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University of the West of England (UWE), Bristol
Thursday 12th and Friday 13th July 2007
> Click here to view the detailed programme overview (online)
> Click here to download the detailed programme overview (pdf)
Conference Programme - Abstracts
Panel 16: Design for Screen
Chair: Prof Martin Lister
The role of cultural factors on the design of icons used in info-assistant interface design: a research on Turkish and German users
Asim Evren Yantac, Yildiz Technical University (Turkey)
cross cultural design, info-assistant, icon, interface design
This paper is about the assessment of cultural factors in the design of icons for info-assistant systems’ interface. We are discussing about the former methods and try to build up a new method taking account of the designers’ interpretations. In the pre-research period we searched for specific research on the assessment of icons in information systems but there is not much former study in this area. We believe that the design evaluation of cultural factos still has much research to be made and a more compact method for this evaluation can be developed. In the method we are working on, we are using a three phase assessment method in which we first ask the users about the concepts of the subject, interpret these ideas with the designers, design new interfaces and last of all test these new interfaces with the user. Each phase brings out different cultural factors individually. One other issue is that there are a few studies on Turkish users which are mostly based on Hofstede’s work which helps us to read the general attributes of a culture. This paper is about a pilot study in which we worked on icon design with Turkish and German users.
Fluid and transient letterforms in screen-based typographic artefacts
Barbara Brownie, University of Hertfordshire
typography, motion graphics, animation, film title design
Current understanding of the nature of type assumes it to be static, with properties of form and
colour. With the introduction of temporal media, typographic artefacts may additionally have properties of
behaviour. Digital, temporal media allow type to perform and to evolve. ‘Fluid’1 type, as it appears in motion graphics, animation and film title sequences, is ‘dramatized’2. A single form may present multiple letters through processes of morphing, rotation or deconstruction, and multiple forms may present a single letter through processes of
reorganisation.
Analysis of such artefacts not only requires us to re-evaluate our understanding of the nature of type, but also to reassess the notion that a single letterform may only have a single identity.
In this presentation I will discuss the nature of fluid type, referencing examples of typographic performance in screen-based media. I will ask whether these artefacts may be analysed according to established typographic theory, offering suggestions as to how such theory may need to adapt in order to allow for the introduction of temporal media.
Nostalgia, and 'affective' responses to the contemporary CGI film: spectacle as Kitsch's most encompassing moment
Greg Singh, Buckinghamsire Chilterns University College
spectacle, computer-generated image, nostalgia, kitsch, affect
In his article ‘Cinema and fetishism’, Sean Homer argues that an historical materialist notion of the film as commodity is necessary to give full account of the process of the fetishisation of that commodity. That is, the investiture of value in the commodity, giving the commodity properties beyond the commodity as a thing-in-itself; most notably, a pleasurable consumable. It follows that film is not just film, and has the power to move its audience. If, in this common turn of phrase, this includes the idea that the film need not mean anything beyond being entertaining spectacle, it is still vital in negotiating the relation between the commodity (film) and the consumer (spectator-subject). This is the nature of that negotiation, the felt relation between consumer and commodity that enables the valuation of both film and spectator, and the pleasures that are engaged within that process.
In this paper, I discuss a tendency in contemporary American cinema towards CGI as a spectacular cinematic attraction. The felt relation between audiences and the films they consume not only operates generally through modes of narration, presentation and representation, but also specifically through nostalgia and kitsch. Kitsch, encompassing both spectacle and the everyday, may be applied to the more complex notion of nostalgia, as both a critical adjective, and as a signifier of value. By performing close textual analysis on two recent Hollywood films that use an ostensibly CGI backdrop – Sin City and Sky Captain and the World of Tomorrow
– this chapter will discuss the nostalgic play on elements of film history and technology, the explicit references to the textuality of the CGI film itself, and its relation to extra-textual elements such as its status as commodity.
Using Knowledge of vision science to inform creative image design
Gurpreet Singh and Michael Pickard, Sunderland University
vision, art, design, multimedia, education
Historically, scientific understanding about vision has been useful in helping to explain some aspects of how images work. However, given the complexities involved in how the brain interprets signals from the eye, this has been on a limited scale. In a fast changing world with rapidly growing knowledge about human vision, this situation appears to be changing.
Much more is now known about how images stimulate the visual system to create particular sensations or effects, and whilst traditional ways of composing and creating images remain as important as ever, designers now have an opportunity to develop and improve their practice by learning from vision science.
The paper describes work in progress that seeks to make clearer connections between established and newly emerging scientific vision knowledge and the creative practices used in design. Using a multimedia methodology to explain relatively new principles and provide data, the research shows how artists and designers can use knowledge of the visual system proactively to help control interest and meaning in their images.
Although this research is primarily aimed at pictorial design (including image design, graphical interfaces and typography) the findings are likely to be relevant to a wider audience in all fields of design where visual impact is an important consideration.
Panel 1: Imperialism and Globalisation
Panel 2: Online Citizens and Democracy
Panel 3: Television Audiences
Panel 4: Mediating Identity 1
Panel 5: Reporting the Conflict
Panel 6: Journalism and Social Responsibility
Panel 7: Sexual Representations in Cinema
Panel 8: Popular Culture
Panel 9: Still Image
Panel 10: Branding, Advertising and Corporate Cultures
Panel 11: Film and Theatre
Panel 12: Alternative Film
Panel 13: Feminism, Gender and Identity
Panel 14: Fan Culture and Online Audiences
Panel 15: Public Service Broadcasting and Radio
Panel 16: Design for Screen
Panel 17: Uses of Music and Sound in Film
Panel 18: Mediating Identity 2
Panel 19: Citizens, Interaction and the Public Interest
Note: Please be aware that the programme might be subject to changes. Please refer back to this page for a final programme overview nearer the conference. The final programme will also be communicated to delegates via email.
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