Concept Maps & Matrices as a Research Tools: The Museum of Art & Design

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  • 8/13/2019 Concept Maps & Matrices as a Research Tools: The Museum of Art & Design

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    View

    Interface

    NOVICETHE MAD

    ARTCOLLECTION

    StudentsAspiring Artists

    suchas

    Virtually

    Physically

    ControlledEnvironments

    Exhibitions

    Artifacts

    Experiences

    EXPERIENCE

    Decontextual Simulation

    SensoryDriven

    Stimulate Interests

    Develop

    VALUES INSPIRE Action

    Interaction

    Mental

    DevelopingOpinions

    aboutSocial / Cultural

    Positions

    Physical

    through

    whichmay/maynotofferaheightened

    by way of

    throu

    gh

    o f and / o r

    whichma

    y/maynotofferaheightened

    of which

    and

    Perspectives they INFORM and that may be and / or

    suchas

    whichutilize

    spacemotionscaleperspectivetextsound

    videotouchscentetc.

    suchas

    Making orResponding to

    Social / CulturalPositions

    suchas

    ifperspectivesarestronge

    n

    ough

    ifperspectivesarenotstrongenough,thenovicecanreturntotheCollectionforgreaterinsight

    Narrative Concept Map:

    Experiencing Art, Informing Values and Inspiring Action

    ordecidingtomovebackintothesystemor

    Culture

    History

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    BASKETSBEAD-WORK

    BRACE-LETS

    BROOCH-ES

    EARINGSFURN-ITURE

    GOBLETSHEAD-PIECES

    JEWELRYNECK-LACES

    NECK-PIECES

    PAPER WEAVINGPENDANTS QUILTS RINGSSTAINED

    GLASSTABLE-WARE

    VESSELSWALL

    HANGINGS

    WEAR-ABLEART

    by MAKER

    NAME / TITLE

    AGE

    NATIONALITYETHNICITY / RACE

    GENDER

    RELIGION

    LOCATION

    PHYSICAL CHARACTERISTIC

    POLITICAL &/ ECONOMICCOMMERCIALIZATION / COMMODIFICATION

    QUANTITY QUALITY

    COST ($)SUBJECT MATTER

    FUNCTION

    REASON FOR CREATION

    by TIME

    THEMATICALLY

    PERMANENT MAD: REVEALING THE COLLECTION

    DESCRIPTION: SEEKING THE OBJECT

    INVENTION: THE ARTIST SPEAKSREFLECTION: OBJECTS IN CONTEXT

    MATERIAL

    FORM

    SUSTAINABLE

    FOLK / SELF-TAUGHT

    CRITICAL POSITION

    MIXED-MEDIA

    SUBJECTIVE / OBJECTIVE

    TECHNIQUE

    FUNCTION

    IDEOLOGY

    CULTURAL / SOCIAL

    FUNCTION

    RITURAL

    CLASS DISTINCTIONSUSTAINABLE

    GEOGRAPHY

    TECHNOLOGICAL

    PRIMITIVE

    GENDER ASSOCIATIONSEPARATE DBWeightHeight

    HairComplexion

    Facial HairDisability

    average heightabove averagebelow averagepetiteshorttall

    longshortmedium lengthshoulder lengthblackfairdarkredgraygoing graylight brownblondwhitecurlyspikystraightwavybaldreceding hairline

