West and non-West to engage in dialogic, co-languaging processes that deconstruct cultural difference remain uncommon, and educators and practitioners face significant communication challenges that limit the complexification of creative solutions. Building on an existing body of research , this paper discusses the opportunities, constraints and outcomes of the studio. A model for Cross-Cultural Interdisciplinary Collaboration (CCIC) is proposed as pliant methodology advocating sensitivity to divergent institutional expectations, language difference, culturally based assumptions about learning, and the potential of interactive media platforms as intercultural communication and collaborative tools. This highlights the crucial role for open, technologically augmented laboratories in creating adaptive, interdisciplinary design pedagogy where students may be empowered to reflexively explore meaningful ways designers from different cultures might work together in a ‘joined up’ way to envisage our as yet unimagined collective futures.
Key words: design education, cross-cultural, interdisciplinary, collaboration, interactive media"
Could you trust someone you had never physically met to successfully collaborate with you on a design project?
As online communication technologies rapidly evolve, the creative industries continue to move towards globally networked and interdisciplinary modalities of practice. These inescapable shifts in the ways designers work have challenged many long held assumptions about the nature of individual design processes.
Such revolutionary changes mean that designers must increasingly master new skills to effectively communicate and collaborate in online environments with colleagues from different cultures, disciplines and locations world-wide. Since they may never meet face-to-face, the success of this new working methodology relies on high levels of trust between practitioners, both personally and professionally in order to achieve effective design outcomes.
In turn the need for design educators to equip students with skills to thrive in the face of this new industrial paradigm is highlighted. Trust is integral to developing the personal and professional relationship building and collaborative skills necessary for contemporary digital working practices. By being sensitive to, and cognisant of these issues, educators can initiate and implement strategies that help create the right conditions for trust to emerge between participants in online learning scenarios.
In reality however, the relative suddenness of this shift has seen some educationalists engage in unconsidered responses to this challenge. In the rush to embrace online technologies, the social and cultural dimensions of online pedagogies are often neglected while the relative functionality of digital tools and spaces is given prominence.
Drawing upon three specific case studies of very different applications of online learning in a design context, this paper aims to highlight the impact that fostering positive, interpersonal, interdisciplinary and transcultural relationships between students in online design education can have upon their levels of trust and the effectiveness and outcomes of their online collaborative processes. The projects examined were conducted by COFA Online and The Omnium Research Group at The College of Fine Arts (COFA), University of New South Wales, Sydney, Australia. Each case study examines particular dynamics associated with global, local and cross-cultural contexts. They include:
• Global - Fully online Masters of Cross Disciplinary Art and Design
• Local - Blended Learning at The College of Fine Arts
• Cross-Cultural (Australia and China) - The Collabor8 Project, East-West online design collaboration
By triangulating data that examines student/teacher experiences through online surveys, interviews, responses to targeted online discussions and peer reviews, this paper outlines online pedagogical approaches that have successfully engaged students in active, collaborative and trust building online learning environments. It also pinpoints problems that can occur in online teamwork related to trust, communication and interpersonal relationships, and investigates several potential solutions.
If strong human-to-human relationships are seen as the foundation for effective collaborative design practice online, educators will be helping emerging generations of designers maximise their creative potential in a globally competitive market where online collaborative, cross-cultural, interdisciplinary creative skill-sets are demanded as the ‘norm’.
Keywords: online, collaboration, pedagogy, cross-cultural, blended learning "
The Collabor8 Project (C8) was at first seen as a vehicle to examine the relationship between cultural background, cognition and media types in collaborative online design education. However data gathered through observation, questionnaire, student discussions, and the integration of specific research tasks into design briefs highlighted a complex interplay of internal and external dynamics suggesting that a disjuncture existed in many students’ understanding of what was expected of them regardless of media used to deliver the lectures and briefs in C8. Language, divergent student expectations, different levels and styles of knowledge production, and outside forces such as the Sichuan earthquake, are important areas of focus in this study exposing what might be described as multiple realities within the project.
The preliminary findings suggest that successful online collaboration between Western and Confucian heritage culture (CHC) design students will most likely be born out of an approach that is representative of all cultural inputs. Continued research and intercultural cooperation will be crucial to facilitating online intercultural collaboration necessary for preparing students for work in the globalised, technological landscape of contemporary design practice.
