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Theatricality Beyond Disciplines
This book expands on theories of "theatricality" in French and critical studies adopting a transdisciplinary approach that reaches beyond performance studies into poetry media technology translation and psychoanalytic theory.
Building on Artaud’s concept of theater as a "plague"—an unpredictable cataclysmic and contagious force that disrupts power structures and knowledge—the book challenges Aristotelian norms of theater as a medium of "healing" and "teaching." Instead theatricality emerges as a force of radical disruption what Artaud called "the return of the repressed" demanding openness to otherness.
The chapters present theatricality as primarily aural rather than visual inciting "paranoiac listening" invoking unretrievable "primal scenes" and allowing unconscious "psychic" contamination. "Theatricality" is explored through works by Artaud Genet Novarina and Koltès but also Freud Barthes Kristeva Girard and Derrida. Each writer challenges the premises of their own artistic genres and fields of study questioning binary systems like artistic production versus theoretical articulation the technological versus the natural and art versus life.
As shown these binaries underpin mechanisms of repression sacrificial violence and the exclusion of the voiceless other. The book assigns a generative function to traditionally maligned notions like unintelligibility madness marginality contagion and criminality.

The Capitalist Imaginaries of Popular Music
Traditionally popular music has long been said to intrinsically contest resist and defy the powers that be. This new book challenges this long-standing orthodoxy arguing that popular music more often participates in the social reproduction of the biggest power there is: neoliberal capitalism. This is done mainly through the widespread mediation of a very particular and remarkably cohesive ideology of greatness and value. This ideology is drawn from principles and prescriptions that have long been constitutive of neoliberal capitalism. We have been told this story over and over again for decades.
The music is real. The music is powerful. The music is defiant.
It is a story that has gradually spread to encompass everything from classic rock to contemporary pop to hip hop to dance music. This suite of ideas came to dominance since the mid-1980s and persist to the present an era in which the vast majority of people have been disempowered impoverished and marginalised at home at work and in politics. This book explains why such a robust pervasive and persistent set of ideas about popular music has taken such a tenacious hold in a historical era which has repeatedly and thoroughly demonstrated the utter falseness of those same ideas nearly everywhere they have been experienced.

The Bitter Landscapes of Palestine
Using both photographs and written narratives The Bitter Landscapes of Palestine provides a depiction of the lives and struggles faced by Palestinians living in the occupied Palestinian territories on the West Bank in particular the South Hebron Hills and the Jordan Valley. It sheds light on issues including house demolitions conflicts between Palestinian shepherds or farmers and Israeli settlers soldiers and police the daily struggles brought about by the occupation's efforts to displace Palestinians from their land and the resilience and bravery required to endure these conditions. This moving book conveys the beauty of the landscape the essence of the language the value of friendships and the richness of a threatened way of life.
Voices of activists both Palestinian and Jewish are brought into focus. The historical context that generated present realities in Palestine is outlined briefly as well as the history of the authors’ partnership. Their perspective mirrors extensive years of involvement in peace and human rights activism in Palestine. It also captures the ongoing dialogue between the two authors who have experienced together the continually renewed astonishment that comes with such experiences and encounters.

Tribal and the Cultural Legacy of Streetwear
Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti street art skateboarding surfing tattoos hip hop breakdancing punk lowriders and custom culture. Based in San Diego California Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents.
The text presents a series of articles essays and personal reflections that explore the various dimensions of Tribal Streetwear and how the impact of their designs continues to balance the precarious act of being relevant and responsible with their resources.
The book is divided into four sections.
Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear a personal narrative of the founding of Tribal and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern California inspired fashion.
Section 2 is a series of interviews with notable artists musicians and cultural tastemakers that have contributed toward street culture and Tribal. These include Mr. Cartoon (tattoo artist) RISK (graffiti artist) PERSUE (street artists) Mike Giant (tattoo artist) Dyse One (graffiti artist) Craig Craig Stecyk III (skateboard culture) Bob Hurley (surf culture) and the Beastie Boys (hip hop).
Section 3 includes a series of invited and peer-reviewed academic articles on distinct subjects within the street culture genre that further dive into the inputs and influences of Tribal Streetwear. They include breakdancing surfing skateboarding graffiti street art tattooing music (hip-hop/punk) lowriders custom culture and Chicano Studies.
Section 4 is a series of photo essays that capture the three decades of Tribal Streetwear and serves as a visual history of the brand and the evolution of its graphics.

