CEDAT is comprised of three Schools and each of these has 3 academic departments: Margaret Trowell School of Industrial and Fine Arts (MTSIFA) with the following departments: Department of Fine Art, Department of Industrial Art & Applied Design and Department of Visual Communication Design and Multimedia; School of Engineering (SOE) has the Department of Civil and Environmental Engineering, Department of Electrical & Computer Engineering and Department of Mechanical Engineering; and School of the Built Environment (SBE) has Department of Architecture and Physical Planning, Department of Construction Economics and Management and the Department of Geomatics and Land Management. CEDAT also has an institute of Heritage Conservation and Restoration and four centres which are the base for service and knowledge-transfer partnerships: Centre for Research in Energy and Energy Conservation (CREEC), Centre for Research in Transportation Technologies, Centre for Technology Design and Development and Centre for Geographical Information Systems (GIS).
Art projects cannot be characterized as homogeneous because they usually aim for uniqueness. This often involves more human resources, as each art piece that incorporates technology requires individual development and a diverse team that provides backgrounds in various fields of engineering and science to support the creation of the artist’s vision. As interdisciplinary collaboration implies using different approaches and expectations, challenges arise in regards to differing vocabularies , norms , working practices and paradigms that allow the evaluation of the project outcome [Earn17]. Furthermore, the object of the evaluation itself is subject to discussion: while the developer evaluates the understanding and usability of the work from the perspective of the users/ visitors, the artist evaluates the extent to which the outcome manifests the intended artistic vision. For example, art pieces do not necessarily have to be task-oriented or user-centered from the HCI point of view and could still function properly from the artist’s point of view. This is comparable to the difficulty of evaluating non-task-oriented systems, that need their own methods and techniques for evaluation [HaST07].
There is a strong link between art, technology and human caring. Entrenched in this link is the interrelationship between the expected objectification of technologies, and the subjectivities envisaged in human caring as revealed through art. It is critical to nursing and health care that the world of human caring is studied through a variety of lenses including disciplinary and ―extra-disciplinary‖ viewpoints. Today, contemporary and futurist views of nursing and health care are immersed in colossal technological developments often blurring illuminations of the value of knowing persons as caring within the human health care world. Art is an essential component of human life. Self-expression through language, music, and imagery is an essential part of being human (Thistle, 2012). In understanding and appreciating art, Aristotle posits the fourfold causes to objectify. These are causa materialis, causa formalis, causa finalis, and causa efficiens. When these causes are exploited to the fullest, these bring forth the essence of its construction to be known. Therefore, a thing (i.e. art), according to Aristotle is best understood by looking at its end, purpose, or goal (Burton, 2017). In his book, The Question Concerning Technology, the German philosopher Martin Heidegger (1977) accentuated technology as the means to an end, in which technology is realized as not instrumental and having no time. Any form of technology connotes its quintessential form from the moment it is designed. In nursing, technology becomes aggressive and provocative in its functions in order to illuminate thereby alleviating human conditions.
The original question posed about the relationship between Art and Technology contains a further presumption, namely, it assumes that there is an issue here, a problem which needs a solution. It presumes, to put it another way, that there is currently a separation between these two domains and that this is something to regret. Hence, the idea that ways should be found in overcoming the distance between them to their mutual benefit. However, as discussed previously, it was the eighteenth century, in Europe at least, which saw, on the one hand, a growth in the consumption of the arts and a consequent elevation in the status of the artist and, on the other hand, a developing sense of the arts as a distinct sphere of cultural activity. As we pointed out, it took some decades for these processes to work themselves out to their fullest extent, but our major focus here is with the sense of the arts as a distinct field of activity divided from other activities, especially science and technology.
This thesis does not endeavour to provide an exhaustive account of Blanchot’s critical work or narratives; it instead examines discrete moments when there is a shift in his thought in which a thinking of technology is implied. The analysis of techne offered by Heidegger shows that the relationship between art and the utilitarian warrants further scrutiny. The first chapter of this thesis traces the division between poetic and everyday language in work by Stéphane Mallarmé, the Jena Romantics, the Russian Formalists, Martin Heidegger and Jean-Paul Sartre, who, despite their vastly different concerns, all remain committed to a dual state of language, before considering the treatment of this division by Blanchot in essays on Mallarmé dating from 1940 to 1952. Blanchot initially commits to a distinction between the poetic and the everyday, but there is evidence of a shift from as early as 1941, which becomes more pronounced by 1946, with implications for his reading of Heidegger and Husserl. The conversion of which Blanchot writes in the letter to Roger Laporte is something like the phenomenological reduction, a bracketing off of world, rather than an exchange of one set of religious beliefs for another, but not one that provides ontological foundation or rediscovers the transcendental ego. This chapter demonstrates the radical non-essentiality of literature, associated with ambiguity and rootlessness, once the limits of art are challenged.
