Bio: Anna Powell is an academic researcher from University of Huddersfield. The author has contributed to research in topics: Public engagement & Contemporary art. The author has an hindex of 3, co-authored 9 publications receiving 27 citations.
24 Jun 2018
TL;DR: This study contributes on synthesizing a UX design model for AR applications to reach the optimum levels of user interaction required that reflects ultimately on the entire museum experience.
Abstract: This paper explores the User Experience (UX) of Augmented Reality applications in museums. UX as a concept is vital to effective visual communication and interpretation in museums, and to enhance usability during a museum tour. In the project ‘MuseumEye’, the augmentations generated were localized based on a hybrid system that combines of (SLAM) markerless tracking technology and the indoor Beacons or Bluetooth Low Energy (BLE). These augmentations include a combination of multimedia content and different levels of visual information that required for museum visitors. Using mobile devices to pilot this application, we developed a UX design model that has the ability to evaluate the user experience and usability of the application. This paper focuses on the multidisciplinary outcomes of the project from both a technical and museological perspective based on public responses. A field evaluation of the AR system was conducted after the UX model considered. Twenty-six participants were recruited in Leeds museum and another twenty participants in the Egyptian museum in Cairo. Results showed positive responses on experiencing the system after adopting the UX design model. This study contributes on synthesizing a UX design model for AR applications to reach the optimum levels of user interaction required that reflects ultimately on the entire museum experience.
22 Jul 2013
TL;DR: In this paper, the authors explore a selection of artworks whose conceptual identity is underpinned by their state of being hidden or hidden, or both of them being hidden and revealed.
Abstract: Art practice and gallery visiting have been discussed in the context of ‘play’ by cultural theorists, anthropologists, psychologists, art historians and artists alike. Nicolas Bourriaud in his seminal book Relational Aesthetics (2002) asserts that, ‘artistic activity is a game,’1 while Michael Baxandall noted in 1991 that each of the three elements essential to the artistic encounter – the artist, artwork and viewer – ‘is playing […] a different game in the field.’2 Since the 1960s, art has continued to challenge the viewer in their role as mere ‘beholder,’ encouraging playful interaction between artist, artwork and audience. Contextualised at the outset through Tacita Dean’s Trying to Find the Spiral Jetty,3 this chapter considers those artworks which incorporate elements of chance, and which present a ‘hide and seek’ pursuit on the part of the viewer, mediated through the works’ specific material properties and manner of display. It explores a selection of artworks whose conceptual identity is underpinned by – and vacillates between – their state of being ‘hidden’ or ‘concealed’, and/or ‘revealed.’ They are works which entice the viewer to participate in a journey of discovery evocative of a treasure-hunt, while also enabling the possibility that the works might be discovered through an ‘act of folly.’4 Here, the artistic encounter pivots between the incidental and intentional, and the artwork-audience relationship is made to acknowledge its own playful performativity.
01 Jan 2014
TL;DR: Arte-Polis 5 as mentioned in this paper is an international conference and workshop with the theme "Reflections on Creativity: Public Engagement and the Making of Place", which brings together to Bandung, Indonesia, creative champions from different places around the world to share and learn from their creative experiences on place-making.
Abstract: The biennial event Arte-Polis brings together to Bandung, Indonesia, creative champions from different places around the world, to share and learn from their creative experiences on place-making. Participants come from a diverse range of disciplines, including architecture, landscape architecture and planning, business and management, cultural and development studies, design and visual arts, digital-media and information-communication technology, economics and geography, as well as the arts and humanities. The inaugural Arte-Polis was held between 21-23 July 2006 on the ITB campus in Bandung, Indonesia. The event hailed the theme “Creative Culture and the Making of Place” through an international seminar on Urban Culture, a design workshop on Dago Creative Corridor, an exhibition featuring on Heteropia and 36 Frames, as well as a bazaar offering a Taste of Bandung. Keynote speakers of the 2006 Arte-Polis international seminar were Prof. Alexander R. CUTHBERT of the University of New South Wales, Australia, and Prof. Dorodjatun KUNTJORO-JAKTI, former Coordinating Minister for Economic Affairs, Republic of Indonesia. Building on the successes of the first four Arte-Polis in 2006, 2008, 2010 and 2012, Institut Teknologi Bandung (ITB) is pleased to present Arte-Polis 5, consisting of an international conference and workshop with the theme "Reflections on Creativity: Public Engagement and the Making of Place". This biennial event is an initiative of the Architecture Program at ITB's School of Architecture, Planning and Policy Development in collaboration with other creative institutions, to be held on 8-9 August 2014 in Bandung, Indonesia's city with a long heritage of creative culture, communities and collaborations. The aim of Arte-Polis 5 is to bring all layers of individual or group in society, not limited to creative industries and people that involve in information technology, to share their knowledge and experience about potential, effect and impact of information technology towards place making, public policy, social wellbeing, environment quality, cultural heritage and urban economy. International Conference The peer-reviewed Arte-Polis 5 international conference will critically address the theme "Reflections on Creativity: Public Engagement and the Making of Place" through a number of diverse Tracks, such as: A. Creative Engagement Through Design Praxis The topics include, but not limited to: creative community participations, livelihood of the city and creative community, designs for multiple and plural community, smart design and place-making, design innovation and global markets, design of public spaces, creative expression, creative collaboration and transformation. B. Digital Technology Enabling Public Engagement The topics include, but not limited to: smart cities, Global Positioning System and place-making, social media and creative communities, environmental modelling for sustainability, design computation and multimedia design for creativity, virtual/ augmented reality for documentation, copyright and standard for creative industry, web-based city management, discourse in contemporary value in creative society. C. Planning Methods for Wider Public Engagement Topics include, but not limited to: creative governance and collaborative partnerships, craft communities empowerment, public-private collaborations, creative infrastructure and planning method, web-based creative entrepreneurship, human development for creative living, smart governance and professionalism. D. Public Engagement for Cultural Heritage Topics include, but not limited to: arts, festivals and creative places, creative heritage preservation and conservation, cultural tourism and public engagement, society as place-branding, virtual media for cultural documentation, public engagement for cultural industry, social campaign for cultural heritage, web-based heritage management, social entrepreneurship in cultural heritage.
