Studio

As the need for Human Computer Interaction (HCI) designers increases so does the need for courses that best prepare students for their future work life. Multidisciplinary teamwork is what very frequently meets the graduates in their new work situations. Preparing students for such multidisciplinary work through education is not easy to achieve. In this paper, we investigate ways to engage computer science students, majoring in design, use, and interaction (with technology), in design practices through an advanced graduate course in interaction design. Here, we take a closer look at how prior embodied and explicit knowledge of HCI that all of the students have, combined with understanding of design practice through the course, shape them as human-computer interaction designers. We evaluate the results of the effort in terms of increase in creativity, novelty of ideas, body language when engaged in design activities, and in terms of perceptions of how well this course prepared the stu...

A thick industrial design studio curriculum INTRODUCTION Izmir University of Economics is located on the Izmir bay on the Aegean coast of Turkey. Nearly six thousand students attend this English speaking private university which was established in 2001. The Faculty of Art and Design ...

SAHNIM 5 AYANGSA 6 company name LATAR BELAKANG  Perencanaan merupakan proses dalam merencanakan sesutau yang akan datang.  Menurut Friedmann, Perencanaan akan berhadapan dengan problem mendasar yakni bagaimana teknis pengetahuan perencanaan yang efektif dalam menginformasikan aksi-aksi publik. company name RUMUSAN MASALAH 1 BAGAIMNAK AH KARAKTERIS TIK KONDISI FISIK DASAR DAN FISIK BINAAN DESA JOROK ? 2 APA SAJAKAH POTENSI DAN MASALAH YANG BERADA DI DESA JOROK ? 3 BAGAIMANA KAH STRATEGI DAN RENCANA PENGEMBAN GAN TATA RUANG DI DESA JOROK ? company name TUJUAN 1 MENGETAHU I KARAKTERIS TIK KONDISI FISIK DASAR DAN FISIK BINAAN DESA JOROK 2 MENGIDENTI FIKASI POTENSI DAN MASALAH YANG BERADA DI DESA JOROK 3 MENGETAHU I SERTA MERENCANA KA STRATEGI DAN RENCANA PENGEMBAN GAN TATA RUANG DI DESA JOROK company name KEBIJAKAN UMUM KABUPATEN SUMBAWA UMUM DALAM MERENCANAKAN SUATU KAWASAN HARUS ADA PEDOMAN ATAU LANDASAN UNTUK MERENCANAKANNYA. MAKA DARI ITU KEBIJAKAN YANG KAN DIMABIL ADALAH SEGALA PERATURAN YANG TERKAIT MASALAH DAN POTENSI YANG ADA DI DESA JOROK. KEBIJAKN YANG DIMAKSUD ADALAH RTRW KABUPATEN, RPJP SERTA RPJM KABUPATEN. company name KEBIJAKAN RTRW 2011-2031 KEBIJAKAN RTRW POLA RUANG STRUKTU R RUANG company name POLA RUANG TUJUAN MENGATUR KESEIMBANGAN DAN KESERASIAN PENATAAN RUANG POLA RUANG ADALAH DISTRIBUSI PERUNTUKAN RUANG DALAM SUATU WILAYAH YANG MELIPUTI PERUNTUKAN RUANG UNTUK FUNGSI LINDUNG DAN PERUNTUKAN RUANG UNTUK FUNGSI BUDIDAYA. SEBAGAI DASAR PENYSUNAN INDIKASI PROGRAM RPJP TUJUAN SEBAGAI DASAR PEMBERIAN IZIN DAN PEMANFAATAN RUANG TUJUAN MEMENUHI KEBUTUHAN RUANG UNTUK PENGEMBANGAN KEGIATAN S.E.L TUJUAN company name PETA POLA RUANG company name STRUKTUR RUANG STRUKTUR RUANG ADALAH SUSUNAN PUSAT-PUSAT PERMUKIMAN DAN SISTIM JARINGAN PRASARANA DAN SARANA YANG BERFUNGSI SEBAGAI PENDUKUNG KEGIATAN SOSIAL EKONOMI MASYARAKAT YANG SECARA HIERARKHIS MEMILIKI HUBUNGAN FUNGSIONAL. company name TUJUAN STRUKTUR RUANG TUJUAN MEWUJUDKAN PERKOTAAN SAMAWA REA SEBAGAI SIMPUL PENGEMBANGAN KABUPATEN SUMBAWA DAN PERCEPATAN PENGEMBANGAN STRATEGIS: TUJUAN MENJADIKAN KABUPATEN SUMBAWA SEBAGAI PUSAT KEGIATAN PENGEMBANGAN KEGIATAN PERTANIAN DAN HORTILUTURA; TUJUAN MENGEMBANGKAN KABUPATEN SUMBAWA SEBAGAI PUSAT PENELITIAN DAN PEMBINAAN USAHA AGRIBISNIS PETERNAKAN, KELAUTAN DAN PERIKANAN; TUJUAN MENCIPTAKAN PENGEMBANGAN KAWASAN WISATA ALAM MELALUI PENATAAN, PROMOSI, DAN JARINGAN PERJALANAN WISATA DI PULAU MOYO; TUJUAN MENGEMBALIKAN DAN MENINGKATKAN FUNGSI KAWASAN LINDUNG YANG TELAH MENURUN DALAM RANGKA MEWUJUDKAN DAN MEMELIHARA KESEIMBANGAN EKOSISTEM WILAYAH;