Keywords: Design Education, Cross-Cultural, Collaboration, Online, China, Australia"
Keywords: design education, cross-cultural, collaboration, online, China, Australia
COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.
If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.
A Chinese-born Australian faces a previously rejected cultural background by bathing in clay. Mapping the city a local and a visitor explore a dialogue through which a mutual understanding of the city emerges. An architect and a designer wander Puxi throwing chopsticks to the ground to divine the site of their next urban intervention.
In 2009 PorosityC8 e-SCAPE Studio challenged sixty art, design, and architecture students, practitioners and academics from The College of Fine Arts (COFA) and Donghua University (DHU) to interact online in a process culminating in an intensive two-week studio at DHU. This paper presents case studies highlighting profound transformations made real through blended cross-cultural studio collaboration.
Globalised economic and urban territories linked by network technologies and reconfigured geopolitical relationships impel art and design educationalists to develop innovative pedagogies relevant to the needs of students, the world community, and as yet unforeseen industries. Using integrated, adaptive processes, the teaching and learning model presented provokes students to share cultural identity and methods of practice to find the common ground shared by young and old cultures.
Key words: Education: cross-cultural multidisciplinary collaboration blended online
Researchers at UNSW Sydney (The University of New South Wales) in the faculty of UNSW Art & Design are seeking volunteer research participants to learn about industry practices and future trends in relation to the deployment and consumption of urban media in Chongqing. The study will observe, describe and record urban media, media architecture infrastructure, and media content currently present in Chongqing’s unique urban environment. Researchers will interview urban media stakeholders from creative industries, media companies, content producers, façade consultants, architects, urban planners, government, and academics working in the field.
如欲了解更多信息或有兴趣参与本研究,请联系:
姓名:麦卡瑟伊恩博士(Dr. Ian McArthur)
电子邮件: ian.mcarthur@unsw.edu.au
https://www.artdesign.unsw.edu.au/about-us/our-staff/dr-ian-mcarthur
If you would like more information or are interested in being part of the study please contact:
Name: Dr. Ian McArthur
Email: ian.mcarthur@unsw.edu.au
https://www.artdesign.unsw.edu.au/about-us/our-staff/dr-ian-mcarthur
COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.
If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.
As online communication technologies rapidly evolve, the creative industries continue to move towards globally networked and interdisciplinary modalities of practice. These inescapable shifts in the ways designers work have challenged many long held assumptions about the nature of individual design processes.
Such revolutionary changes mean that designers must increasingly master new skills to effectively communicate and collaborate in online environments with colleagues from different cultures, disciplines and locations world-wide. Since they may never meet face-to-face, the success of this new working methodology relies on high levels of trust between practitioners, both personally and professionally in order to achieve effective design outcomes.
In turn the need for design educators to equip students with skills to thrive in the face of this new industrial paradigm is highlighted. Trust is integral to developing the personal and professional relationship building and collaborative skills necessary for contemporary digital working practices. By being sensitive to, and cognisant of these issues, educators can initiate and implement strategies that help create the right conditions for trust to emerge between participants in online learning scenarios.
In reality however, the relative suddenness of this shift has seen some educationalists engage in unconsidered responses to this challenge. In the rush to embrace online technologies, the social and cultural dimensions of online pedagogies are often neglected while the relative functionality of digital tools and spaces is given prominence.
Drawing upon three specific case studies of very different applications of online learning in a design context, this paper aims to highlight the impact that fostering positive, interpersonal, interdisciplinary and transcultural relationships between students in online design education can have upon their levels of trust and the effectiveness and outcomes of their online collaborative processes. The projects examined were conducted by COFA Online and The Omnium Research Group at The College of Fine Arts (COFA), University of New South Wales, Sydney, Australia. Each case study examines particular dynamics associated with global, local and cross-cultural contexts. They include:
• Global - Fully online Masters of Cross Disciplinary Art and Design
• Local - Blended Learning at The College of Fine Arts
• Cross-Cultural (Australia and China) - The Collabor8 Project, East-West online design collaboration
By triangulating data that examines student/teacher experiences through online surveys, interviews, responses to targeted online discussions and peer reviews, this paper outlines online pedagogical approaches that have successfully engaged students in active, collaborative and trust building online learning environments. It also pinpoints problems that can occur in online teamwork related to trust, communication and interpersonal relationships, and investigates several potential solutions.