Since 2011, dS and HF have been deployed in a range of international venues including Germany’s ZKM | Centre for Art and Media Technology, London’s Barbican Arts Centre, the London 2012 Cultural Olympiad, and New York City’s World Science Festival. At several of these events, we have carried out a range of feedback and data gathering activities from audiences. In what follows, we have broken these observations down into two broad categories. First, we have observations that have arisen during the process leading to HF, where dS serves as an artistic tool and as the collaborative glue facilitating interaction between the components of a dance performance. Second, we have observations made from preliminary analysis of feedback forms collected during public installations.
It is argued in this paper that designing as a creative activity used by professional designers, includes the three phases of analysis, synthesis and evaluation and is a combination of procedural and conceptual knowledge (de Vries, 2005). However, there is an issue of whether pupils, as ‘novice’ designers, can rely solely on learning the process of ‘designing’ to ensure their creativity potential in the context of a school classroom. Creativity occurs when a number of dimensions coincide, sometimes known as ‘the creativity intersection’ (Amabile, 1989: 63). The features that are necessary for creative activity include sound domain, subject knowledge and skills, process relevant features including designing as an interactive, iterative creative problem solving heuristic process. In order to achieve this complex concept a pupil will need to develop vision, confidence, a willing to take risks, motivation and be proactive and an independent thinker. Teachers will be required to plan interesting, open- ended schemes of work in relevant contexts, using a range of strategies to motivate, empower and help develop appropriate skills. They need to give pupils opportunities for ‘dwell’ time to reflect and collaborate with their peers. The social environment, or the classroom, is a key factor and it must be supportive, rewarding, secure and conducive to risk taking, the development of peer relationships and the effective use of space and resources. ‘Blurring the boundaries’ is a positive step forward and this can be achieved through collaboration between teachers of art and design and design and technology. This has the potential to support and improve creativity in design and technology, within the context of appreciating and understanding the similarities and differences of the subjects and their individual identities.
environmentalism and sustainability need to inform the ethical agenda of any art forms which engage with technology. My anachronistic example of weaving, which I started with, is work which is socially and culturally engaged with speciﬁc roles and identities attached to production and consumption and these often include culturally embedded sustainable practices for living. My most recent work on my Cities of Sanctuary project is seeking to develop ways of creating both meaningful artefacts which are socially engaged and collaborative which rely on technology for their production, but also the means of disseminating and sharing these outputs. The latter is a di ﬃ cult thing to do in a world of cat-videos, commercial Vloggers and pornography which continue to ﬂood the Internet and attract the attention of a large proportion of its users. However, I would be interested to hear and learn from others at this conference how they negotiate their creative practice and engagement in the current technological environment, as well as how they seek to intervene and disrupt the conventional uses and paradigms of the multiple strands of technology whose possibilities have yet to be explored for non-industrial and creative uses.
As indicated in Section 1.1.3, the history of media art, whilst largely contained within the last fifty years, has roots that stretch back to the end of the nineteenth century. Today, media artists still apply film and photography technologies to create art, although now generally in a digital format, but whilst these art forms were not necessarily accepted within the mainstream art canons of the early twentieth century, they did form part of the avant-garde at this time. 250 It was during the interwar period that the main shift in art attitudes took place, and by the 1960s, as technology began to infiltrate more elements of society, the Fluxus network emerged which, whilst remaining relatively undefined throughout its own history, introduced many of the practices that now exist within media art. Fluxus was a loosely defined group of international artists who saw the network as one of many means of presenting their work, and its relative longevity has been attributed by some writers to its experimental origins, although it was “little more than a name and a public face” for a practice that had long since existed. 251 Along with other more mainstream art practices, these artists continued the move started by the Dadaists in the early twentieth century which pushed the boundaries of art away from production for commercial sale and, arguably, redefined what was meant by the concept of art. Dadaism introduced new techniques to art production, and made an overt statement that rejected the attitudes of the traditional art world, having been “born of a need for independence, of a distrust toward unity.” 252
The “ART+” cross-cultural technology focuses the child on the study of the world around in its integrity, i.e. with rational-logical and at the same time, emotional-figurative perspective. Studying the issues of creativity, E. de Bono has argued that even if there is only one element, we are able to imagine the image of an object or event because we focus on stable, established features . But, the problem is that we, when seeking to view individual elements only as part of something common, cannot connect elements in a somehow new original way even in our imagination. This is quite consistent with one of the principles of the Gestalt approach, the essence of which is that the analysis of the parts does not give an understanding of the whole because the whole is more than parts since it is supplemented by the interaction and interdependence of its components .
In view of the increasing range of sophisticated technology being developed to support people with communication impairments, it is important to examine published work regarding the interventions using these devices. Evaluation of study findings is needed in order to provide evidence-based information for funders, potential users, and service managers, and to underpin evidence-based practice amongst speech-language pathologists . This review therefore was undertaken as a “state of the art” review  to present an assessment of the current state of knowledge in the field. The work encompassed both quantitative interventions studies and qualitative papers reporting views of service users and providers. Findings regarding the qualitative studies are reported elsewhere . In this paper we consider primary studies reporting evaluations of interventions.