Habit change and lack of time have provided society with a sedentary way of life.
Professionals concerned with the new population way of living, because of the
increasing amount of health, physical and mental issues and high stress levels, have
sought new ways to demonstrate how important is the sport practicing in life. Otherwise,
these researches has made it possible to realize that some sort of sports are not
accepted, instead, they are prejudged by society, by its history and the stereotypes
that comes jointly or due to civilization imposition. For years, the pole dance was, and
still is, judged and put on the edge as "nightclub dance". Thus, this essay aims to
arrange an architectural pole dance studio, in order to be equipped in the Metropolitan
zone of Vitória. As its development based on bibliographical researches, interviews
with drillers and professional Pole Dancers, reference studies and analysis of the
design conditioning, the bid consists in deconstructing its stereotype through the
architecture and its concepts. Providing a more attractive and pleasant place in order
to present the pole dance as sport, dance and art, which its real status is. The
architectural bid was driven by the priority to establish through aesthetic and sensorial
function, nexus with other activities associated with Pole Dance, establishing a
connection between the Pole Dance and the community that stimulate the social life
and the practice of exercises contributing With the physical and mental weal of the
human being.

Durante un brano Blues, solitamente, il 12 Battute viene ripetuto pressoché identico per tutta la durata della canzone, dando così un solido e ciclico sottofondo a parti vocali e strumentali (queste ultime perlopiù improvvisate).
È importante sottolineare subito questa tendenza ciclica e di continuo “richiamo” a ricominciare da capo che caratterizza la conformazione del 12 Battute, che sarà d’interesse per trovarvi all’interno una struttura narrativa.

Permukiman membutuhkan sarana dan prasarana sebagai elemen untuk mendukung kegiatan masyarakat dan menyediakan pelayanan untuk mendukung aktifitas wilayah dengan substansi yang berbeda contohnya jaringan jalan, air bersih, listrik, sarana kesehatan masyarakat, sarana pendidikan dan sarana perdagangan. Standar Nasional Indonesia (SNI) 03-1733-2004 menjelaskan sarana dan prasarana sebagai pendukung aktifitas, diantaranya yaitu:  Sarana perumahan, menganalisis model sarana perumahan dengan menggunakan koefisien besaran dan luas untuk hunian tidak bertingkat.  Sarana lingkungan permukiman, yang terdiri dari sarana pendidikan dan pembelajaran, sarana kesehatan, sarana peribadatan, sarana perniagaan dan niaga, sarana kebudayaan dan rekreasi, dan sarana ruang terbuka, taman dan lapangan olahraga.  Prasarana permukiman yang terdiri dari jaringan jalan, drainase, air bersih, air limbah, persampahan, listrik, dan telepon. 3.1 SARANA LINGKUNGAN Untuk dapat menjalankan aktifitas sehari-hari, masyarakat pedesaan memerlukan sarana prasarana yang menunjang aktifitas mereka (UPI-Perencanaan Desa, 2010). Sarana ialah sesuatu yang dapat digunakan sebagai angkat/peralatan dalam pencapaian maksud dan tujuan. 3.1.1. SARANA KESEHATAN 3.1.1.1 DESKRIPSI UMUM Sarana kesehatan berfungsi memberikan pelayanan kesehatan kesehatan kepada masyarakat, memiliki peran yang sangat strategis dalam mempercepat peningkatan derajat kesehatan masyarakat sekaligus untuk mengendalikan pertumbuhan penduduk. Dasar penyediaan sarana ini adalah didasarkan jumlah penduduk yang dilayani oleh sarana tersebut. 31 UNIVERSITAS MUHAMMADIYAH MATARAM BAB III TEKNIK PERENCANAAN WILAYAH DAN KOTA 2013 32 UNIVERSITAS MUHAMMADIYAH MATARAM BAB III TEKNIK PERENCANAAN WILAYAH DAN KOTA 2013

