Faculty of Design

SUMMARY REPORT
INFORMATION IN PARKS
BY:
RAMLAN JANTAN
STUDENT ID: 6552056
MASTER OF DESIGN (MULTIMEDIA DESIGN)
LECTURER: DR. STEPHEN WANG

ABSTRACT

Looking at what kind of activities in park that might create a new user activity based on user context, i personally think it’s not about the big giant project and very complicated system and costly but rather be something simple but will give an impact slowly to user. Considering as User Generated Content, that’s how i see my propose projects as the main important part is the ‘social benefit’ that this projects can provide to user. The problem for this project is to ensure that the new user activity really attract user attention and does not require user to be IT savvy. Every interface and system flow need to be really easy for user to understand and carry the theory of affordable affordance. Now the challenge is to make sure the new user activity will be simple and easy for user to add or generate their content and context.

ABSTRACT
  Visual Communication courses offered at Sultan Idris Education University, Tanjong malim, Perak, Malaysia, has been tailor made to suit the designs and creative industry needs.  Since its progression in year 2005 this program has been contributed in design industry by producing a knowledge designer and arts teachers. Undeniable VISCOM, a short form for ‘Visual Communication’ have been successful in its objective to deliver skillful designers and well verse visual communication teachers. 
Research have been identified that a culture of delivering a message through visual communication practices in VISCOM program are still intact with traditional delivery system which is its core objectives ‘culture informs perception’ (Adilolu, 2008). ‘To practice the procedures of sight and participate in the exploration of the visual environment’. This such culture are effective to deliver a message across expected design works such as (PSA) Public Service Announcement and advertising campaign but failed to expand new cultural contexts and new user activity. A resulted of research investigation have revealed that the practices of traditional approach towards delivering message for social and culture are no longer suitable for globally or glocally challenges in world today. This is resulted on lack of innovation and innovative ideas, instead a designer will keep re-produces the same design skills in circle. The designer tends to copying others designers work and in the end the design industry saturated with same old ideas and concept. The designer not realize that the role of designers today are no longer producing a good advertising campaign but should be innovate their cultural context and contribute to social innovation.

Like other developing countries, Malaysia also will facing with aging phenomenon. Malaysian Government already started to rise up the issues of elderly people problem since 1995. “The formulation of the National Policy for the Elderly in 1995 and the setting up of the National Elderly Health Council in 1997 confirm that the government is serious in its commitment to provide care and services for the nation’s elderly.” (Malaysian Institute of Economic Research (MIER), 2007). A comprehensive health care system has been applied trough extensive care for elderly with chronic diseases. The health care system has been developed to focus on short term care and short term hospitalization with the consequence that the services available may not be effective in dealing with elderly having chronic diseases and disabilities.

Since the outbreak of COVID-19, reports of racism and racial discrimination towards those of an Asian cultural background have increased in culturally diverse countries around the world. The current study sought to gain clarity about Asian Australian experiences of racism by conducting inferential and descriptive analysis of cross-sectional survey data collected from the Australian state of Victoria (n = 436). Building on previous studies which have identified a range of modalities and consequences of COVID-19-related racism, participants were prompted to consider their experiences of racism in the year prior to the outbreak of COVID-19 as well as their experiences during the pandemic on four measures—Direct Experiences of Racism, Vicarious Experiences of Racism (online and in-person), Everyday Racism and Hypervigilance. For the target group (participants with an East or Southeast Asian cultural background resident in Victoria), analysis showed an increase in experiences across thre...

In the relatively new discipline of design education we have the opportunity to frame the way that design education is formulated. The relative lack of theorists in the field of design education studies leaves unquestioned the relevance of conventional practices of design education that are premised on only tangentially relevant Art, Science and Information Technology models. There is a gap in design education development regarding how to mediate ecological concerns with techno-scientific imperatives. Environmental education researchers can influence this new field by challenging existing approaches to design education with particular attention to the ways design either contributes to or hinders the development of a sustainable society. In order to enter this discussion with environmental education researchers we identify three ecological issues faced by designers and design educators, here we pay particular attention to Industrial Design. The question for this paper is, can environ...

With the various proposals surrounding government policy on the position of postgraduate research students in Australia, there has developed a sense of urgency about the efforts of organisations to apply positive and constructive measures to issues of particular interest to the ...

