Thesis PlanB (M.S.)--University of Wisconsin--Stout, 2006. / Includes bibliographical references.

Thesis (MVisArts)--University of South Australia, 2001.

No description available.

University of Technology, Sydney. Faculty of Design, Architecture and Building / My research takes place against the backdrop of the design research debate ongoing since the 1990s. This debate highlighted the potential contributions that design artefacts and practice could make in a scholarly and professional research context. Despite numerous interesting possibilities, the discussions taking place in the design research community largely do not attend to contemporary Visual Communication Design practices and outcomes. In this research, I specifically focus on outcomes taking place at the margins of the Visual Communication field, which, though peripheral, are both admired and engaging, and what this research entitles ‘sticky’. Eleven projects are examined including, for example, one that collected the ephemera serving as the impromptu bookmarks in the books shelved in a university library, yielding the meticulous inventory of three hundred scraps of paper listed by Dewey decimal classification number. Despite their ‘stickiness’, I found that these outcomes are in fact only partially accounted for by key authorities in Visual Communication Design: despite a strong graphic language these projects are not concerned to convey an unmistakable message directed to a particular audience. Instead other discussions taking place in the sociological sub-field of Visual Research, which values the open-ended inquiry of the observable features of everyday subject matter, seemed more relevant. Ultimately however, in view of other expectations – a theoretical framework and sustained textual analysis – these ‘sticky’ projects similarly confound Visual Research. Consequently I realised that these ‘sticky’ projects are ‘homeless’ and, to indicate the partial explanations provided by Visual Communication Design and Visual Research, I tagged them ‘creative, investigative, visual projects’. This research thus sets out to derive a language to attend to such ‘sticky’ but ‘homeless’ creative, investigative, visual projects. I explored diverse literature and additional visual work – on topics such as the origins of the encyclopaedia, the tendency to make lists, psychological explanations for keeping personal collections, scientific visualizations, French Poetry, experimental travel, where to file UFOs in a picture archive, information management, the anatomy of the human heart, documentary photography and post–modern cartography. By bringing this interdisciplinary analysis to bear on the set of ‘sticky’, ‘homeless’, creative, investigative, visual projects, I derived a language of Collecting, Ordering and Positioning. From this tripartite model a design strategy was then extrapolated which I applied to produce an original creative, investigative, visual project, called BikeWork, which involved the participation of sixty-five cyclists and production of a series of three posters. This research concludes by speculating that the value of a creative, investigative, visual approach – vivid and systematic though fragmentary and approximate – is its agency. Accordingly I finally recommend that future ‘sticky’ researchers further explore the distinctive appeal of a vivid and fragmentary approach. THE ‘HOMELESS’, ‘STICKY’ DESIGN IN QUESTION Eleven key projects are discussed. Collecting Lipstick (Greene 2001) Why Are All These Books Orange? (Siegel 2004) The Last Periods of Some Books (magnified 4266%) (Buchanan-Smith 2003 [2002]) The Bicycle, Cross, and Desert (Weed 2005) A Coming Of Age Reading Checklist (McMullen 2004) The Readers Before Us (Waller & Beard 2002) Ordering Periodic Breakfast Table (Weese & Halpern 2001) Endcommercial: Reading the City (Böhm, Pizzaroni & Scheppe 2002) I [heart] [heart] (Daly 2007 [2005]) Positioning Newsmap (Weskamp 2004) NameVoyager (Wattenberg & Wattenberg 2004-2005)

Thesis (M.A.)--University of Nevada, Reno, 2008. / "December, 2008." Includes bibliographical references (leaves 45-46). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