This paper documents a case study of the development and teaching of a grade 10 studio-based credit course. Media Arts was selected because it requires the production of art works as well as theory and skills-based learning. This inquiry was begun to determine the effectiveness of online curriculum delivery for teaching such a course.

In the development and teaching of this course, the following goals were set in terms of curriculum content, I sought to provide students with new theory and skills, to guide students to new analytical insight, and to guide them through the use the creative process; regarding motivation, I sought to lead students through class work, not only with a sense of purpose, but at times with a sense of inspiration and eagerness. I also sought to create a sense of class community and mutual support and finally, my goal was to create a supportive environment for students who had struggled in traditional school.
This MRP documents my experiences online over a nearly two-year period. This experience had led me to conclude that studio arts based curriculum can be successfully taught online and can be counted as one of many ways to deliver this curriculum to students.

Current architecture studios are missing an important phase in the education process, which is constructing the students’ conceptual ideas on a real physical scale. The design-build approach enables the students to test their ideas, theories, material selection, construction methods, environmental constraints, simulation results, level of space functionality and other important aspects when used by real target clients in an existing context. This paper aims to highlight the importance of using the design-build method through discussing a design project case study carried out by the Masters of Architecture design programme students at Beirut Arab University, who have built prototype units for refugees on a 1:1 scale.