If strong human-to-human relationships are seen as the foundation for effective collaborative design practice online, educators will be helping emerging generations of designers maximise their creative potential in a globally competitive market where online collaborative, cross-cultural, interdisciplinary creative skill-sets are demanded as the ‘norm’.
Keywords: online, collaboration, pedagogy, cross-cultural, blended learning
Researchers undertaking scholarly work at the PhD level are invited to take part in the Doctoral Consortium via the presentation of papers, work-in-progress and multimedia presentations (approximately 30 minutes in length).
Relevant topics include, but are not limited to:
• Participatory Architecture & City Planning
• Social & Cultural Aspects of Media Architecture
• Spatial Locative Media
• Case Studies
• Media Facades & Urban Displays and Future Trends
• Interaction Techniques & Interfaces
• Critical & Historical Perspectives on Media Architecture
• Design Tools, Processes & Methods
Submissions
Paper submissions should follow the same format as short papers of TWO pages in length (see the call for papers for details) and submitted via email to dc@mediaarchitecture.org
DC papers will be included in the non-refereed part of the MAB 2016 conference proceedings.
Key Dates
Submission deadline: March 31 2016
Notification of acceptance: April 21 2016
Doctoral Consortium: June 1 2016
Information
Twitter: @MABiennale
Facebook: Facebook.com/MABiennale
Web: http://www.mab16.org
Proceedings of the Media Architecture Biennale Conference 2014: http://dl.acm.org/citation.cfm?id=2421076
Venue: The Concourse, Chatswood in Sydney, Australia
Doctoral Consortium Chairs: Ian McArthur (UNSW, Australia) & Katharine S. Willis (Plymouth University, UK)
COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.
If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.
As online communication technologies rapidly evolve, the creative industries continue to move towards globally networked and interdisciplinary modalities of practice. These inescapable shifts in the ways designers work have challenged many long held assumptions about the nature of individual design processes.
Such revolutionary changes mean that designers must increasingly master new skills to effectively communicate and collaborate in online environments with colleagues from different cultures, disciplines and locations world-wide. Since they may never meet face-to-face, the success of this new working methodology relies on high levels of trust between practitioners, both personally and professionally in order to achieve effective design outcomes.
In turn the need for design educators to equip students with skills to thrive in the face of this new industrial paradigm is highlighted. Trust is integral to developing the personal and professional relationship building and collaborative skills necessary for contemporary digital working practices. By being sensitive to, and cognisant of these issues, educators can initiate and implement strategies that help create the right conditions for trust to emerge between participants in online learning scenarios.
In reality however, the relative suddenness of this shift has seen some educationalists engage in unconsidered responses to this challenge. In the rush to embrace online technologies, the social and cultural dimensions of online pedagogies are often neglected while the relative functionality of digital tools and spaces is given prominence.
Drawing upon three specific case studies of very different applications of online learning in a design context, this paper aims to highlight the impact that fostering positive, interpersonal, interdisciplinary and transcultural relationships between students in online design education can have upon their levels of trust and the effectiveness and outcomes of their online collaborative processes. The projects examined were conducted by COFA Online and The Omnium Research Group at The College of Fine Arts (COFA), University of New South Wales, Sydney, Australia. Each case study examines particular dynamics associated with global, local and cross-cultural contexts. They include:
• Global - Fully online Masters of Cross Disciplinary Art and Design
• Local - Blended Learning at The College of Fine Arts
• Cross-Cultural (Australia and China) - The Collabor8 Project, East-West online design collaboration
By triangulating data that examines student/teacher experiences through online surveys, interviews, responses to targeted online discussions and peer reviews, this paper outlines online pedagogical approaches that have successfully engaged students in active, collaborative and trust building online learning environments. It also pinpoints problems that can occur in online teamwork related to trust, communication and interpersonal relationships, and investigates several potential solutions.
If strong human-to-human relationships are seen as the foundation for effective collaborative design practice online, educators will be helping emerging generations of designers maximise their creative potential in a globally competitive market where online collaborative, cross-cultural, interdisciplinary creative skill-sets are demanded as the ‘norm’.
Keywords: online, collaboration, pedagogy, cross-cultural, blended learning
Chapter submissions are invited that address the following themes:
1. Transcultural and Interdisciplinary collaboration
2. Mapping sustainable futures
3. Culture as transformational pedagogy
4. Digital aesthetics / visual transformations
...