This paper focuses on discursive practices of postgraduate research as a crucial element in constructs of international student subjectivities when they undertake postgraduate studies in Australian universities. As such, it focuses on a discursive field emerging within domains of internationalisation, globalisation, and resistance. It examines processes and protocols in a number of Australian universities' postgraduate divisions' practices in the conduct of postgraduate supervision, in the context of increasing pressures towards internationalisation within frameworks of globalising influences. It takes issue with Western custom and tradition as privileged within the field of supervision of postgraduate research studies and suggests a model of postgraduate research supervision as intentional and systematic intervention, based on literature deriving from research in postgraduate supervision which acknowledges the problematic natures of cultural relationships as to teaching and learning and knowledge production, and student resistances within these fields. In doing so, it examines issues of discursive practices and the problematic natures of power relationships in supervisor-supervisee protocols and possibilities suggested by alternative models of postgraduate supervision of international students.

A growing body of empirical research is available to aid design decision-making. Much of it comes from other disciplines, making it difficult to assemble and codify in an accessible form. One such area concerns people's emotional-aesthetic reactions to product appearance, where disciplines allied to Psychology and Neuroscience have made considerable headway. Various models now exist that describe the processes underlying product evaluation and identify key facets of these processes. The project to be described incorporates this information into a software instrument for use within the packaging design industry. It is interactive, multi-layered, and incorporates 'real life' scenarios to illustrate its application to different consumer markets and for different packaging products. Scenarios are used to illustrate its application in different consumer markets and for different packaging products. A feature of the instrument is its layered construction whereby the designer can dig deeper into each facet and draw upon the actual empirical research that underpins it. It can therefore be used at different levels of sophistication; its underlying goal being to unpack the complexity of this area and to make it accessible to the design team.

In this paper we examine variations in Honours programs in Australian universities and the consequences that this has for students who wish to undertake higher degrees by research after their undergraduate programs have been successfully completed. Our review of universities' Honours programs across rural, regional, and urban Australia has indicated that there is a degree of variation that is localised as far as each university is concerned, and that there is a lack of consistency in various universities' application of policies or procedures in the implementation of their Honours programs. We conclude by calling for greater consistency across universities in Australia in the awarding of Honours, certainly, but also suggesting that a review needs to be undertaken as part of national, systematic and orchestrated project.

The first issue of a new journal is a moment for celebration and a time for reflection. With this first issue, we launch Shè Jì: The Journal of Design, Economics, and Innovation. Our launch will occupy two special issues. Our opening editorial offers an opportunity for celebration-in the next issue, we will reflect on what a journal ought to be and do at this moment in human history. Following this short celebration, we will turn the pages of Shè Jì over to thinkers whose work has helped to define the design field today, building bridges to innovation, value creation, the productive economy, and the world we build together. These articles exemplify the scope and quality of the journal we hope to build. Twenty years ago, the design field had only a handful of scholarly and scientific journals. Visible Language was the first in the field, forty years old in 2017. Design Studies came next in 1979, and Design Issues followed in 1984. 1 Today, there are over two hundred design journals. 2 Of these, around forty are widely acknowledged as significant. 3 Of these, a worldwide survey of experts identified fourteen journals with positions of global eminence. Some journals cover such specialist fields as engineering design, ergonomics, and design history. Others are general design journals. Nevertheless, a gap remains, an interdisciplinary gap where professional fields and research disciplines should meet. In this interdisciplinary gap, we will examine the intersection of design, economics, and innovation in various combinations, from various perspectives, and using the methods and methodological frameworks of the many disciplines that contribute to the necessarily interdisciplinary design field. These kinds of articles do appear in the other journals, and in the journals of other fields. Our remit is to provide a forum in which contributors regularly examine these issues. Our interdisciplinary nature has a second focus, as well. So far, few of the research journals in design have managed to find a regular audience among professional designers-or among the leaders in business, industry, and government that use design. And few of the professional design magazines have managed to find a regular readership among scholars and scientists who work with design. This is a problem for a field in which the many kinds of people who work with design every day can learn more and do better by speaking and thinking together. Journals in other fields have managed to bridge the gap. Harvard Business Review is an example: leaders in business and industry as well as management scholars and economists read HBR. Another example is The Economist, a weekly newspaper that scholars and scientists read along with managers, industrialists, financiers, politicians, and civil servants.

This paper focuses on pedagogy as a crucial element in postgraduate research undertakings, implying active involvement of both student and supervisor in a process of teaching and learning. It takes issue with the reliance on osmosis as the dominant practice of supervision of postgraduate research studies and suggests a model of pedagogy as intentional and systematic intervention, based on literature deriving from research in primary and secondary schooling which acknowledges the problematic natures of relationships between teaching, learning and knowledge production. In doing so, it examines issues of discursive practice and the problematic nature of power differentials in supervisor/supervisee relationships and the possibilities presented by a number of alternative models for such relationships.