Throbbing Gristle
An Endless Discontent
In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press civic and arts dignitaries extravagant followers of the nascent punk scene and music journalists the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’ providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.
The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes amateurism and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records and a sporadic string of live performances the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds samples of disconcerting narrative and conversation and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene many of their followers and fans formed bands in later years.
Drawing on works such as Andy Bennett’s When the Lights Went Out this book looks at late 1970s Britain before during and immediately after the Winter of Discontent to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value as Throbbing Gristle emerged with punk in late 1976 seemingly grappled with it through 1977 and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time both ‘mainstream’ and fringe (subcultural avant-garde art counter-culture taboo subjects extremes) such that Throbbing Gristle events had an impact and affect and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

Town is the Garden Chapbooks
The Town is the Garden (2017–20) was a three-year creative community food-growing project run by Deveron Projects a socially engaged arts organisation in the northeast of Scotland. The project set out to explore how a rural agricultural town might begin to rethink its relationship to food and to food growing in an era of increasing awareness of climate and ecological emergency from the community up. Through a collective investigation into the processes of learning and sharing skills related to food growing the project explored how a community might also begin to pay better attention to the entanglement of human and more-than-human worlds. Food became a lens through which to investigate more broadly the dichotomies between culture and nature ecology and economy that together with the colonial racist and patriarchal systems have led to the current environmental catastrophes.
This set of seven chapbooks captures the diverse creative learning programme developed through the project. Working with a range of practitioners that contributed to the project the series includes critical texts instructions and recipes and poetry.
Story I and Story II contextualise the project and include an essay by art historian Elisabetta Rattalino on artists and art practices working with food and farming alongside an introductory text on the project written by Joss Allen and Caroline Gatt the project coordinators and series editors.
Compost includes an essay by Maria Puig de la Bellacasa titled “Permaculture practices as ethical doings” which explores the relationships of care developed through permaculture practices illustrated through the example of making compost. This is paired with three compost recipes for making cold compost hot compost and working with hugelkultur.
Seeds includes a text by Dawn Finch on practices of seed saving blending seed saving instructions with poetry and a critique of the industrial seed economy. Dawn Finch is curator of a Huntly-based seed library developed through the Town is the Garden project the Strathbogie Seed Collective a poet and a children’s author.
Plants includes a text by Eleanor Brown an Aberdeenshire-based forager which documents her foraging year through a number of recipes and anecdotes. This is paired with a text by anthropologist Alexandra Falter on plant-human relations; particularly those studied through her field work in the Bolivian Andes.
Garden includes a text by gardener and architect Joe Crowdy exploring queer ecology and role of plants and gardens in fostering human sensuality and intimacy. Joe delivered two workshops in Huntly on this topic one with the local school’s LQBTQ+ group who the project has been supporting to develop a garden in the school grounds.
Orchard includes a text and series of drawings by Jonathan Baxter & Sarah Gittins on their project Future Fruit commissioned as part of the Town is the Garden project. Future Fruit explores how an existing orchard could be rethought in response to the current climate and ecological emergency particularly drawing on the work and theories of Patrick Geddes.
The original project had a very specific geographical focus in a literal sense but the themes are topical and universal – this set will appeal to anyone with an interest in the project principles and themes.
A stunning set of beautiful books; a thought provoking and thoughtful gift for a friend or for yourself.