Based around an Interactive Media Platform (IMP) augment_me, developed by artist and academic Brad Miller, RARE EARTH was the second collaboration between architect and artist Professor Richard Goodwin’s innovative Porosity Studio and The Collabor8 Project (C8) , and the Institute of Fashion, Art and Design, Donghua University (DHU), Shanghai. RARE EARTH established an ongoing research trajectory (augmented_studio) that explores participatory and interactive data visualisation to create accelerated communication pathways for building shared vision around complex problems in urban environments. This has led to the development of a model for Cross-Cultural Interdisciplinary Collaboration (CCIC). CCIC uses the potential of IMP as intercultural communication and collaborative tools to explore a pliant methodology advocating sensitivity to divergent institutional and community expectations, language difference, and culturally based assumptions about learning and creativity. CCIC highlights the crucial role for open, technologically augmented laboratories in creating adaptive, interdisciplinary design processes and pedagogy, In these laboratories we may be empowered to reflect on meaningful ways designers, researchers, governments and citizens from different cultures might work together in a ‘joined up’ way to envisage our as yet unimagined collective urban futures.
The city and it’s inhabitants are central in this research in combination forming a crucial site for thinking about collaborative action concerned with the transformation of design practice, design education and re-visioning what a sustainable urban-centric future means. However, collaboration is often complex and hard to explain and difficult to understand from the outside. The themes discussed in this research encompass questions about interactivity in public space; how IMP mediate and re-modulate relations between people and between people and machines; and ideas about how people from different cultures might collaboratively use interactive media to think about complex global problems using cities as "labs for the future."
RARE EARTH was conceived around an Interactive Media Platform (IMP) integrated into the studio as a means to document and exhibit the diverse work being carried out. The participants uploaded and tagged their content to a live Flickr database that regularly updated the IMP. The database of image, sound and video content produced describes the creative processes, social and studio encounters, and the outputs of students and other actors involved in the project. RARE EARTH offered students opportunities to think ‘beyond possibilities’ (Wood, 2012) in exploring the significance and implications of culture amid the emergence of complex network technologies, Asia’s rapid urbanisation, and this century’s reconfigured geopolitical relationships.
However, despite technological interconnectedness, collaboration between people from different cultures is subject to communication breakdowns because our realities are comprised of differing norms, symbols, and representations reinforced through education (Snow 1993, Sussman 2000). Additionally, opportunities for students from West and non-West to engage in dialogic, co-languaging processes that deconstruct cultural difference remain uncommon, and educators and practitioners face significant communication challenges that limit the complexification of creative solutions. Building on an existing body of research , this paper discusses the opportunities, constraints and outcomes of the studio. A model for Cross-Cultural Interdisciplinary Collaboration (CCIC) is proposed as pliant methodology advocating sensitivity to divergent institutional expectations, language difference, culturally based assumptions about learning, and the potential of interactive media platforms as intercultural communication and collaborative tools. This highlights the crucial role for open, technologically augmented laboratories in creating adaptive, interdisciplinary design pedagogy where students may be empowered to reflexively explore meaningful ways designers from different cultures might work together in a ‘joined up’ way to envisage our as yet unimagined collective futures.
Key words: design education, cross-cultural, interdisciplinary, collaboration, interactive media"
Could you trust someone you had never physically met to successfully collaborate with you on a design project?
As online communication technologies rapidly evolve, the creative industries continue to move towards globally networked and interdisciplinary modalities of practice. These inescapable shifts in the ways designers work have challenged many long held assumptions about the nature of individual design processes.
Such revolutionary changes mean that designers must increasingly master new skills to effectively communicate and collaborate in online environments with colleagues from different cultures, disciplines and locations world-wide. Since they may never meet face-to-face, the success of this new working methodology relies on high levels of trust between practitioners, both personally and professionally in order to achieve effective design outcomes.
In turn the need for design educators to equip students with skills to thrive in the face of this new industrial paradigm is highlighted. Trust is integral to developing the personal and professional relationship building and collaborative skills necessary for contemporary digital working practices. By being sensitive to, and cognisant of these issues, educators can initiate and implement strategies that help create the right conditions for trust to emerge between participants in online learning scenarios.