A. Birlikte yapma Biz öğrenci olarak mimarlık eğitimine başladığımızda, 90'lı yıllarda, mimarlık eğitiminde hakim eğitim tavrı öğrenciyle 'birlikte yapma' idi. Bu modelde öğrenci sunulan probleme dönük önerilerini çizer ve tashih almak üzere hocasının masasına gider. Hocanın sunulan işin üzerinden geçişini izler, onun problemleri nasıl ele almakta olduğuna bütüncül biçimde şahit olur, sonra benzer tavırları, yaklaşımları, teknikleri kendisi de ortaya koymaya çalışır. Düşünme tarzından problem kuruluşuna, çizgi kalitesinden mekan kalitesine, bir anlamda ustasıyla birlikte yapar ve öğrenir. 1 Birlikte yapma sürecinde öğrencinin bir takım tasarım eylemlerini kurallar olarak algılamasından çekinilmez, zira kuralların tasarımcının gelişme sürecinde aşama aşama kırılıp esneyeceği düşünülmüştür. Dorst'un anlatımıyla, 2 yeni başlayan bir öğrenci bir tasarım durumunun tarihi bağlam, sokak dokusu, gabari, mimari program, vb. nitelikleriyle ilgili hocası tarafından işaret edilen durumları katı kurallar olarak algılayabilir. Daha ileri düzeydeki bir öğrenci ise bağlama bağlı olarak istisnaların açığa çıktığını görmeye başlamıştır. Hareketlerini yönlendirmek için genel ilkeler kullanmayı dener. Yetkin bir tasarımcı bir takım hedefleri kovalamak için planlar oluşturup takip edebilecek duruma gelmiştir. Daha da uzmanlaştığında tüm bu işlemleri üzerine belirtik olarak düşünmeden, sezgisel bir düzeyde gerçekleştirmeye yönelir. Usta seviyesinde, uzmanlığın da olumsallığı keşfedilir, tüm oyun sorgulanabilir haldedir. En ileri aşamada, bir vizyoner, çalıştığı alanın sınırlarında yaşar, o sınırları zorlar ve genişletir, yeni dünyalar açar. Acemi, ustasıyla beraber çalışırken önce kural tabanlı bir düşünmeye katılaşacak, sonra ustalaştıkça katılığını aşacak, tasarım konularının bağlamsallığını içselleştirecek ve en nihayetinde bilgece bir olumsallık kavrayışına varabilecektir. Sürecin böyle doğrusal işlemesi gerektiği de düşünülmemiştir. B. Açık Stüdyo Öte yandan 90'lı ve 2000'li yıllarda hem yapı ve tasarlama teknolojilerinde hem iletişim teknolojilerinde yaşanan hızlı dönüşümlerle mimarlığa dair mevcut uzmanlıklar sert kırılmalar yaşadığında, yapma biçimleri çeşitlendiğinde ve dolayısıyla uzmanlık alanları belirsiz yeni durumlara doğru şekillenmeye başladığında, eski ustaların ustalığı kısmen geçersiz kaldığında, hatta tüm ustalıkların hızlı dönüşümler sebebiyle kısa bir zaman içinde muhakkak geçersiz kalacağı varsayılmaya başlandığında, tasarım 'bildiğimiz şey' olmaktan çıktığında, çıkacağında, dönüşüm kural haline geldiğinde, 'bilinen' değil de 'bilinmeyen' önem kazandığında, bir yandan da tasarım durumlarının belirsiz doğası 'yeni'ye dönük yaratıcı tasarım arayışında vurgulanıp korunup kollanmaya başlandığında ortaya çıktı ki, 3 4 tasarım probleminin kurulumu, her zamankinden daha fazla, tasarımcıların sorumluluk alanına alınabilecek, tasarımcılar güncel durumda kendilerinden beklenenden daha fazlasını dünyaya katmak üzere mesleklerini her problemle beraber yeniden tarifleyebilir hale gelebilecekti. 5 Dolayısıyla tasarımın olumsallığı daha en başından, eğitimden tasarıma her noktada tasarım durumunun temel hali olarak hesaba katılmalıydı. Böylesi bir anlayışa dönük olarak yeni bir eğitim tavrı da gerekli olmuştu.

The discourse surrounding adaptation and remakes in the context of films foreground the critique of the stereotypical analysis of a text for its similarities with and differences from the original. The fidelity criticism, particularly in the context of adapting from literature seems to have run its course. 1 Th[e] common determination to judge an adaptation's "success" only in relation to its faithfulness or closeness to the "original" or "source" text threatens to reinforce the current low estimation (in terms of cultural capital) of what is, in fact, a common and persistent way humans have always told and retold stories. Shakespeare transferred his culture's narratives from page to stage and made them available to a whole new audience; we did not begrudge him his creative borrowing. Baz Luhrmann transferred one of these, Romeo and Juliet, from page to screen, updating it in the process and arguably making it available to a whole new teen audience; the critics excoriated him for his irreverence and nerve. His film, Shakespeare's Romeo & Juliet, was deemed unfaithful to its source, despite using most of the text and action. Our starting point, therefore, is the question: how useful is this kind of reductive judgmental discourse in determining either the artistic significance of a work or its cultural impact or even its vitality? This essay uses the above interrogative stance of Gary R. Bortolotti and Linda Hutcheon as its point of departure and attempts to shed light on the specificity of the local in the choice of the

This article considers the configuration of modular and temporary organization designs. By drawing on two prominent developer firms, namely,Valve Inc. and Linden Lab, respectively,“cabals” and “studios” are explored.The results of interviews conducted with employees of these firms are used as evidence. The article demonstrates that, to various extents, these organization designs organize, facilitate, and maintain how work is accomplished and coordinated within the boundaries of a permanent firm. It extends our understanding of how these designs provide a structure to how tasks are constituted in conjunction with the nature of the product.

