Novos Pensamentos &amp; Reflexões Emergentes

This article presents an artistic practice-led research project that asks: How can communication design be used to raise awareness about the effect of microplastics on coral reefs, encouraging a shift in the mentality of single-use plastic? The study highlights the scale of the issue of micro-plastics, where environmental pollution stemmed from the throw-away society, intending to ignite action – from micro-plastics to micro-changes. An opportunity arose to visually communicate how such a desirable product, the micro plastic, is destroying ecosystems. The project employs a reflective inquiry methodology supported by a heuristic approach, surfacing the tacit and the experiential to heighten self-awareness within the researchers' practice. This approach enables the researcher to draw connections between the subconscious and unconscious mentality, challenging the stigma and pre-existing assumptions. The project explores risograph printing, a digital screenprinting method, complimented with the use of laser cutting to encourage the reader to engage with the artefact and shift the mindset from unconscious buying patterns to become a conscious consumer. In exploring these methods, the project draws on visual inspiration through contextual knowledge. Gathering information and understanding the scale of the issue contributed to the originality and the essence of artefact. The design artefact takes the form of a risograph publication design, embracing the tactility and sustainable practices of the risograph printer in responding the research question. The artefact encompasses the essence of microplastics, uncovering the truth that lies within its aesthetic appearance. Significantly, the project is a conscious, self-reflective inquiry that contributes to the field of knowledge surrounding designing for good, and to giving the ocean personhood. It contributes to discourse about practice-led research in graphic design to engage the reader in behaviour change.

Section: Abordagem Heurísticaunclassified

“…The heuristic approach uses informal methods and employs a process of trial and error. It relates to the ability to find knowledge, patterns, or the desired result by intelligent questioning and guesswork Mortensen Steagall, 2022;Mortensen Steagall, 2019;Mortensen Steagall & Ings, 2018;Nesteriuk & Ings, 2018).…”

Section: Heuristic Approachmentioning

confidence: 99%

Less than 5mm — The unseen threat: A practice-led investigation into micro-plastics effects on coral reefs

Lewis

Steagall

2023

“…O surgimento da prática criativa como uma forma de pesquisa é indiscutivelmente o desenvolvimento mais empolgante e radical que aconteceu na universidade nas últimas três décadas e está aumentando sua influência atualmente (Nesteriuk & Ings, 2018). Traz uma maneira dinâmica de pensar a pesquisa, com novas metodologias para conduzi-la e uma maior conscientização sobre os diferentes tipos de conhecimento que a prática criativa pode transmitir (Smith, 2009).…”

Section: Pesquisa Conduzida Para a Práticaunclassified

“…O trabalho de Pesquisa em Design foi entregue misturando palestras e sessões de estúdio para oferecer métodos, teorias e abordagens para apoiar a produção criativa de forma construtiva. Os conteúdos foram planejados para trazer novas formas de pensar sobre a pesquisa conduzida pela prática e métodos para conduzi-la (Nesteriuk & Ings, 2018), sensibilizando para os diferentes tipos de conhecimento, como dimensões incorporadas e tácitas. O objetivo era fomentar a produção de conhecimento que a prática criativa pode transmitir ao mesmo tempo em que cria um corpo de informações que dá uma visão do processo criativo.…”

Section: Comentário Críticounclassified

“…The emergence of creative practice as a form of research is arguably the most exciting and radical development to happen in the university within the last three decades and is currently increasing in influence (Nesteriuk & Ings, 2018). It brings a dynamic way of thinking about research, with new methodologies for conducting it, and a raised awareness of the diferent kinds of knowledge that creative practice can convey (Smith, 2009).…”

Section: Practice-led Researchmentioning

confidence: 99%

See 1 more Smart Citation

Creative practice as research: an undergraduate practice-led project in Communication Design in New Zealand

Steagall

Grieve

2023

In the past three decades, designers have adopted an innovative position as practitioner- researchers in universities by conducting academic research through their creative practice. Many scholars have acknowledged and discussed the will to communicate through creative means. Such endeavours have always been part of the learning and teaching in Graphic Design but how practice-led research sits within university institutions at the undergraduate level requires further investigation. This article offers insights into five design practitioners developing research projects led by the practice, of academics at Auckland University of Technology, in Auckland, New Zealand. These undergraduate candidates are undertaking research by creative practice in the broad field of Visual Communication Design. These new practitioners/researchers to the academic space feel profound and unsettled tensions, for whom traditional research approaches seem too ordered to capture the dynamism of the inquiry process, which lies at the heart of their creative practice. They seek an approach that can offer high levels of interdisciplinarity and focus on skill and competence to produce insights into a socio-material iterative design process. The article presents, with a commentary on practice, five projects operating in the context of complex problems young designers face and their understanding of the design work as it relates to practice and research. The article contributes to advancing a shift in higher design education towards creative practice as an approach to research, promoting the social and the cultural rather than design that is industrially driven. While working within this scope, it is envisaged that some arguments and inferences will have applicability beyond the Aotearoa and for other creative practices, practitioners and researchers.

O Ensino de Design no Brasil: Formação das Escolas, Diretrizes Curriculares Nacionais e ENADE

Lona¹,

Barbosa²

2020

Este artigo aborda as diferentes análises sobre o ensino nos cursos de Design, tratando desde o desenvolvimento dos cursos, das Diretrizes Curriculares Nacionais dos Cursos de Design e uma avaliação crítica sobre a validade do ensino reflexivo para a realização do ENADE por parte dos estudantes. As análises são importantes uma vez que auxiliam no entendimento de como os cursos devem ser estruturados e quais as expectativas que têm em relação aos resultados do ENADE.