In reality however, the relative suddenness of this shift has seen some educationalists engage in unconsidered responses to this challenge. In the rush to embrace online technologies, the social and cultural dimensions of online pedagogies are often neglected while the relative functionality of digital tools and spaces is given prominence.
Drawing upon three specific case studies of very different applications of online learning in a design context, this paper aims to highlight the impact that fostering positive, interpersonal, interdisciplinary and transcultural relationships between students in online design education can have upon their levels of trust and the effectiveness and outcomes of their online collaborative processes. The projects examined were conducted by COFA Online and The Omnium Research Group at The College of Fine Arts (COFA), University of New South Wales, Sydney, Australia. Each case study examines particular dynamics associated with global, local and cross-cultural contexts. They include:
• Global - Fully online Masters of Cross Disciplinary Art and Design
• Local - Blended Learning at The College of Fine Arts
• Cross-Cultural (Australia and China) - The Collabor8 Project, East-West online design collaboration
By triangulating data that examines student/teacher experiences through online surveys, interviews, responses to targeted online discussions and peer reviews, this paper outlines online pedagogical approaches that have successfully engaged students in active, collaborative and trust building online learning environments. It also pinpoints problems that can occur in online teamwork related to trust, communication and interpersonal relationships, and investigates several potential solutions.
If strong human-to-human relationships are seen as the foundation for effective collaborative design practice online, educators will be helping emerging generations of designers maximise their creative potential in a globally competitive market where online collaborative, cross-cultural, interdisciplinary creative skill-sets are demanded as the ‘norm’.
Keywords: online, collaboration, pedagogy, cross-cultural, blended learning "
The Collabor8 Project (C8) was at first seen as a vehicle to examine the relationship between cultural background, cognition and media types in collaborative online design education. However data gathered through observation, questionnaire, student discussions, and the integration of specific research tasks into design briefs highlighted a complex interplay of internal and external dynamics suggesting that a disjuncture existed in many students’ understanding of what was expected of them regardless of media used to deliver the lectures and briefs in C8. Language, divergent student expectations, different levels and styles of knowledge production, and outside forces such as the Sichuan earthquake, are important areas of focus in this study exposing what might be described as multiple realities within the project.
The preliminary findings suggest that successful online collaboration between Western and Confucian heritage culture (CHC) design students will most likely be born out of an approach that is representative of all cultural inputs. Continued research and intercultural cooperation will be crucial to facilitating online intercultural collaboration necessary for preparing students for work in the globalised, technological landscape of contemporary design practice.
Keywords: Design Education, Cross-Cultural, Collaboration, Online, China, Australia"
Keywords: design education, cross-cultural, collaboration, online, China, Australia
COFA Online has been creating, evolving and evaluating fully online art and design courses for the last three years in response to these questions. By triangulating data from a series of online case studies, teacher and student experiences, and three years of evaluations, this paper highlights specific online pedagogical approaches that have successfully engaged students in an active, collaborative online learning environment. It also pinpoints problems that can occur in online teamwork, and investigates several potential solutions.
If carefully considered, online team-based learning can parallel contemporary collaborative work practices within the global design industry, and can help equip students with the collaboration and communication skills they need in order to work successfully in this professional environment. This paper highlights the need for educationalists to continue to pursue higher levels of understanding of online collaborative learning in the context of design, and offers suggestions on how to move forward.
A Chinese-born Australian faces a previously rejected cultural background by bathing in clay. Mapping the city a local and a visitor explore a dialogue through which a mutual understanding of the city emerges. An architect and a designer wander Puxi throwing chopsticks to the ground to divine the site of their next urban intervention.
In 2009 PorosityC8 e-SCAPE Studio challenged sixty art, design, and architecture students, practitioners and academics from The College of Fine Arts (COFA) and Donghua University (DHU) to interact online in a process culminating in an intensive two-week studio at DHU. This paper presents case studies highlighting profound transformations made real through blended cross-cultural studio collaboration.
Globalised economic and urban territories linked by network technologies and reconfigured geopolitical relationships impel art and design educationalists to develop innovative pedagogies relevant to the needs of students, the world community, and as yet unforeseen industries. Using integrated, adaptive processes, the teaching and learning model presented provokes students to share cultural identity and methods of practice to find the common ground shared by young and old cultures.
Key words: Education: cross-cultural multidisciplinary collaboration blended online