A series of design studio projects on sustainability and design was initiated in 2017 at İstanbul Bilgi University, Department of Industrial Design. The series aims to lead the students to think, discuss, and get aware of their responsibilities on their decisions, about the environment, living things and resources in design projects. For this purpose, a design studio course encompassing the processes and methods of sustainable design was structured. The topic was the context of a locality in Turkey, outside the campus and within daily life, so the students would directly relate with these responsibilities. Similarly, the structure and project briefs of the studio were determined through a direct interaction with the locals and the local knowledge of the region. Aiming that, and in line with certain methodologies of sustainable design, three visits were made to the site during the semester; the first by the coordinators before the semester started, the second and the third with the students and coordinators, for research and project development phases. The research phase was based on the core topics related to sustainability and the region: built environment, culture, food, energy, waste, and water. During the project development the students focused on one of these topics and built vision scenarios for future on the grounds of the past and present of the village, and proposed system and product designs to facilitate reaching their vision. They shaped their design ideas on the grounds of the local context and shared their projects with stakeholders and the inhabitants.

As the economic pressure to teach more students with fewer (and less costly) instructors has increased in higher education, the utilisation of non-career teachers has become more prevalent. Design education has not escaped this phenomenon; non-career teachers, such as graduate and undergraduate students or design practitioners, have become commonplace in design education, including the design studio. The studio, however, is a unique teaching and learning environment in higher education. It poses distinct socio-academic challenges for both students and teachers. The utilisation of non-career teachers in studios raises a number of ethical and pedagogical questions. Teacher development is one serious concern. Here, the authors articulate the major challenges confronted by non-career studio teachers, especially student teaching assistants, and strategies for their development.

Karena letaknya yang memanjang dari timur ke barat dengan Laut Flores di bagian utaranya, maka sebagian besar desa-desa di wilayah ini dikategorikan sebagai desa pantai, yaitu terdapat 7 desa berkategorikan desa pantai dan hanya 2 desa sebagai desa berkatagorikan bukan Desa pantai.

Con una extensa y prolífica trayectoria a sus espaldas, Leo Elders nos regala un aporte más a la reflexión en torno a su autor referencial: Tomás de Aquino. Tal como lo indica en el Prefacio, el texto es una puesta al día del que viera la luz en 1990, cuando el Padre Elders compuso una introducción a Santo Tomás destinada a unos estudiantes de teología de la iglesia reformada de Holanda. La nueva versión, esta vez traducida al francés, incorpora actualizaciones bibliográficas y de contenido. A través de ella, se pretende «dar una ojeada acerca de las doctrinas principales de Tomás en teología y filosofía, para invitar así al estudio de sus obras y hacer destacar mejor la importancia del pensamiento del Doctor común» (p. 11). El Capítulo 1, «El siglo de Santo Tomás de Aquino», detalla con precisión el ambiente cultural en que se desenvuelve la vida y la obra del Angélico. Destaca la reforma de la Iglesia, tanto en la vida monástica, como en la presencia de los frailes mendicantes que adoptan un carisma de vida más activa y una presencia evangelizadora inédita, adaptándose a la nueva configuración urbana de la sociedad. Señala el impulso vigoroso de las ciencias y las artes, gracias a la recuperación, traducción y estudio de importantes obras clásicas. No podía faltar un apartado acerca de la vida universitaria, con referencia especial a París. En solo un par de páginas se describen interesantes detalles de la rutina de los estudios, y luego se desarrolla un subcapítulo referido al método escolástico. La contraparte de esta modalidad de trabajo netamente racional fue la regla de la auctoritas, que Elders explica con sencillez e ilustra con tres nombres insignes: San Agustín, Dionisio y Aristóteles. Acerca del primero se ofrece una síntesis interesante de las posiciones doctrinales vigentes en tiempos de Santo Tomás, y se enfatiza la profunda afinidad espiritual entre ambas columnas de la ciencia sagrada: «San Agustín acompaña la obra teológica de Santo Tomás desde el comienzo hasta el final. La Suma de Teología ha sido escrita como un diálogo ininterrumpido con San Agustín […] Santo Tomás está siempre lleno de admiración y de gratitud para con la gran figura que es San Agustín» (p. 24). El capítulo cierra con una especie de homenaje a Etienne Gilson, a quien acude para retratar el espíritu del siglo XIII, tiempo de esplendor de la metafísica cristiana de la creación como participación de la perfec