Transacting as Art, Design and Architecture
A Non-Commercial Market
Transacting as Art Design and Architecture: A Non-Commercial Market re-performs the original event #TransActing: A Market of Values as a printed text with the ambition of investing in the published word and image at least some of the original market’s depth and liveness. Holding fast to the experimental ethos of Critical Practice this anthology does not shy away from risk when the aim is expanding the fields of art design and architectural research. The authors’ distinct but also overlapping forms (practical poetic analytical etc.) track with the plurality of voices the processes that have nurtured the cluster as it has worked internationally for more than a decade to produce unique projects.
The book opens with contributions that reflect on TransActing as collaborative practice-based research. The introduction contextualizes this popup market within London’s long history of local marketplaces. Cued by emerging government policy on market sustainability the tripartite of place people and prosperity helps to frame TransActing. Taking a different approach a partial self-portrait of Critical Practice traces TransActing’s becoming over more than a decade of activity and five years of research on value. This is followed by an account of the market’s physical infrastructure: the prototyping of bespoke stalls which were built from recycled materials an approach inspired by an early example of open-source furniture design. This comes to life in the next section: polyphonic observations on the stalls in use and the market more generally. The stallholders’ reflections capture the experience of those directly involved and are richly illustrated with images of or related to their stalls.
The second part of Transacting as Art Design and Architecture is composed of commissioned texts to contextualise the market by weaving together references from various fields. These include celebrating the value system of TransActing especially its critique econometrics. Closely connected to the latter which was occasioned by Critical Practice’s tenth anniversary is the subsequent paper's consideration of invisible feminized labour which is as undervalued as it is indispensable to cultural production. Taking a slightly different tack is the use of architectural theory (past and present) to trace the transforming nature of the public market especially as an arena of consumerism. This is followed by an account that looks at the experience of TransActing from the perspective of its local currency. This story is followed by a conversation on the art market and/or the markets of art. This brings the reader to a manifesto-like text that calls for solidarity through publishing understood as the co-production of meaning through a distributed social process. The penultimate contribution to this collection considers TransActing as a built environment with reference to the market’s shelters and platforms. Finally a glossary rounds off and opens up the publication as a resource. This compilation of key terms adds nuance to the language used throughout this publication to indicate its resonance in the discourse of Critical Practice.
The collection aims to prioritize practice-based insights as an alternative to knowledge-based ones. In this way the book aims to be a refreshing take one that moves art-research discussions beyond the creation of knowledge. As such this book will appeal to all those involved in the ‘research turn’ in contemporary cultural production including those working in institutions and organizations especially ones with strong community engagement programmes as well as independent practitioners working in social and socially engaged practice.
Primary readership will be practitioners of art design curating and architecture and students studying in these fields. The secondary audience will include cultural producers theorists educators and others who are interested in how art and other forms of creative practice can challenge the ‘usual’ financial circuits of value and open up alternatives.

Theatre for Lifelong Learning
A Handbook for Instructors, Older Adults, Communities, and Artists
Theatre for Lifelong Learning is a step-by-step guide for anyone interested in teaching theatre courses and creating theatre with older adults.
This book provides instructors with syllabi discussion questions classroom management strategies resource lists and activities to teach courses from beginning to end. Special topics include Playwriting Play Development Storytelling Theatre Appreciation Theatre Criticism Theatre History and Theatre Theory.
This book helps readers become confident informed instructors of older adult learners. Theatre for Lifelong Learning is a tool for anyone who wants to build theatrical communities and support the emotional well-being of older adults through education practice and experimentation while also having fun.
Theatre for Lifelong Learning is a complete guide to navigate the theatre classroom from beginning to end. Anyone can become a theatre expert and educator with practice. If you already have a background in performing arts this book provides strategies that are useful for you as well. If you have experience as an educator this book will enrich your current skill set with interdisciplinary approaches. Tips and examples throughout assist you in creating and maintaining an accessible environment and making courses your own.
So how can teaching and learning about theatre help us live in the moment? When we are not engaged it’s easy to forget that we are capable curious creative people who can expand our knowledge and experiences every day. Theatre encourages finding meaning in small things chance encounters and the tapestry of life. All the material provided in this book will motivate instructors and students to get involved.
It will be most useful for arts practitioners participatory practitioners institutional educators and community outreach officers independent theatre instructors. Of potential interest to scholars and researchers in age studies or in teaching and learning. May also be useful for community arts organizations regional theatres and non-profit organizations working with older adults.