This paper considers the imperatives of professional learning and research experience in design education. It reports on two research projects that included Honours students in the investigation team. Providing undergraduate students with research experience is seen as intrinsic to the pedagogical success and socioeconomic value of university education. Including professional learning, where undergraduate students work in an industry context or on real-world projects, is thought to make learning more relevant and better prepare students for work. Offering Honours design students research experience as a special form of professional learning has potential benefits for graphic design. Knowledge in a vocational field like graphic design is mostly practice-driven, graphic design's status diminished by designers' lack of access to systematically produced evidence and exemplars of effective practice. The projects discussed in this paper investigated the use of participatory processes in graphic design. Today, co-creative practices and audiencecreated content are seen as important drivers of economic activity and cultural innovation, but participatory design is rarely used in graphic design since project budgets and time frames allow little scope for rigorous audience research. The nature of participatory design also challenges graphic designers' professional identity as creative and communication experts. Our paper reviews general arguments for the inclusion of professional learning and research experience in undergraduate education, considering their implications for design. The paper's discussion section builds on our findings and relevant literature to present research experience in design education as a potential change agent in graphic design.

Enrichment programs for Research Higher Degree (RHD) students are an endeavour undertaken by all Australian Universities. Most of these enrichment programs have in the main been centred on the generic skills required to expedite the research program, for example software skills, information gathering and collating skills, language development programs and seminars on various methodologies. There are some examples where enrichment programs have focused on leadership. These programs often assume not only that leadership can be taught, but also that a traditional seminar/lecture approaches to such a curriculum is a practical, efficient and effective approach to leadership education. This paper questions these assumptions by arguing for a more experientially-based approach to leadership education at the RHD level. This approach has demanded a consideration of pedagogical approaches outside, or peripheral, to the traditional approaches of RHD training. A specific example of a leadership program that incorporates experiential learning in is presented. The paper delineates a brief overview of experiential approaches to education, followed by a more specific review of the potential role these approaches can play in leadership education.

Ancient social systems have exhibited constructs of scholarships based on social configurations and requirements that have involved tribal, temple, village or palace elders teaching and developing their apprentices using oral communication such as storytelling, recitation of recipes, formulas and chants, plus work in the field itself as young people developed as midwives, shamans, carpenters, and so on. While writing is a mighty technological achievement of some 5,000 years ago, perhaps even mightier is that of the printing press about 500 years ago. It is generally held to be the development that marked the end of Medieaval times, and has had an even more profound an effect than the first moon landing, so much did it shake the foundations of society. For one thing, the same elders entrusted with the education of the young were able to use print as part of their education protocols. This in itself enabled a shift in constructs of scholarship, as it was possible to record in print what had formerly been kept in memory. The possibilities that emerged were those of teaching learners how to develop knowledge from information, and not rely on information alone. Such possibilities have not really been taken up until fairly recent times. Emerging new paradigms present scholarship in the light of information work whose dependence on information storage systems has already transformed the relationship between scholarship and libraries to a stage where the dominant partner is the library, scholarship becoming marginalised in the so-called information age. Such a sea change requires a major adjustment on the part of both partners in what has for so long been a most productive relationship. To be able to understand the magnitude and order of the change, it is necessary to take a close look at what has underpinned it for so long.

Bloomsbury Publishing describes Practice-Based Design Research as "a companion to master's and PhD programs in design research through practice." But the companionship offered is one where many conflicting perspectives, presented as replicable methods, are uncomfortably woven into a tradition that has often found its strength in isolated moments of genius. This volume includes chapters that move design toward the synthesis of theory and artifact. Even so, core claims fall short on many points, especially when authors rush to find solutions without support from evidence. These inconsistencies seem to reflect external demands, which the authors suggest are not impossible to overcome.

Inspiration is an important stage in conceptual design, wherein designers interact with different stimuli to generate creative ideas. Various cognitive processes like analogical reasoning have been described in design inspiration scenarios and have also been mapped to ontologies of cognitive psychology. However, the emotional processes in design inspiration are not clearly explained through ontological frameworks. In studies which report the significance of emotion in design inspiration, various aspects of emotion tend to get conflated. This conflation may lead to inappropriate choices of methods to measure emotion. To address this gap, this paper adopts the core affect model of emotion to offer a constructivist understanding of emotion in design inspiration contexts. The components of the core affect model are mapped to aspects of emotion reported in design inspiration scenarios which involve the use of stimuli. The paper then briefly outlines the potential of this ontological approach to study emotion in design inspiration. For this, a specific inspiration scenario is taken wherein a design student, while perceiving stimuli, thinks aloud to denote an emotion. It is then shown that this utterance could instantiate a detailed multipronged analysis in the framework of the core affect model, which delineates various constituent parts of emotion such as core affect, affective quality and so on. These constituents of emotion are broadly linked to different methodological frameworks with which they can be captured and analysed. The implications of this approach for future design research is also discussed.