In art, design and architecture education, the ideal of learning together is intimately bound up with the notion of the studio as a space where students learn alongside (or under the guidance of) an 'expert' tutor (Schon 1987). This is a cherished and central tenet of art, design and architecture education, and a large body of research literature has developed exploring the various dimensions of students and tutors learning together in the studio. However, in an era of managerialism and the massification of higher education, the status of the art, design and architecture studio is increasingly precarious. And although the literature on studio-based pedagogy continues to grow, little directly addresses the role of material space and its contribution to learning. There is, then, a need to articulate the role of the material space of the studio in art, design and architecture education. To address this, a systematic review of the literature was undertaken to identify the major discussions of material space in studio-based education. The process identified 38 peer-reviewed empirical studies of the art, design or architecture educational studio where at least some attention to the material space formed part of the study. A grounded theory analysis of the 38 studies identified six major themes on the role of the material space of the studio in education. The goal of this study is to enrich our understanding of learning in art, design and architecture by examining the contribution of the material space of the studio to educational processes. In particular, by looking at the how the material space of the studio is discussed and conceptualised in the literature on art, design and architecture education. This study extends the idea of 'learning together'. Moving beyond the 'heroics' and flesh and blood of 'expert' tutors and students. It considers how the studio itself is part of the process of learning together.

Bu çalışmanın amacı, Geleneksel Türk Halk Müziği çalgılarından Bağlama'nın, doğru mikrofonlama teknikleri kullanımı hakkında bilgi edinmeyi amaçlamaktadır. Bu amaç doğrultusunda çalışmada; uzmanların aşina oldukları düşünülen bir türkü belirlenmiştir. Bu türküye; profesyonel stüdyo ortamında tambura bağlama ile mono ve stereo mikrofonlama teknikleri ayrı ayrı uygulanarak iki farklı ses kaydı oluşturulmuştur. Alınan bu kayıtlar profesyonel ses kayıt stüdyolarında görev yapan uzman tonmaysterlerden oluşan 20 kişilik örneklem grubuna kişisel görüşme yoluyla ayrı ayrı dinletilmiş ve yarı yapılandırılmış görüşme formu doğrultusunda sorular sorularak uzmanların görüşleri alınmıştır. Elde edilen bulgular doğrultusunda, bağlamada en doğru mikrofonlama teknikleri analiz edilip, veriler eşliğinde sonuç ve öneriler sunulmaktadır.
This study aims to acquire knowledge about the correct miking techniques of one of the traditional Turkish Folk Music instruments "Baglama". In accordance with this purpose a folk song that is thought to be familiar to most of the experts has been determined. Two differend sound recording have been composed to this folk song in a professional studio by practising both mono and stereo miking techniques individually and with tambura baglama. These records has been listened by personal interviews to a sample group made up of 20 professional tonmeisters that work in professional sound recording studios and opinions of these experts has been taken by asking questions with a semi-structured interview form. In the direction of the findings the truest miking techniques have been analysed and conclusion and recommendations have been presented with data.

At the beginning of the twentieth century, the Catalan photographer Francesc Serra set out to portray the modern artist in his natural habitat, the studio. This character was very popular at the time, because the artist represented not only the cult of the self in modernity –are reminded of "The Heroes" (1841) by Thomas Carlyle−, but also the idea of the artist as an exceptional being. The result was the publication in 1905 of a first series of 25 postcards whose enthusiastic reception led to a second, larger series, ten years later.

The aim of this paper is, therefore, to analyse the role played by Serra in the local construction of the modern idea of the artist. His work was pioneer in Spain but it fit in with other similar European visual strategies, in particular French photos by J. Réségotti but above all Paul Marsan, "Dornac", with "Nos contemporains chez eux, 1887-1917". Indeed, photography had begun to be very important in the periodical publications of that time: it was common to find articles about “the-artist-in-his-studio”, illustrated with relevant photographs. In this way, and upon the classic reference provided by painting on this subtopic –as well as the new illustrated magazines−, photography started to be commercialized in a pre-existing space of ideas and images about the artistic personality, whether in its reality, masquerade, or the “bourgeois” projection of the good professional.

The conference will focus on the divergences or coincidences in identifying the artist through these photographic series in Catalonia versus France, thus constituting the transnational idea of the modern artist.