T-Squared
Theories and Tactics in Architecture and Design
An interdisciplinary collection with its origins in the 2018 National Conference on the Beginning Design Student hosted by the College of Design Architecture Art and Planning at the University of Cincinnati the overarching focus of which was on 'TIME'. The book includes contributions from some scholars who were not involved in the conference but whose voices are important to the conversation.
T-Squared: Theories and Tactics in Architecture and Design has three primary aims. First it reveals and illuminates the extensive and explicit relationship between the research that shapes art architecture and design practices and the studio prompts and assignments that are developed by faculty for students engaging the creative disciplines. Second it demonstrates that pedagogical inquiry and invention can be a (radical) research endeavour that can also become an evolutionary agent for faculty students institutions and communities. Third it makes available to a larger audience a set of innovative ideas and exercises that have until now been known to limited numbers of students and faculty hidden behind the walls of studio courses and institutions.
This book will appeal to anyone interested in design thinking and design process as well as to architects architectural educators and architecture students who may particularly identify in it stirrings of a new world order and a call to arms.
Each chapter of T-Squared is separated into two parts: THEORY (T1) and TACTICS (T2). In T1 the authors offer mini-manifestos about topics that relate to their professional interests and efforts. In T2 the authors delineate exercises that reflect the ideascapes and methodologies presented in T1. The exercises in T2 are adapted for the reader from assignments given to students enrolled in design studios at a variety of universities. In their current incarnation they offer anyone with tenacity imagination and an adventurous attitude towards architecture and design access to distinct sets of provocative questions procedures and modes. The T2 offerings require the reader’s engagement and imagination and the rolling up of sleeves – while there may be steps to follow many of the exercises read like Fluxus scores and require investment rather than obedience. A suspension of disbelief is required – but all seriously creative folk (like you reader) understand that already.
Primary readership will be among design educators and students looking for a window through which to view the ways design is being introduced taught and positioned across disciplines and institutions and to architects architectural educators and architecture students.

Trans-Global Punk Scenes
The Punk Reader Volume 2
This new collection is the second in the Global Punk series. Following the publication of the first volume the series editors invited proposals for a second volume and selected contributions from a range of interdisciplinary areas including cultural studies musicology ethnography art and design history and the social sciences.
This collection extends the theme into new territories with a particular emphasis on contemporary global punk scenes post-2000 reflecting upon the notion of origin music(s) identity careers membership and circulation.
This area of subcultural studies is far less documented than more ‘historical’ work related to earlier punk scenes and subcultures of the late 1970s and early 1980s. This new volume covers countries and regions including New Zealand Indonesia Cuba Ireland South Africa Siberia and the Philippines alongside thematic discussions relating to trans-global scenes the evolution of subcultural styles punk demographics and the notion of punk identity across cultural and geographic boundaries.
The book series adopts an essentially analytical perspective raising questions over the dissemination of punk scenes and their form structure and contemporary cultural significance in the daily lives of an increasing number of people around the world.
This book has a genuine crossover market being designed in such a way that it can be adopted as an undergraduate student textbook while at the same time having important currency as a key resource for established academics postdoctoral researchers and PhD students.
In terms of the undergraduate market for the book it is likely that it will be adopted by convenors of courses on popular music youth culture and in discipline areas such as sociology popular music studies urban/cultural geography political history heritage studies media and cultural studies.

The Traumatic Screen
The Films of Christopher Nolan
Christopher Nolan occupies a rare realm within the Hollywood mainstream creating complex original films that achieve both critical acclaim and commercial success. In The Traumatic Screen Stuart Joy builds on contemporary applications of psychoanalytic film theory to consider the function and presentation of trauma across Nolan’s work arguing that the complexity thematic consistency and fragmentary nature of his films mimic the structural operation of trauma.
From 1997’s Doodlebug to 2017’s Dunkirk Nolan’s films highlight cinema’s ability to probe the nature of human consciousness while commenting on the relationship between spectator and screen. Joy examines Nolan’s treatment of trauma – both individual and collective – through the formal construction mise en scène and repeated themes of his films. The argument presented is based on close textual analysis and a methodological framework that incorporates the works of Sigmund Freud and Jacques Lacan. The first in-depth overtly psychoanalytic understanding of trauma in the context of the director’s filmography this book builds on and challenges existing scholarship in a bold new interpretation of the Nolan canon.

