The purpose of this article is to challenge the notion of small studio format delivery expectations in art and design education. Our research reports on an introductory Digital Photography course design that produced equivalent learning outcomes in a large enrollment lecture format. The objective of the project was to introduce (1) a case-based approach to teaching and learning and (2) a multitiered feedback model. The positive learning outcomes produced by this course design call into question the prevailing regimes of teaching creative production within the limits of small studio pedagogy. In addition, the multitiered feedback model we propose can be extended much beyond a classroom setting to include 'crowdsourcing' as a feedback model in Massive Open Online Courses, also known as MOOCs. Our approach is also highly suggestive of further investigation into applying Kant's notion of the sensus communisthe shared subjective but universal sense of the aesthetic -to common issues surrounding creativity, scale and evaluation.
This essay elaborates a field of general aesthetic considerations relevant to the sonification of data. A set of dialectical tropes are introduced to define the possibility space for organised sonified data: data-in-itself and the listener-for-itself; cognitive support and sabotage; and the Peircean triad of rheme–dicisign–argument. Taken together, these three dialectical parameters elaborate a conceptual space in which strategies can be sought for mapping acoustic parameters to data features, data structure and sonic transformations, all with respect to listener reception. A work-in-progress is discussed in connection with this general aesthetic field, and considerations of the aesthetic space are applied to several works. Finally, the notion of data verité is explored in connection to ‘big data’ and issues related to the transformation of data into information generally.
This article explores the hermeneutic dimension of sound design by conceptualizing five affective modalities that could be understood as interpretive pre-dispositions employed when creating sound–image relationships.
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