Technically, computer simulation in virtual reality technology can help artists express their inner feelings more realistically and accurately, whether figurative or abstract. It is said that the artist's thinking is jumping. The powerful processing function of the computer can feedback information in real time, change flexibly, and realize the interactivity that cannot be completed in the past. Multi- sensory experience can make the artistic world created by the artist more realistic and immerse the spectator in the works of art. As mentioned above, the widely used head- mounted virtual reality device can fully satisfy the technical support and provide real experience in visual and auditory sense. For other senses, special induction gloves can stimulate the touch through pressure sensing to create a “touch” experience. Odor molecular devices can stimulate the sense of smell by making odors from chemical materials. On the basis of head-mounted virtual reality devices, there is still the existence of naked-eye virtual reality technology to enable viewers to see and interact with virtual images presented on electronic screens without using their own devices. The TeamLab team can be said to be one of the best. Their work creates a colorful and interactive virtual world through a large number of screens and projections. It
Can we make sense in contemporary terms of this vision of an aestheticized technology? Surprisingly, the answer to this question is “Yes,” subject to those drastic revisions I mentioned above. In fact we are better able to understand and develop this idea today than we were in Marcuse’s day. This is because the traditional notion of technology as a pure rational “means” to subjective “ends” has been decisively refuted by philosophy and sociology of technology in recent years. We no longer believe that technology is value-neutral. Rather, contemporary technology studies argue that technological design always incorporates values through the choices made between the many possible alternatives confronting the designers. Technologies are not mere means but shape an environment in terms of an implicit conception of human life. They are inherently political. But if this is so, Marcuse’s argument gains in plausibility.
skins bring a host of other issues into play that go beyond available state-of-the-art materials and technologies, affordability, durability, low- maintenance requirements, and other various performance targets (such as energy savings, uniform light levels, outside view, etc.). User override is potentially a critical issue in the design of any highly automated adaptive, responsive building envelope system. Social and cultural factors need to be taken into account. There is also a good chance that any mechatronic solution that depends on the current modern technologies could become obsolete relatively quickly. An example that can be cited is that of one of the initial buildings to use an automatic sensor-based system responsive to external environment, i.e., the Arab Institute designed by Jean Nouvel in Paris and completed in 1987. But now the system is no longer working due to mechanical problems, thereby warning architects of the risks of designing kinetic facades .
(1, School of Mechatronics, Zhengzhou University of Aeronautics, Zhengzhou, 450015 China 2, School of Computer Science, University of Nottingham, Nottingham, NG81BB, UK 3, Institute of Aerospace Technology, University of Nottingham, Nottingham, NG81BB, UK) ABSTRACT : Electrostatic monitoring technology is a useful tool for monitoring and detecting component faults and degradation, which is necessary for system health management. It encompasses three key research areas: sensor technology; signal detection, processing and feature extraction; and verification experimentation. It has received considerable recent attention for condition monitoring due to its ability to provide warning information and non-obstructive measurements on-line. A number of papers in recent years have covered specific aspects of the technology, including sensor design optimization, sensor characteristic analysis, signal de-noising and practical applications of the technology. This paper provides a review of the recent research and of the development of electrostatic monitoring technology, with a primary emphasis on its application for the aero-engine gas path. The paper also presents a summary of some of the current applications of electrostatic monitoring technology in other industries, before concluding with a brief discussion of the current research situation and possible future challenges and research gaps in this field. The aim of this paper is to promote further research into this promising technology by increasing awareness of both the potential benefits of the technology and the current research gaps.
Then we’ll move to an idea proposed by Dr Leon Gurevitch Deputy Head of School and Senior Lecturer at Victoria University of Wellington’s School of Design: “Cognitive Labour, Technology and Waves of Migration in the Global VFX Industry” – the implication within his presentation is that not only do we innovate technology and physically change ourselves but the imperatives of changing technologies actually produces human migrations – and this in itself produces a second reason besides climate change to now begin to produce movements of humanity over the millennia – think of planetary colonization in the future. The centre piece of Leon’s talk will be the demonstration of a crowd-sourced, big-data based, migration visualisation that details the routes 13,000 professionals have taken across the world in search of work in the last 25 years.
speculation. The ancient Greeks called it the art of rhetoric, and they argued over its relationship to knowledge and to justice; Aristotle claimed that rhetoric is essential to politics, for it provides a method of arriving at decisions about matters of expedience and justice. Rhetoric concerns the human interest in communication; it cares whether communication is effective and affecting, eloquent and cogent, perceptive and appealing—not whether it is correct or incorrect.
Such standardized assessments are fundamental to all disciplines that deal with intervention, indicating its important role to rehabilitation setting and treatment. Many art therapy practitioners believe that assessments bring deeper understanding of a client‘s emotional, cognitive, physiological and social functioning [5, 10, 11]. The artwork of a client can reveal his or her everyday reality – one’s family, work, thoughts and feelings about oneself, values of life, and cultural roles, which can bring beneficial information to the whole rehabilitation team in setting treatment goals, coordinating treatment plan, and evaluating treatment results. For those suffering from impaired verbal abilities, it can provide an alternative and different means of communication .