Taste and the TV Chef
How Storytelling Can Save the Planet
Food journalist podcast producer and former academic Gilly Smith offers fresh insights into the creation of contemporary British food culture. Her latest book explores the story of modern food culture with the creators of lifestyle and food TV and with the academics carving a new world in food and media studies. Taste and the TV Chef investigates how television changed the way Britain eats and sold it to the world.
While cooking shows are far from new they have exploded in popularity in recent years and changed consumption patterns at a time when what we eat has an enormous impact on climate change.
What was once merely a genre is now a full-blown phenomenon: never before has food been so photographed fawned over fetishized and celebrated as various answers to saving the planet. Celebrity chefs and so-called ‘foodies’ have risen to new levels of fame and the cultural capital of cooking has never been so valuable.
Looks at the influence of chefs like Jamie Oliver Nigella Lawson and Gordon Ramsay and the role of TV storytelling in transforming how and what we consume. A ground-breaking contribution to food and media studies which includes rare interviews with the producers who created some of the most influential stories television ever told Taste and the TV Chef investigates how food and lifestyle TV changed the way an entire country ate and then fed it to the rest of the world.
Main academic readership will be scholars researchers and students in cultural studies media studies. Also practitioners and students in the fields of TV production and writing.
Will also appeal to anyone with an interest in the development of food TV and the rise of the TV chef.