    fairdarkolivepaletannedcleargoodspottypimpledfrecklesspotspimples

    moustacheclean-shavenbeard

    mentalphysicaldevelopmentalother

    fatoverweightslimthinskinnyplumpstockywell built

    YoungMiddle-aged

    ElderlyTeens

    20s30s40s50s60s70s80s90s

    SEPARATE DB

    Malawians Malaysians

    Maldivians Malians Maltese

    Manx Mauritians

    Mexicans Moldovans Moroccans

    Mongolians Montenegrins

    Namibians Nepalese

    New Zealanders (Kiwi) Nicaraguans

    Nigeriens Nigerians

    Norwegians Pakistanis

    Palauans Palestinians

    Panamanians Papua New Guineans

    Paraguayans Peruvians

    Poles Portuguese

    Punjabi Puerto Ricans

    Quebecers Runionnais

    Romanians Russians

    Rwandans Salvadorans

    So Tom and Prncipe Saudis

    Scots Senegalese

    Serbs Sicilians

    Sierra LeoneansSingaporeans

    Slovaks Slovenes Somalis

    South Africans Spanish

    Sri Lankans Sudanese

    Swedes Swiss

    Syrians Taiwanese

    Tanzanians Thais

    Tibetans Tobagonians Trinidadians

    Turks Tuvaluans Ugandans Ukrainians

    Uruguayans Venezuelans Vietnamese

    Welsh YemenisZambians

    Zimbabweans

    African AmericansAfrikanersAssyrians

    BasquesBengalisBerbers

    BoersCajuns

    CatalansChuvash

    CorsicansGreeks

    HutusIgboInuit

    JavaneseJews

    KarenKurdish

    KurdsMacedonians

    MalaysMori

    MongolNative Americans

    RomaSamis

    SardiniansSilesians

    SyriacsTamilsTatarsTutsisZulus

    BuddismChristianity

    HinduismIslam

    JudaismWicca / Witchcraft

    TaoismConfucianism

    JanismVoodoo

    AtheismHumanism

    SatanismScientology

    JEWELRYGijs Bakker, "Borghese" Brooch, 1998

    Boris Bally, Brave #2, 2006

    Jamie Bennett, Aiuola Brooch # 19, 1988Liv Blvarp, Necklace , 2002

    Peter Chang, Untitled (Bracelet), 1986

    Margaret De Patta, Pin, 1947

    Robert W. Ebendorf, Untitled, 1988

    Mary Lee Hu, B racelet #62, 2002Sam Kramer, Roc Pendant, 1958

    Otto Knzli, Ring for Two, 1980

    Charles Loloma, Untitled (Bracelet), 1968

    Bruno Martinazzi, Metamorfosi , 1992

    Myra Mimlitsch-Gray, Untitled (Ring II), 1993Maria Phillips, Swell, 2005

    Hiroko Sato Pijanowski, Gene Pijanowski, Neckpiece Gold No. 1, 1985

    Wendy Ramshaw, Set of Six Ring Stands & Rings , 1981

    Arthur Smith, Neckpiece , 1968

    Rebecca Strzelec, Line Brooch, from the Shorthand Series, 2004Jennifer Trask, Blue/Black Necklace, 2003

    WOODLiv Blvarp, Necklace , 2002

    John Eric Byers, Hat Box (Chest of Drawers) , 1998

    Wendell Castle, Music Rack, 1964Tom Eckert, Aberrant Ascension, 2002

    Wharton Esherick, "Hammer Handle" Chair, c. 1950

    Harvey Fein, MAD, 2004

    Donald Fortescue, Self-Contained , 2000-2001

    Frank Gehry, Power Play Armchair, 1991Michelle Holzapfel, David Holzapfel, Story Book, 2002

    Robyn Horn, Jack R. Slentz, Flintstone Mudder (583), 1998

    Gyngy Laky, Red Birds, 1988

    Sam Maloof, Rocking Chair, 1957

    Wendy Maruyama, Homage to Jimmy Carter, 1991Judy Kensley McKie, Cabinet Doors, 1984

    Edward Moulthrop, Figured Tulipwood Spheroid , 1985

    Philip Moulthrop, White Pine Mosaic Bowl, 1996

    Marjorie Schick, Necklace , 1988

    Brad Sells, Helio , 2003Wendy Stayman, Box on a Stand, 2002

    Bob Stocksdale, Untitled (Bowl), c. 1975

    METALBoris Bally, Tableware - Five Piece Placesetting, 1991

    Constantin Boym, Eighteen Buildings (from the Missing Monuments Series) , 1997-1999

    Mark Brazier-Jones, Guardian Nightlight, c. 1999

    Harlan Butt, Earth Beneath Our Feet: Incense Burner #17, 2003Ken Carlson, Untitled , 1992

    Chunghi Choo, Decanters, 1980

    Betty Cooke, Neckpiece , c. 1959

    Margaret De Patta, Pendant , 1961

    Jenny Edlund, The Titaniumplate, 2002Mary Lee Hu, Bracelet #62, 2002

    Myra Mimlitsch-Gray, Melting Teapot, 2005

    Albert Paley, Lectern, 1989Ronald Hayes Pearson, Chalice , 1959

    Ronald Hayes Pearson, Neckband 8-64, 1992John Prip, Teapot, 1957-59

    Merry Renk, "White Cloud" Wedding Crown, 1968

    Jim Rose, No.16 Eighteen Drawer Seed Cabinet , 1996

    Jin-Sook So, Untitled Steel Mesh, 2006

    Hiroshi Suzuki, Dual Rivulet VII, 2005Emmy van Leersum, Bracelet , 1969-70

    QUILTSTerese Agnew, Portrait of a Textile Worker, 2005

    Ruth Clement Bond, Tennessee Valley Authority Appliqu Quilt Design of Man with Crane, 1934

    Lia Cook, Crazy Quilt: Royal Remnants III , 1988

    Nancy Crow, Bittersweet XIV, 1981 Michael Cummings, I'll Fly Away, 1991

    Peggie L. Hartwell, African Skies and Southern Soil , 1994

    Sanae Hattori, Romanesque Cherry Blossoms , 1992

    Marilyn Henrion, Byzantium II, 1998

    Kyra E. Hicks, Patriotic Quilt, 1995Michael James, Waves 2: Storm Surge , 1988

    Anne Marie Kenny, Integrated Circuits III, IV, V, VI, IX, X Industrial Quilt tm , 2000-2001

    Chunghie Lee, Durumagi, 2001

    Barbara Macey, Homing In, 1994

    Carolyn Mazloomi, The Family...Solid Like a Rock , 1991-1993Natasha Muradova, Reality Was Born from the Traces of Dreams , 1994

