Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 236-253).

A case study of collaborative storyboarding in an animation studio grounded this investigation of visual discourse---discourse about and with visual displays. The focus was on a problem occurring during a 40-minute task between the head storyboard artist and his junior colleague in reviewing a rough, conceptual storyboard. The research investigated the role of different semiotic modalities produced by the artists', i.e., speech, gesture, and drawing, in mediating spatial (frames of reference) and motion (action and path) representations and inferences from the storyboard. One aim was to determine if particular modalities were used to represent particular spatial and motion ideas. / Both qualitative discourse and quantitative analyses were undertaken to associate the individual discourse modality in co-occurring external representations (speech, gesture, or drawing), with spatial and motion ideas required to understand the storyboard. The results showed that (a) most modalities did not consistently or uniquely represent specific types of spatial and motion ideas, (b) representations frequently demonstrated a mismatching between spoken and gestured or drawn ideas, (c) spatial representation in particular required the artists to represent specific goal domains as contexts that determined the frame of reference and local sense of the representation, and (d) a more complex drawing style was used at the beginning of the problem than in the latter solution stages. / These findings are discussed in terms of the artists' (a) flexibility needed to traverse between 2-D and 3-D imagined worlds requiring the representation of different spatial coordinate systems, (b) handling of the modalities in visual discourse as supporting this flexibility, and (c) strategic use of drawing styles to assist inferring 3-D dynamic action from an incomplete, 2-D, static storyboard. The study demonstrates the importance of considering activity goals and interacting semiotic modalities as contributing to the knowledge needed to represent and infer space and motion. These findings are significant to research on the knowledge and tools used to infer space and motion from static visual displays in authentic collaborative design activities, and have implication for research on technologies and environments supporting collaborative visual thinking in design settings.

No description available.

The notion of information space (iSpace) is that a collective context of transmitters and receivers can serve as a medium to share, exchange, and apply data and knowledge between a group of human beings or software agents. Inhabiting this space requires a perception of its dimensions, limits, and an understanding of the way data is diffused between inhabitants. One of the important aspects of iSpace is that it expands the limits of communication between distributed designers allowing them to carry out tasks that were very difficult to accomplish with the diverse, but not well integrated current communication technologies. In architecture, design team members, often rely on each others' expertise to review and problem solve design issues as well as interact with each other for critic, and presentations. This process is called Collaborative Design. Applying this process of collaboration to the iSpace to serve as a supplementary medium of communication, rather than a replacement for it, and understanding how design team members can use it to enhance the effectiveness of the design process and increase the efficiency of communication, is the main focus of this research. The first chapter will give an overview of the research and define the objectives and the scope of it as well as giving a background on the evolving technological media in design practice. This chapter will also give a summary of some case studies for collaborative design projects as real examples to introduce the subject. The second chapter of this research will study the collaborative design activities with respect to the creative problem solving, the group behaviour, and the information flow between members. It will also examine the technical and social problems with the distributed collaboration. The third chapter will give a definition of the iSpace and analyze its components (epistemological, utilitarian, and cultural) based on research done by others. It will also study the impact of the iSpace on the design process in general and on the architectural product in particular. The fourth chapter will be describing software programs written as prototypes for this research that allow for realtime and non-realtime collaboration over the internet, tailored specifically to suit the design team use to facilitate distributed collaboration in architecture. These prototypes are : 1. pinUpBoard (realtime shared display board for pin-ups) 2. sketchBoard (realtime whiteboarding application with multisessions) 3. mediaBase (shared database management system) 4. teamCalendar (shared interactive calendar on the internet) 5. talkSpace (organized forums for discussions)

Thesis (doctoral)--Technische Universiteit Delft, 1999. / Includes bibliographical references (p. 175-190).

Thesis (doctoral)--Technische Universiteit Delft, 1999. / Includes bibliographical references (p. 175-190).