Teaching and Learning Design
Re:Research, Volume 1
Just as the term design has been going through change growth and expansion of meaning and interpretation in practice and education – the same can be said for design research. The traditional boundaries of design are dissolving and connections are being established with other fields at an exponential rate. Based on the proceedings from the 2017 International Association of Societies of Design Research conference Re:Research is an edited collection that showcases a curated selection of 83 papers – just over half of the works presented at the conference. With topics ranging from the introduction of design in the primary education sector to designing information for Artificial Intelligence systems this book collection demonstrates the diverse perspectives of design and design research. Divided into seven thematic volumes this collection maps out where the field of design research is now.
Opening a Design Education Pipeline from University to K-12 and Back
• Peter Scupelli Doris Wells-Papanek Judy Brooks Arnold Wasserman
To prepare students to imagine desirable futures amidst current planetary-level challenges design educators must think and act in new ways. In this paper we describe a pilot study that illustrates how educators might teach K-12 students and university design students to situate their making within transitional times in a volatile and exponentially changing world. We describe how to best situate students to align design thinking and learning with future foresight. Here we present a pilot test and evaluate how a university-level Design Futures course content approach and scaffolded instructional materials – can be adapted for use in K-12 Design Learning Challenges. We describe the K-12 design-based learning challenges/experiences developed and implemented by the Design Learning Network (DLN). The Design Futures course we describe in this paper is a required course for third-year undergraduate students in the School of Design at Carnegie Mellon University. The “x” signifies a different type of design that aligns short-term action with long-term goals. The course integrates design thinking and learning with long-horizon future scenario foresight. Broadly speaking we ask how might portions of a design course be taught and experienced by teachers and students of two different demographics: within the university (Design Undergraduates) and in K-12 (via DLN). This pilot study is descriptive in nature; in future work we seek to assess learning outcomes across university and K-12 courses. We believe the approach described is relevant for lifelong learners (e.g. post-graduate-level career development transitional adult education).
Re-Clarifying Design Problems Through Questions for Secondary School Children: An Example Based on Design Problem Identification in Singapore Pre-Tertiary Design Education
• Wei Leong Leon Loh Hwee Mui Grace Kwek Wei Leong Lee
It is believed that secondary school students often define design problems in the design coursework superficially due to various reasons such as lack of exposure inexperience and the lack of research skills. Questioning techniques have long been associated with the development of critical thinking. Based on this context and assumption the current study aimed to explore the use of questioning techniques to enable pre-tertiary students to improve their understanding of design problems by using questions to critique their thinking and decision-making processes and in turn generate more effective design solutions. A qualitative approach is adopted in this study to identify the trajectories of students during design problem identification and clarification process. Using student design journals as a form of record for action and thoughts they are analyzed and supplemented by hearing survey with the teacher-in-charge. From the study the following points can be concluded: (1) questions can be a useful tool to facilitate a better understanding of the design problem. (2) The process of identification and clarification of design problem is important in the development of critical thinking skills and social-emotional skills of the students. (3) It is important that students are given time and opportunity to find out the problems by themselves. (4) Teachers can be important role models as students may pick up questioning techniques from teacher–student discussions. (5) Departmental reviews and built-in professional development time for weekly reviews on teaching and learning strategies are necessary for the continual improvement D&T education.
Surveying Stakeholders: Research Informing Design Curriculum
• Andrea Quam
Fundamental to design education is the creation and structure of curriculum. Neither the creation of design curriculum nor the revaluation of existing curriculum is well documented. With no clear documentation of precedent best practices are left open to debate. This paper and presentation will discuss the use of a survey as a research tool to assess existing curriculum at Iowa State University in the United States. This tool allowed the needs and perspectives of the program’s diverse stakeholders to be better understood. Utilizing survey methods research revealed the convergence and divergence of stakeholders’ philosophies theories and needs in relation to design curriculum. Accreditation and professional licensing provide base level of guidelines for design curriculum in the United States. However each program’s curricular structure beyond these guidelines is a complicated balance of resources facilities faculty and the type of institution in which it is housed. Once established a program’s curriculum is rarely reassessed as a whole but instead updated with the hasty addition of classes upon an existing curricular structure. Curriculum is infrequently re-addressed and when it is it is typically based on the experience and opinions of a select group of faculty. This paper presents how a survey was developed to collect data to inform curricular decision-making enabling the reduction of faculty bias and speculation in the process. Lessons learned from the development of this research tool will be shared so it might be replicated at other institutions and be efficiently repeated periodically to ensure currency of a program’s curriculum.
New Challenges when Teaching UX Students to Sketch and Prototype
• Joep Frens Jodi Forlizzi John Zimmerman
In this paper we report on new challenges when teaching User Experience (UX) students how to sketch and prototype their designs. We argue that UX students sketch and prototype differently than other design students and we discuss how changes in the field necessitate a response in education. We describe sketching and prototyping as a continuum that students successfully traverse when they follow a process of “double loop learning.” We highlight three new challenges: (1) New computational design materials (2) new maker tools and (3) changes within the tech industry. We explore these three challenges through examples from our students and we outline strategies for sketching and prototyping in this new reality. We conclude that this is a starting point for further work on keeping education up to speed with practice.
How to Teach Industrial Design?: A Case Study of College Education for Design Beginners
• Joomyung Rhi
Industrial design education has existed for a long time as part of the university system but the curriculum and contents of each subject vary considerably from school to school. In recent years the introduction of new concepts that change the definition of design has blurred the boundaries of design making the curriculum different. Establishing a standard curriculum to address these challenges is an important task but it is necessary to fully understand how design education actually takes place and to share content with educators. This paper aims to contribute to the debate on industrial design education by fully disclosing the process and results of the first stage of industrial design education of a university by autobiographical method. The first course Product Design Practice 1 is a studio class based on a task feedback iteration system. Students are required to submit assignments showing weekly progress. The instructor reviewed the assignments submitted before the class and gave written comments in class. In addition details of the design process and method that are difficult to identify as novice students are learned through twelve case studies and applied to the project. This Task Feedback Repeating Class system gives students the opportunity to implement design ability while gaining detailed skills with a comprehensive view. Through this process the researcher got a reflection on the class and implications for the improvement of the class.
