CHAOS AND ORDER AS DESIGN PRINCIPLES IN EVOLUTIONARY AND CELLULAR BIOLOGY AND THEIR EXPRESSION IN THE VISUAL ARTS: A CASE STUDY OF HUMAN�ROBOT COLLABORATION

As a species of hunter and gatherer, we as humans are driven to collect things that we can use to sustain our lives, but once the intrinsic need of this process is met, animals of all sorts will collect objects for other purposes. To the contemporary artist, this innate sense of object envy or the desire to collect has become a driving force behind much contemporary art practice and is firmly posited in art theory. Patterns are emerging within collecting processes that have become templates for unique styles of representation, be they conceptual or practical. This research probes beneath the surface of artistic practice in relation to collected object inclusive artistic practice in the search for a model to explain the phenomena which has become more prevalent over the past century. The historical discourse of object collecting, classification and display from the Medieval Reliquary, cabinets of curiosities, early museums and the modern and contemporary museological frameworks of the twentieth and twenty-first centuries forms the basis of this research. It is hypothesized that this historic continuum of collection processes has generated culturally and socially influenced object interaction behaviours that underpin the manner in which humans collect, classify and display objects. These historically informed behaviours have, over the span of history, resulted in a set of codified practices of collecting, classification and display. These practices, which have been repeated over the course of object collecting history, appear to have been adapted and incorporated into contemporary visual arts practice in those instances where artists engage with collected objects. To investigate the resonances of characteristic practices of historic collection processes that can be observed in contemporary collected object inclusive artistic practice, a series of researcher generated theoretic paradigms titled the Butterfly Pin Constructs, has been developed. The Butterfly Pin Constructs consist of five individual constructs that represent key elements of collecting, classification and display which have persisted and evolved since the Medieval period. These theoretic representations provide a platform upon which to discuss collected object inclusive artistic practice and the impact of the legacy of collection processes upon this contemporary phenomenon. This research utilises interview data from four Australian sample artists and the visual analysis of a number of their works of art to interrogate the framework of the Butterfly Pin Constructs and the role they may fulfil within the creative process. The Butterfly Pin Constructs, as embodiments of key characteristics of historic collection processes, are the central framework upon which an understanding of the phenomena of collected object inclusive practice can be positioned. As such, the interview responses and works of art of the late Tom Risley, Donna Marcus, Patrick Hall and Glen Skien, each of whom engage in collected object inclusive artistic practice, offer a sample set of this artistic phenomenon upon which to assess the validity of this theoretic model as offering an alternate paradigm to examine collected object inclusive artistic practice.

One of the concepts of human-computer interaction is the usability of websites, consisting of features such as efficiency, satisfaction, memorability, and learnability. Usability is particularly important in the case of websites that the user is expected to learn on their own. The main aim of this study is to evaluate the usability of user interfaces of websites and, based on this, to find how this evaluation is affected by the application of universal design principles. The objects of the study are two websites, one complying with the principles of universal design - created for the purpose of the study, and the other – an existing commercial website operating in the market, which does not follow these principles. Three hypotheses are defined: 1) effectiveness and efficiency of analyzed websites are higher for a service that followed the principles of universal design than a website that did not comply with these rules; 2) the quality of the user interface is greater for the service fulfilling the principles of universal design; 3) the satisfaction with the interaction with the interface is greater in case of websites conformed to the principles of universal design. The study uses two methods: eye tracking and questionnaires. The experiment involves 10 participants who had to perform a scenario consisting of 10 instructions that involved locating various elements in each of the tested GUI interfaces. The eye activity is recorded using a Gazepoint GP3 HD desktop eye tracker, which makes it possible to determine the effectiveness and efficiency values of using the analyzed interfaces. Each participant was also asked to fill out two questionnaires: the Lublin University of Technology one and the Questionnaire for User Interaction Satisfaction. The study proves the truth of the hypotheses, that is, the positive impact of universal design on the usability evaluation of user interfaces.

PurposeDisabled children often face problems when utilising public playgrounds, participating in activities and enjoying the areas due to insufficient equipment and bespoke spaces for their needs. This paper compares the values perceived by children with and without a disability of playgrounds in urban areas, considering user-centred design (UCD) and universal design (UD) principles.Design/methodology/approachThis study examined the extent to which the children’s playground in a selected case study, Lake Titiwangsa Park, Kuala Lumpur, has incorporated the UD principle and designed ergonomics in the planning and designing of the play equipment to support children with various abilities with different disabilities ranging in age from 3 to 10. The study conducted site observations, such as facility measurement according to UCD and UD principles and ergonomic assessment with photographic documentation, at Lake Titiwangsa Park playground. Semi-structured interviews with 11 children’s playground design experts involving landscape designers and policymakers were also undertaken. The photographic documentation was analysed descriptively, and semi-structured interviews were thematically analysed.FindingsThe results of photographic documentation indicated that despite the effort to incorporate the UCD and UD principles, the selected site was unsuccessful in supporting children with physical disabilities due to poor layout, lack of assistive features and limited application of universal design principles with different abilities. The interview results ascertained that this was due to poor knowledge among designers and policymakers of UCD and UD principles and their lack of proper understanding of children with physical disabilities’ needs.Originality/valueThis paper contributes by raising awareness among designers and policymakers about UCD and UD principles as a way forward to enhance the development of facilities for people with special needs in the future.