The article reports on a one-year AHRB-funded Innovations project that was designed to evaluate the usefulness, or otherwise, of the application of real-time visual feedback technology in the singing studio. The basis for the research was a multidisciplinary approach that drew on voice science and acoustics, the psychology of singing and voice education. Participants were based in two different singing studios, one in the north of England and the other in the south. They catered for two different adult singer client groups ranging from skilled amateur to advanced professional. An action-research methodology was adopted in which the two participant singing teachers and their adult students were seen as co-researchers in the research activity. The resultant research data consisted of research diaries, observations and interviews, supplemented by multimedia recordings (audio and video) of actual singing behaviours over time. Data analyses indicate that new technology can impact positively on teacher behaviours and student experiences by providing more meaningful feedback through an enriched pedagogy. This offers the possibility of expanding the professional knowledge and skill base of both groups.

ATN Assessment Conference 2009, RMIT University Exploring the use of digital textual, visual and audio feedback in design studio Scott Mayson School of Architecture and Design, RMIT University, scott. mayson@ rmit. edu. au Barbara de la Harpe DSC College Office, RMIT ...

After developing and testing a model for integrative collaboration at Eastern Kentucky University’s Noel Studio for Academic Creativity, we offer results that highlight the potential for peer review to significantly and positively impact the ePortfolio design process for students. The results of this classroom/studio collaboration suggest that students who participated in consultations at the Noel Studio were more successful in the design of their ePortfolios than students who did not. While the results have proven promising for sustained collaboration between the multiliteracy center and the ePortfolio course highlighted in this research report, the proposed collaborative model is highly replicable across many institutions. This research report situates the ePortfolio within the context of a new, integrated space at Eastern Kentucky University (EKU): the Noel Studio for Academic Creativity. Within this new space, we have the unique opportunity to explore the ePortfolio as valuable ...

The image of a tortured genius working in near isolation has long dominated our conceptions of the artists studio. Examples are abound: think Carrie Moyer Art Writing Supervisor-Reader in Art, Architecture and The Moving. Image, School studios in 12 buildings (6 owned) across London plus work/live space and housing Current and emergent fine art practice in relation to the artists studio.

This paper reports on a number of blended learning activities conducted in two subjects of a Master of Architecture degree at a major Australian university. The subjects were related to "professional practice" and as such represent a little researched area of architectural curriculum. The research provides some insight into the student perceptions of learning opportunity and engagement associated with on-line delivery modes. Students from these two subjects were surveyed for their perceptions about the opportunity for learning afforded by the on-line components, and also for their perceived level of engagement. Responses to these perceptions of traditional and on-line modes of delivery are compared and analysed for significant differences. While students were generally positive in response to the learning experiences, analysis of the results shows that students found the traditional modes to assist in their learning significantly more than on-line modes. Students were neutral regarding the opportunity for engagement that on-line modes provided. Analysis of the students' gender, age and hours of paid work was also conducted to ascertain any relationship with attitudes to the flexibility of on-line delivery; no significant relationship was detected. This study has shown that students were generally resistant to on-line engagement opportunities and their ability to support learning.

Courant 2013, les studios de tournage Bry-sur-Marne (Val-de-Marne) sont cédés par leur propriétaire à un promoteur immobilier, visant à les démolir pour y substituer la construction de logements. Or ce projet suscite, dans les mois qui suivent, l’engagement de professionnels du cinéma et de l’audiovisuel ainsi que d’élus locaux, en faveur de la préservation de l’équipement. L’occasion de leur mobilisation fait ainsi apparaître le travail dans deux dimensions critiques : l’outil et sa localisation, comme conditions de possibilité du projet productif. C’est pour nous la possibilité d’interroger la mesure dans laquelle cette expérience est significative de la défense du travail dans un contexte contemporain de gestion capitaliste de l’outil, où l’État joue, par hypothèse, un rôle incitateur. Pour revenir sur cet épisode, nous nous appuyons sur des entretiens avec les protagonistes de la mobilisation et la documentation produite au fil de l’action collective.

Through practice-led research, TESSA SMALLHORN examines the influence of digital technology on the performance space. From the mechanisation of modernist culture to the digitalisation of present day, technology acts as response material for scenographers investigating the stage as machine. The interactive, real-time tools of digital culture encourage a systems-orientated approach that challenges user and operator alike. This article explores the studio practice and critical theory that was combined to offer a functional model of a digital stage machine.