Preliminary Study on the Learning Pressure of Undergraduate Industrial Design Students
- Wenzhi Chen
Learning pressure affects students’ learning process and performance. Industrial design education emphasizes that operations on real design problems that have heavy working loads may cause learning pressure. The purpose of this study is to explore the issues causing learning pressure and the pressure management strategies of undergraduate industrial design students. There were 297 students who participated in the questionnaire survey. The main findings are as follows: First learning pressure includes academic pressure peer pressure self-expectations time pressure financial pressure pressure from instructors external pressure future career pressure from parents resource pressure achievement and situational pressure. In addition the main learning pressure is caused by finance time resources external issues and future career. Second the pressure management strategies include problem solving procrastination and escape help seeking leisure emotional management and self-adjustment. The most useful strategy for managing pressure is leisure and procrastination and escape is the least useful strategy. Third all learning pressures are significantly correlated with procrastination and escape strategy but the coefficients are low. The results can be a reference for industrial design education and related research.
Rewarding Risk: Exploring How to Encourage Learning that Comes from Taking Risks
• Dennis Cheatham
High-stakes testing that became the norm after the “No Child Left Behind Act” of 2001 helped condition students to strive for correct answers for clear problems all on the first try. However the iterative process inherent in designing requires risk-taking to conduct a trial-and-error process of defining problems and exploring possible solutions. This design research project was operated with Miami University Graphic Design students to test their willingness to take risks in their coursework to achieve their self-defined measures of success. Students identified that improving their skills was how they defined success. An interaction design assignment involving front-end coding was modified to test students’ comfort taking risks to grow their skills. Most students took risks in the assignment to grow their interaction design skills. The project revealed that closer attention to student motivation when developing learning experiences could help students make the transition to practicing design as an iterative process fraught with risk.
An Analysis of the Educational Value of PBL Design Workshops
• Ikjoon Chang Suhong Hwang
The purpose of this study is to plan and operate design-workshops based on project-based learning (PBL) and examine their educational value for students. The PBL workshop encourages direct participation from students and produces educational value and it is important to raise the interest level of workshops to elicit proactive participation. The workshop in this study was carried out over 2 weeks in January 2017 at Korea’s Yonsei University. The workshop was composed of eight teams of students from three countries including Korea China and Japan and the course was primarily divided into two sessions. The workshop participants examined in this thesis were notably satisfied with the elements of the course meant to garner interest. In the questionnaire results participants also indicated that they obtained ample educational value through the workshop. An important element of the workshop was to connect the participants with businesses which is also an important component of design education. Despite this participants expressed a relatively lower level of satisfaction compared to other elements of the workshop. The results and analysis of this study will hopefully become a meaningful resource for educators when designing workshops in the future.
Collaborative Design Education with Industry: Student Perspective by Reflection
- Nathan Kotlarewski Louise Wallis Michael Lee Gregory Nolan Megan Last
This study suggests that student reflection on academic and industry collaborative projects can enhance student’s understanding on the design process to solve live industry problems. It contributes to the body of design literature to support students learning of explicit and implicit knowledge. A 2017 learning by-making (LBM) unit in the School of Architecture and Design at the University of Tasmania Australia developed a unit for students to collaborate with Neville Smith Forest Products Pty. Ltd (NSFP). NSFP is a local Tasmanian timber product manufacturer who currently stockpiles out-of-grade timber that has limited market applications. Undergraduate design students from second- and third-year Furniture Interior and Architecture degrees collaborated with NSFP to value-add to their out-of-grade resource in the LBM unit. A series of design challenges observations of industry practice and access to out-of-grade timber from NSFP exposed students to live industry problems and provided them the opportunity to build professional design skills. Students reflected on the collaborative LBM unit in a reflection journal which was used to provide evidence of their learning experiences. The collaborative environment between academia and industry allowed students to acquire an understanding of timber product manufacturing that helped them develop empathy toward the industry problem and influence the development of new products. This study presents how student reflections influenced a change in their design process as they progressed through sequential design challenges to address an industry problem by adopting Valkenburg and Dorst reflective learning framework.
Interdisciplinary Trends in Design Education: The Analysis of Master Dissertation of College of Design and Innovation Tongji University
• Lisha Ren Yan Wang
This paper expounds the background of Chinese design education as well as the orientation of the design education of Tongji University in the new times it also collects 458 Master Thesis of College of Design and Innovation during 2010–2016 as analyzed sample. Based on the coding of subject classification quantitative analysis and content analysis are made in order to understand the interdisciplinary education status of College of Design and Innovation from the two perspectives: the overall cross-disciplinary performance and the relationship between different cross-disciplinary directions.
From ANT to Material Agency: A Design and Science Research Workshop
• Anne-Lyse Renon A. De Montbron Annie Gentes Julien Bobroff
This paper studies a design workshop that investigates complex collaboration between fundamental physics and design. Our research focuses on how students create original artifacts that bridge the gap between disciplines that have very little in common. Our goal is to study the micro-evolutions of their projects. Elaborating first on Actor Network Theory we study how students’ projects evolved over time and through a diversity of inputs and media. Throughout this longitudinal study we use then a semiotic and pragmatic approach to observe three “aesthetical formations”: translation composition and stabilization. These formations suggest that the question of material agency developed in the field of archeology and cognitive science need to be considered in the design field to explain metamorphoses from the brief to the final realizations.