The study presents an analysis of two versions of a car rental website’s graphical interface in terms of usability and accessibility. a literature review was conducted to clarify concepts such as universal design, usability, and user experience. Two types of the car rental website were developed: one adhering to universal design principles and the other not considering these principles. The research employed tools such as WAVE, surveys, the LUT checklist, and an eye tracker. Metrics like time to first fixation and user ratings were analyzed. The experiments demonstrated that the website following universal design principles is more intuitive and user-friendly. Heatmaps and gaze paths illustrate that the version developed according to universal design principles significantly facilitates users in finding the information they need. Survey results proved that users rate websites developed according to universal design principles significantly

Contemporary artistic practices are amalgamated and separated in profound pragmatic dynamics in which creators, curators, marketing practices, the public, and context are involved with the critics lost. It is making for the sake of making, and even imitating making. There are no points of reference from the creators that allow their work to be sustained with theory. Reflection in inside and outside creation seems like a paradigm lost in the world of visual arts. However, this is a fallacy, because every action corresponds to a thought, a previous idea. A work has several meanings. Interpreting it involves a selection of the relevant or pertinent aspects for a coherent understanding. Explaining art is, thus, a synonym of understanding it critically and methodologically. The fundamental question is: what significance and meaning does it have? Based on this question, the intelligence is forced to go beyond contexts and languages. Interpreting a creation is learning to live in the horizon of its own circumstance.

The main emphasis of the article is on the origins of performative manifestations until they reached a conscious conceptual development with repercussions on contemporary artistic practices. Here we will see how the figure of Oskar Schlemmer, who had started as an artist in the visual arts,was gradually metamorphosed until concreting performative and action experimentations that carried out representative expressions of the utopian laboratories within the vanguards of the first half of the twentieth century; thus contributing to the creation of the notion of performances with a wideand rich possibility of using materials and with a conceptual depth of great depth in constant relation with the most groundbreaking philosophical currents of the time. In addition, he processed and carried out, alone or with the collaboration of several artists, all the known modalities of creative expressions that occurred in parallel with the technological development. And to this was added the research component on the body, human syche, biocentrism, color, materials, music, lighting and prosthetics, among otherpoints of interest, and on which will delve into the present work.

The main purpose of this research is to determine the usability of augmented reality in open and distance learning environments in accordance with universal design principles, and to make predictions for the future by gathering expert opinions on this subject using the Delphi technique. The Delphi technique was applied to 14 expert participants for 3 rounds as the primary data collection tool with open ended questions based on the theoretical framework. Structured interview questions were used as a secondary data collection tool and were applied during an academic exchange in China. In the Delphi technique used as the primary data collection tool, 92 themes were evaluated by experts and accepted as usability principles by end of this research. Therefore, 92 themes under 21 titles were presented for the use of augmented reality within the framework of universal design principles in open and distance learning. This research may be the first unique study on the usability of augmented reality not just as the convergence of this technology with open and distance learning environments but also incorporating the learning and communication dimensions of this convergence, thereby contributing to the literature of the field. It is imperative to determine the usability of augmented reality in open and distance learning, along with the “how” of this use in application. In this regard, the findings of this study are significant in shedding light to the enrichment, diversification and increased interaction of open and distance learning environments in accordance with universal design principles, bringing a new perspective to how a different technology convergence may be conducted, providing further accessibility.

<p class="Abstract"><em>City Parks in terms of social functions can be used as a place for social interaction, a means for sports, play and recreation. As a public facility, city parks must accommodate all groups of people, ranging from normal people, children, disabled people and the elderly. One way to provide facilities for all visitors is to apply universal design principles. Universal design aims to facilitate everyone's life through the creation of products, the built environment and communication to be used by as many people as possible and provide added value for everyone. The purpose of this study is to examine the implementation of universal design principles in Taman Samarendah.The location of the study was in Taman Samarendah, using a descriptive qualitative research method. Seven principles of universal design and Permen PUPR No.14/PRT/2017 becomes the guideline and standardization in this study. The results of this study indicate that Samarendah Park has not fully applied the universal design principles and accessibility standards. The most universal principles of design that are not applied are the principle of tolerance for error and the principle of low physical effort. The principle that is most widely applied is the size and space for approach. </em></p>

The research investigates, through a theoretical and practical approach, the relationship between the aesthetic dimension of the human sensible experience and the phenomenon of production of subjectivities -in a dialog with the field of thought on aesthetics -, analysing a possibility, offered by the experimentation in contemporary artistic practices, of flexibilization, or even rupture, with the visibility and materiality regimes that configurate man's shared reality. A set of artistic practices I conducted throughtout the research is taken as reference, including works from artists such as Marina Abramovic and Ulay, Chris Burden, Orlan, Stelarc and Tehching Hsieh, whose poetics consist essentially on the intertwining of daily processes and artistic practices; a displacement poetics. It is understood that through this aesthetic production it is possible to contemplate strategies of the (subject's) body analogous, in specific terms, to an idea of processes of subjectivation that allow the subject to have an experience of displacement of self onto itself, a problematization of the very process of constitution of a subjectivity. This way, an understanding of the means through which aesthetics may configurate the subject's mode of existence is intended, delimitating the way they operate in the world through its manifestations, as is the questioning of the possibility of reconfiguration of such operations through the aesthetic formative intention of contemporary visual and plastic arts.