••21 May 2020
TL;DR: The ROTOЯ public engagement exhibitions programme as mentioned in this paper is a case study of public engagement in art and design, which aims to provide a platform for disseminating and communicating practice-based research, showcasing a community of artists, designers and curators.
TL;DR: In this paper, the authors stress the importance of drawing as a method to make visual form out of conceptualized ideas as well as provide the manual skills to describe reality, emphasizing the process of charcoal, graphite and ink in relation to design concerns.
Abstract: ARTS 1316 (ARTS 1316) Drawing Foundations (3 semester credit hours) This course provides a foundation for advancement to Drawing II and III, figure drawing and printmaking classes. Emphasis will be placed on the process of charcoal, graphite and ink in relation to design concerns such as light, space, form and composition. The class will stress the importance of drawing as a method to make visual form out of conceptualized ideas as well as provide the manual skills to describe reality. (0-3) S
01 Nov 2013
TL;DR: The ouvrage developpe un regard croise sur la question de la mise en exposition d'œuvres et de dispositifs reposant sur des systemes immateriels, collaboratifs et/ou participatif, a suite de formes d’art plus ancienne comme l’ont ete l-art video, léon et al. as mentioned in this paper.
Abstract: Cet ouvrage developpe un regard croise sur la question de la mise en exposition d’œuvres et de dispositifs reposant sur des systemes immateriels, collaboratifs et/ou participatifs, a la suite de formes d’art plus ancienne comme l’ont ete l’art video, l’art dematerialise et conceptuel, sociologique et relatif a la performance, qui, en leur temps, avaient elles aussi poser questions. Guides par la plume experte du commissaire d’expositions Steve Dietz qui signe la preface de l’ouvrage, les lect...
TL;DR: In this article, a systematic and complete overview of the scientific literature in the field of place marketing and place branding research is presented, showing that the field suffers from a lack of conceptual clarity, diverging definitions and a weak theoretical foundation, which means it addresses a very broad range of research topics.
Abstract: This paper presents a systematic and complete overview of the scientific literature in the field of place marketing and place branding research. A total of 1172 articles published between 1976 and 2016 in 98 different journals were analyzed and meticulously classified into categories and subcategories according to disciplinary approach, method used and perspective adopted. This literature review thus provides a detailed overview of the state of the art and reveals various trends and developments in this emerging field of study. Among other things, it demonstrates that the field suffers from a lack of conceptual clarity, diverging definitions and a weak theoretical foundation, which means it addresses a very broad range of research topics. In addition, the field lacks empirical evidence and explanatory articles, meaning that the numerous hypotheses concerning the effects of place marketing activities on attractiveness remain unsubstantiated. The review also underscores the literature’s lack of interest in the political and institutional contexts of places, although this information is crucial in terms of public management. Moreover, this work notes that the rhetoric of consultants is given pride of place, with the publication of numerous prescriptive articles focused on sharing best practices. Finally, this study notes the existence of a significant number of critical articles.
TL;DR: Pizzo Russo as mentioned in this paper discusses the works of Howard Gardner and points out the way in which his thinking frustrates the placement of artistic thought in any mainstream context, and observes that a psychology of art turns out to be an eminently general psychology of cognition.
Abstract: that the hero of cognitivism is still David Marr, who never sought to understand human vision directly but instead to develop machine vision. In an enlightening discussion, Pizzo Russo discusses the works of Howard Gardner and points out the way in which his thinking frustrates the placement of artistic thought in any mainstream context. Gardner, who posited the existence of numerous intelligences, effectively created a barrier of commonality between scientific and artistic intelligence. The way that a basic notion of intelligence is translated through various media—preserving a common definition of intelligence while at the same time respecting the difference of its manifestation—is instead captured in Arnheim’s idea of representational development. This preserves general notions of intelligence that only find a particular manifestation in artistic products. Ironically, a psychology of art turns out to be an eminently general psychology of cognition. Pizzo Russo’s reflections on mental imagery in Chapter Three are equally negative, noting as they do the Pyrrhic victory of the imagists over the symbolists. According to Pizzo Russo, Philip Johnson-Laird, for example, insists so vehemently that his mental models are not visual that the possibility of a final overcoming of symbolism is impossible. The chapter on color stands quite well alone and treats several issues facing those interested in art and psychology. This book is the fruit of many years work at the intersection of art and science. Working in the Italian tradition, Pizzo Russo does not have to worry about the American feel-good narrative of the “Mind’s New Science” of cognitivism. If we have learned so much about the mind, why is our understanding of art so poor? The ideology of mainstream psychological science accords Arnheim a respected position, but only historically. Perhaps if cognitivism is a true science, we will have to remember with Newton that a science is built on the shoulders of giants.