Through the Prism of the Senses
Mediation and New Realities of the Body in Contemporary Performance. Technology, Cognition and Emergent Research-Creation Methodologies
Over the past decades a fundamental epistemological shift has transformed notions of performativity and representation in the arts under the influence of new technologies. Mediation has challenged both spectators’ and performers’ conventions of corporeality embodiment cognition and perception. Centring on contemporary synaesthetic and multimodal works Through the Prism of the Senses examines new theory and practice in body-based arts and contemporary performance. Three main chapters present three distinct strands of methodological enquiry one from each author creating a work that resonates with artistic and philosophical enquiry. This book is a vital contribution to discussions surrounding research creation and the body in relation to digital media highlighting the ways in which new technologies confront the sensate somatic body.
A French-language version is to be published by Presses de l'Université du Québec (ISBN 978-2-76055-148-0). This includes additional chapters in English by Erin Manning David Howes and Luc Vanier and Elizabeth Johnson. A Spanish-language version is to be published by Centro Editoral Universidad de Caldas.

Teachers and Teaching on Stage and on Screen
Dramatic Depictions
Why are educators and their profession the focus of so much film and theatre? Diane Conrad and Monica Prendergast bring together scholars and practitioners in education examining dramatic portrayals of teachers and teaching to answer this very question. Films such as Freedom Writers Bad Teacher and School of Rock to name a few intentionally or inadvertently comment on education and influence the opinions and ultimately the experiences of anyone who has taught or been taught. The chapters gathered in this collection critique the Hollywood 'good teacher' repertoire delve into satiric parodies and alternative representations and explore issues through analyses of independent and popular films and plays from around the world. By examining teacher-student relationships institutional cultures societal influences and much more Teachers and Teaching on Stage and on Screen addresses these media’s varied fascinations with the educator like no collection before it.

The Idea of the Avant Garde
And What It Means Today, Volume 2
The concept of the avant garde is highly contested whether one consigns it to history or claims it for present-day or future uses. The first volume of The Idea of the Avant Garde – And What It Means Today provided a lively forum on the kinds of radical art theory and partisan practices that are possible in today’s world of global art markets and creative industry entrepreneurialism. This second volume presents the work of another 50 artists and writers exploring the diverse ways that avant-gardism develops reflexive and experimental combinations of aesthetic and political praxis. The manifest strategies temporalities and genealogies of avant-garde art and politics are expressed through an international intergenerational and interdisciplinary convocation of ideas that covers the fields of film video architecture visual art art activism literature poetry theatre performance intermedia and music.

Time, Duration and Change in Contemporary Art
Beyond the Clock
This book examines alternative frameworks of time duration and change in prominent philosophical scientific and technological traditions including physics psychology phenomenology neuroscience media theory and selected environmental sciences. It suggests that art makes a crucial contribution to these discourses not by 'visualizing' time but by entangling viewers in different sensory material and imaginary temporalities.

A Trail of Fire for Political Cinema
The Hour of the Furnaces Fifty Years Later

Transglobal Fashion Narratives
Clothing Communication, Style Statements and Brand Storytelling

The Sensible Stage
Staging and the Moving Image
This revised and expanded edition includes two new chapters that offer an updated look at how these ideas continue to develop in contemporary art practice.