University of Technology, Sydney. Faculty of Design, Architecture and Building / My research takes place against the backdrop of the design research debate ongoing since the 1990s. This debate highlighted the potential contributions that design artefacts and practice could make in a scholarly and professional research context. Despite numerous interesting possibilities, the discussions taking place in the design research community largely do not attend to contemporary Visual Communication Design practices and outcomes. In this research, I specifically focus on outcomes taking place at the margins of the Visual Communication field, which, though peripheral, are both admired and engaging, and what this research entitles ‘sticky’. Eleven projects are examined including, for example, one that collected the ephemera serving as the impromptu bookmarks in the books shelved in a university library, yielding the meticulous inventory of three hundred scraps of paper listed by Dewey decimal classification number. Despite their ‘stickiness’, I found that these outcomes are in fact only partially accounted for by key authorities in Visual Communication Design: despite a strong graphic language these projects are not concerned to convey an unmistakable message directed to a particular audience. Instead other discussions taking place in the sociological sub-field of Visual Research, which values the open-ended inquiry of the observable features of everyday subject matter, seemed more relevant. Ultimately however, in view of other expectations – a theoretical framework and sustained textual analysis – these ‘sticky’ projects similarly confound Visual Research. Consequently I realised that these ‘sticky’ projects are ‘homeless’ and, to indicate the partial explanations provided by Visual Communication Design and Visual Research, I tagged them ‘creative, investigative, visual projects’. This research thus sets out to derive a language to attend to such ‘sticky’ but ‘homeless’ creative, investigative, visual projects. I explored diverse literature and additional visual work – on topics such as the origins of the encyclopaedia, the tendency to make lists, psychological explanations for keeping personal collections, scientific visualizations, French Poetry, experimental travel, where to file UFOs in a picture archive, information management, the anatomy of the human heart, documentary photography and post–modern cartography. By bringing this interdisciplinary analysis to bear on the set of ‘sticky’, ‘homeless’, creative, investigative, visual projects, I derived a language of Collecting, Ordering and Positioning. From this tripartite model a design strategy was then extrapolated which I applied to produce an original creative, investigative, visual project, called BikeWork, which involved the participation of sixty-five cyclists and production of a series of three posters. This research concludes by speculating that the value of a creative, investigative, visual approach – vivid and systematic though fragmentary and approximate – is its agency. Accordingly I finally recommend that future ‘sticky’ researchers further explore the distinctive appeal of a vivid and fragmentary approach. THE ‘HOMELESS’, ‘STICKY’ DESIGN IN QUESTION Eleven key projects are discussed. Collecting Lipstick (Greene 2001) Why Are All These Books Orange? (Siegel 2004) The Last Periods of Some Books (magnified 4266%) (Buchanan-Smith 2003 [2002]) The Bicycle, Cross, and Desert (Weed 2005) A Coming Of Age Reading Checklist (McMullen 2004) The Readers Before Us (Waller & Beard 2002) Ordering Periodic Breakfast Table (Weese & Halpern 2001) Endcommercial: Reading the City (Böhm, Pizzaroni & Scheppe 2002) I [heart] [heart] (Daly 2007 [2005]) Positioning Newsmap (Weskamp 2004) NameVoyager (Wattenberg & Wattenberg 2004-2005)

Extant bodies of research identify the dilemmas encountered by, and adaptive strategies of international Asian students (IAS) undertaking second language undergraduate study. However no substantive research has explored the existence of subject specific dilemmas that such students encounter in the study of design within a western setting. Doctoral work exploring design education is rare. This study addresses the gap in the research record by investigating the specifics of the study of visual communication by IAS attending an Australian university. Through the voices of the IAS and academics, the specific nature of the manifestation, understanding and misunderstanding of such dilemmas is explored. Together with the investigation of visual communication, the author discloses the nature of perception and misconception between a group of design academics and a cohort of IAS. The study uses complementary methodologies, synthesising quantitative and qualitative data. The study's statistical data was generated from 460 first and second year student surveys. This was undertaken over a three-year period, with resultant data sub-categorised to enable a representation of the IAS to emerge through identification of their particular motivations, expectations and actualisation of dilemmas within the context of the wider undergraduate cohort. The author develops and utilises an explanatory framework after Pierre Bourdieu, to analyse data emanating from interviews with multiple participants of an established population of academics and IAS. She explores the perceptions of their realities and the construction of their representations, as located through both their convergence and divergence. The study's paradigm is constructed by the field of design, as an objective world and site of the inquiry. Viewing the study's data through this conceptual framework, the author constructs a representation of the field and educational site using socio-cultural structures and the populations' multiple realities. The study reports on the layers and contradictions of communication, miscommunication, myth and fiction, constructed through the educational field. This is further interrogated to reveal the arbitrary structure of the field, its pedagogy and creation of its internal logic by which the field is perpetuated and student performances reproduced. The outcomes of the investigation include a detailed identification of lA design students' disclosures of the dilemmas of expectation versus experience, and the systematic misperception of paradoxes within the pedagogy of visual communication, presented as convergent and divergent expectations of the IAS and academics.

Thesis (M.S.)--Missouri University of Science and Technology, 2009. / Vita. The entire thesis text is included in file. Title from title screen of thesis/dissertation PDF file (viewed April 13, 2009) Includes bibliographical references (p. 108-109).

Thesis (Ph.D.)--University of Central Florida, 2008. / Adviser: Melody Bowdon. Includes bibliographical references (p. 179-184).

Thesis (D. Min.)--Trinity Evangelical Divinity School, 1998. / Abstract. Includes bibliographical references (leaves 204-209).