Reflexões Sobre a Imagem Digital Na Contemporaneidade

Self Cite

The spaces women take up in society have been shrouded in shame, disenfranchisement, and contention, with the kitchen as a focal point of this argument. This article aims to suggest ways in which women can take up space in the kitchen, this integral pillar of society that upholds connection and creativity as an art form. Adjacent to this subversive shift of connotation is the shifts within feminism, as feminist perspectives on women within kitchens develop alongside the historical movement. In this project, the researcher has utilised a post-positivist paradigm under an auto-ethnographic methodology to document, analyse, and celebrate the variations within feminist perspectives on creativity within domestic spaces through textile and publication design. In order to shift perspectives on these domestic spaces, the design outcomes paid tribute to feminist artists who made the kitchen their studio and others who captured the kitchen as an artistic contribution to the feminist perspectives on these spaces. Through heuristic methods of testing, experimentation, and physical outputs, the researcher curated a series of design artefacts that distil the visceral experiences of how women take up space in kitchens. Through publication design, there is a documentation of the shifting feminist perspectives on women's domestic spaces through contrast and analysis of articles, poems, recipes, and artist insights. These contexts are supported by the tactility of the physical design outcome made using textile, pottery, and printed matter. The research distils and provides a destination for the celebration of ways in which women take up space within the kitchen and the integral artistic creations within those spaces.

Section: Documentação Experiencial E Poesia Como Um Diáriounclassified

Section: Experiential Documentation and Poetry As A Journalmentioning

confidence: 99%

Painting the Kitchen Tables: Exploring women's domestic creative spaces through publication design

Brown¹,

Steagall²

2023

Self Cite

“…A pesquisadora explorou e intuiu seu caminho usando caminhos internos e reconhecendo as pessoas vivas e habitantes do espaço. Nesse sentido, a investigação heurística é ativada por uma incorporação contínua na criação das saídas de design (Mortensen Steagall & Grieves, 2023;Mortensen Steagall, 2022;Mortensen Steagall, 2019;Mortensen Steagall, 2021).…”

Section: Pesquisa Heurísticaunclassified

“…The researcher explored and sensed her way forward using internal pathways and acknowledging the living people and inhabitants of space. In this sense, the heuristic enquiry is activated by a continuous embodiment in creating the design outputs (Mortensen Steagall & Grieves, 2023;Mortensen Steagall, 2022;Mortensen Steagall, 2019;Mortensen Steagall, 2021).…”

Section: Heuristic Enquirymentioning

confidence: 99%

Awakening takes place within: a practice-led research through texture and embodiment

Ardern

Steagall

2023

Self Cite

This article explores contextual research and creative design methodologies to understand the relationship between the researcher’s embodied approach and the produced artefact. The question of: ‘How might I honestly depict my own embodied textural world to awaken others?’ frames the project in a way which allows the designer/researcher to produce work organically and honestly. Encompassing different navigational directions and frameworks of information allows personal understanding to pervade through. The ideas of place, nostalgia, storytelling and texture are explored throughout the physical artefacts of a textural archival book ‘Awaken’ and a series of posters. The methodology of a heuristic-led enquiry activated by embodiment enabled the translation into something more significant than an abstract thought. Exploring the contextual knowledge of texture and its multi-sensory ability, nostalgia and embodiment, frames the project in the broader context allowing for a critical work commentary.

“…O consumismo está em toda parte, em todos os aspectos da sociedade e, de certa forma, consumiu nossas vidas. As imagens têm um impacto profundo nas atitudes do consumidor com base na concepção de elaboração de imagens e nas funções psicológicas das imagens (Mortensen Steagall, 2021;Mortensen Steagall, 2020). Miles (1998) afirma que não há uma definição clara de consumismo, pois foi observado que existem complexidades que distinguem os dois termos de 'consumismo' e 'consumo'.…”

Section: Consumismounclassified

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

Lewis

Steagall

2023

Self Cite

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.