Thesis (M.A. in Art Education) -- School of the Art Institute of Chicago, 2006. / The project participants from Kenya, South Korea, Turkey, Chicago and Ohio; the exhibition with the title: #510: If the shoe fits... held at Betty Rymer Gallery, the School of the Art Institute of Chicago, Mar. 10-Apr. 14, 2006. Accompanying discs includes: Exhibition videography by Daniel Merkle, Curator's tour, National Art Education Association Symposium: Fairy tales provide inspiration for interdisciplinary art class. Includes bibliographical references (leaves: 115-125)

The notion of information space (iSpace) is that a collective context of transmitters and receivers can serve as a medium to share, exchange, and apply data and knowledge between a group of human beings or software agents. Inhabiting this space requires a perception of its dimensions, limits, and an understanding of the way data is diffused between inhabitants. One of the important aspects of iSpace is that it expands the limits of communication between distributed designers allowing them to carry out tasks that were very difficult to accomplish with the diverse, but not well integrated current communication technologies. In architecture, design team members, often rely on each others' expertise to review and problem solve design issues as well as interact with each other for critic, and presentations. This process is called Collaborative Design. Applying this process of collaboration to the iSpace to serve as a supplementary medium of communication, rather than a replacement for it, and understanding how design team members can use it to enhance the effectiveness of the design process and increase the efficiency of communication, is the main focus of this research. The first chapter will give an overview of the research and define the objectives and the scope of it as well as giving a background on the evolving technological media in design practice. This chapter will also give a summary of some case studies for collaborative design projects as real examples to introduce the subject. The second chapter of this research will study the collaborative design activities with respect to the creative problem solving, the group behaviour, and the information flow between members. It will also examine the technical and social problems with the distributed collaboration. The third chapter will give a definition of the iSpace and analyze its components (epistemological, utilitarian, and cultural) based on research done by others. It will also study the impact of the iSpace on the design process in general and on the architectural product in particular. The fourth chapter will be describing software programs written as prototypes for this research that allow for realtime and non-realtime collaboration over the internet, tailored specifically to suit the design team use to facilitate distributed collaboration in architecture. These prototypes are : 1. pinUpBoard (realtime shared display board for pin-ups) 2. sketchBoard (realtime whiteboarding application with multisessions) 3. mediaBase (shared database management system) 4. teamCalendar (shared interactive calendar on the internet) 5. talkSpace (organized forums for discussions) / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.

This dissertation considers the ways that artistic collectives have become legible and value-producing social forms as they circulate within the institutions and economic geographies of contemporary art. My project focuses on Slavs and Tatars, a multilingual artist collective that began as a geographically dispersed reading group in 2006, and has been based in Berlin since 2014. I highlight the aesthetic, semiotic, and infrastructural dimensions of their practice and its modes and forms of production. I position the group as a lens through which to analyze the language and labor of knowledge production across economic geographies of contemporary art, the value projects of the German cultural state, migration and mobility politics, and the tensions of 'multicultural' Berlin. The design of the dissertation reflects two strategic methods. First, I instrumentalize the mobility of the collective in order to better understand the structural interdependencies across scalar geographies of cultural value. Second, I bring attention to Slavs and Tatars' linguistic and discursive practices, and the aesthetic forms these produce. Across the arc of the dissertation, I analyze how Slavs and Tatars is discursively produced, and thus mobilized through the spaces and public contexts of contemporary art. Each chapter discusses a distinct instance of the collective's circulation, semiotic practice, and the entailments of value that emerge across the situated publics and economic geographies of contemporary art: from translation and exhibition projects that engage the collective's conceptual region of Eurasia, to the linguistic infrastructures of studio practice in Berlin's Moabit neighborhood; from a lecture performance at renowned public institution Haus der Kulturen der Welt, to the circulation of books in market, gallery, and exhibition contexts. I analyze these forms in contexts of their public circulation in order to understand the effects of semiotic labor in the production of cultural value. I chart how semiotic practices of the collective productively engage economies of global art and state cultural funding—indexing place and social identity to derive value from a liberal politics of representation, on the one hand—while fostering emergent counterpublics through knowledge production on the other. Strategic language practices work to shift the accumulation and redistribution of material resources to artistic collectives and social projects throughout their region. I argue that this moves away from a politics of art that contests the state on ideological grounds, to one that engages regional, state, and municipal cultural economies in an effort to redistribute social capital and material resources. The dissertation puts forward a model for theorizing the political and economic geographies of contemporary art and culture, and the semiotic practices through which value, resources, attention, and meaning are made redistributable.