The work is devoted to the application of the universal design principles (UDP) in design of the street and urban road environment improvement. The authors suggested a new method of street and urban roads improvement elements placing on the basis of spatial corridor principle modeling. This method ensures the implementation of seven principles of universal design: equitable use; flexibility in use; simple and intuitive use; perceptible information; tolerance for error; low physical effort; size and space for approach and use. To apply the proposed method, street and urban roads beautification elements have been distributed by importance level into four groups and elements of each level have been placed in defined spatial corridor. Authors have designed the examples of application of the UDP in the street and urban road environment improvement and examples of inclusive street and urban road environment formation based on the principles of universal design by suggested method.

This article has a focus on the semiotic value of contemporary Indian art practice. It takes a fundamental position that in India, the conceptual response to contemporary art (painting and visual art) needs to be understood for its potential to create ongoing interpretations, and not just for what it aims its potential meaningful destination to be. The article further emphasizes the need to understand these new expressions in terms of Peirce’s notion of the ‘Interpretant’, against the established fact that they are fundamentally distinct from the traditional art practices in their intent and purpose. The impetus for this position comes from the significant shifts, continuities and discontinuities that art in India has seen since ‘modernism’. Traditional Indian theories had highly developed treatises elaborating upon the formal processes that led to an experiential ‘object’ of transformation and ananda (joy). The attempt is to call for analytical frameworks that semiotic theory can provide to the works of Indian artists who have, ‘ontologically progressed beyond the initial appeal of Modernism and the attendant desire to use acknowledged Western idioms. More than anything else, they respond to politics, and work to impact social justice. This is where tradition appears-via narrative’ ( Seid, 2007 , p. 13).

ABSTRACTThe following editorial sets out the context for this special edition of the Journal of Visual Art Practice by situating contemporary Chinese art and its critical engagement with society and politics — both within and outside the People's Republic of China and Taiwan — in relation to a wider history of modernist, postmodernist and contemporary visual art theory and practice. It also outlines the particular social, economic, cultural and political conditions in relation to which contemporary art is produced and received within the PRC and Taiwan as well as differences between localized Chinese and international perspectives on the critical significance of contemporary Chinese art.

Institutionalized government support for artwork incorporated into transportation environments has a history spanning more than 80 years in the United States. Although the Federal Transit Administration has a history of policy guidelines, and the American Public Transportation Association, and Americans for the Arts have developed best practices for the successful integration of artworks during the planning and construction phases of transportation projects, little research exists concerning the public life of those artworks during the operational phase, beyond maintenance concerns. This paper examines an artist-led tour program initiated by the Los Angeles County Metropolitan Transportation Authority (Metro), as a case study, to demonstrate one way contemporary artistic practices are strategically implemented to further community engagement, by extending the reach of existing, integrated artworks during a capital project’s operational phase. The study begins with a context for public art in transportation environments, including a brief overview of the tradition of government support for public art in the United States. Artworks integrated within the Metro system are examined with a focus on features that engage customers as landmarks, inspire responses from participants rooted in the memory of historical events or popular culture, and respond to pre-programmed cues. Lastly, this research discusses the transformational value offered by contemporary artistic practices rooted in relational aesthetics, approaches that prioritize transitory experience over material product, by providing continued engagement with communities beyond the planning and construction phases, as examined through an artist-led tour program developed by Metro.

How can we make, unmake, and remake the world by playing through art? This is the thrust of Tim Stott’s inquiry throughout Play and Participation in Contemporary Art Practices. Echoing Luhmann’s ‘O...

"Incarnate: presence and vestige in contemporary art practice is a body of sculptural work presented as a series of human-scale physical vessels intended for installation in the gallery and other settings. In conjunction with a supporting visual and textual document I utilize these vessels to posit and explore a primary parallel between the Christian concept of The Incarnation and an art process traditionally conceived as creative experience made manifest. My central argument is that the soteriological idea of ‘God made flesh’ corresponds to fundamental artistic aspirations whereby abstract concepts and propositions are rendered as tangible material form. In this way the sculptural work seeks to reflect divine aspirations while also prefiguring mortality, death and the potential for transfiguration. Core concepts of presence, absence, body-space, and trace together with their implicit Christian resonances hold the vessels together as a coherent series of research outcomes. Throughout, the ambiguous entity of the tomb or crypt reappears to trouble the viewer with their own precarious relation to corporeality. It is in this context that Incarnation remains a pivotal paradoxical theme of the thesis: how are we to consider embodiment as a ‘containment of form’ yet also as the miraculous marker of a seemingly always-impossible ‘transcendence’? As a PhD by visual research my written text is designed to exegetically extend and articulate important concerns circulating within the visual work produced as the thesis."