    Faith Ringgold, Shades of Alice, 1988 /93

    Joy Saville, November Eve, 1993

    Katherine Westphal, Tiepolo, 1969

    Charlotte Yde, Personalities-Feeling Blue, 2001

    SEPARATE DBAfghansAfrikanersAlbaniansAlgerians

    AmericansAndorrans

    AngolansArgentinesArmenians

    AromaniansArubans

    AustraliansIndigenous Australians

    AustriansAzeris

    BahamiansBahrainis

    BalochiBangladeshis

    BarbadiansBelarusians

    BelgiansBelizeans

    BoersBosnians

    BraziliansBretons

    BritishBritish Virgin Islanders

    BulgariansBurkinabsBurundians

    CambodiansCameroonians

    CanadiansCatalans

    Cape VerdeansChadiansChileans

    ChineseColombians

    ComoriansCongolese

    CroatiansCubans

    CypriotsTurkish Cypriots

    CzechsDanes

    Dominicans (Republic)Dominicans (Commonwealth)

    DutchEast Timorese

    EcuadoriansEgyptians

    EmiratisEnglish

    EritreansEstonians

    EthiopiansFinns

    Finnish SwedishFijians

    FilipinosFrench citizens

    GeorgiansGermans

    Baltic Germans Ghanaians

    GibraltarGreeks

    Grenadians Guatemalans

    Guianese (French)Guineans

    Guinea- Bissau nationalsGuyanese

    Haitians Hondurans

    Hongkongers Hungarians

    Icelanders Indians

    Indians by state Non-resident Indians

    IndonesiansIranians (Persians)

    Iraqis Irish

    IsraelisItalians

    Ivoirians Jamaicans

    Japanese Jordanians

    Kazakhs Kenyans

    KoreansKosovo Albanians

    Kuwaitis Lao

    Latvians Lebanese Liberians

    Libyans Liechtensteiners

    LithuaniansLuxembourgers

    Macedonians

    ARTOBJECT

    MetalFiber

    WoodCeramicEnamal

    GlassAnimal

    PaperStones / Gems

    Synthetic

    VesselFlat

    SculpturalScale

    OrganicGeometricWearable

    HangingStand Alone

    PiecesSolid

    DimensionColor

    DomesticProfessional

    PlayUtilitarianAesthetics

    subjectiveobjective

    beads

    fursleather

    bowlvasepoturn

    Moments

    time: yearclass

    function: domestic

    maker: ethnicityform: vesselmateriality: mixed-media

    culture: westernculture: low-techmateriality: sustainable

    maker: femalehigh-tech culture

    function: professional

    duration of useritualcritical position - spatial

    maker: locationsubjective theme

    form: color

    materiality: metallow-tech cultureritual

    function: playclass distinctionmateriality: mixed-mediaideology

    function: utilitarianduration of use

    maker: locationtime: decadeclass distinctioneastern

    function: aestheticsmateriality

    domesticsustainabletime: year

    ideologyclass distinctionmaker: gender: female

    NATURAL

    nouna religiousor solemnceremony consisting ofa seriesofactionsperformed according to a prescribed order : the ancientritualsofChristianworship | the role of ritualinreligion. a prescribed order of performing such a ceremony, esp.one

    characteristic of a particular religionor church. a seriesof actionsor type ofbehavior regularly and invariably

    followed by someone: her visitstoJoybecame a ritual.

    adjective [ attrib.]of, relating to, or done asa religiousor solemnrite : ritualburial. (ofanaction) arising fromconventionor habit : the players

    gatheredfor the ritualpregame huddle.

    noun1 (pl. -gies) a systemofideasand ideals, esp.one

    that formsthe basisofeconomic or political theoryand policy : the ideology ofrepublicanism.

    the ideasand manner of thinking characteristic ofa group, social class, or individual : a critique ofbourgeois ideology.

    archaic visionary speculation, esp.ofanunrealistic or idealistic nature.

    2archaic the science ofideas;the study oftheiroriginand nature.

    adjectiveable tobe maintained at a certainrate or level :

    sustainable fusionreactions. Ecology (esp.ofdevelopment, exploitati

    on, oragriculture) conserving anecological balance byavoiding depletionofnatural resources.

    able tobe upheld or defended : sustainabledefinitionsofgood educational practice.

    Social classesare the hierarchicalarrangementsofpeople in society aseconomic or cultural groups.Classisanessential object ofanalysisfor sociologists,anthropologists, political economists, andsocial historians.Inthe social sciences,social classisoftendiscussed intermsof'social stratification'.-wikipedia (31Mar2010)

    primitive advancedhistoric contemporary

    useful artifact toa work ofartand vise versasocial distictionthrough artifacts100% aesthetic100% utilitarianreligioususer role

    legislationofaccidentlegislationby deliberationand design

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    INTERFACE DESIGN:Establishing user andinterface BEHAVIORS through

    AFFORDANCES (y-axis) andWAYS OF SEEING (x-axis) thecollection at the Museum of Art

    and Design (MAD) in NYC.

    FORM

    & /

    TECHNIQUE

    MATERIALITY SOCIOCULTURAL

    SOCIOPOLITICAL

    & /

    SOCIOECONOMIC

    TIME

    4

    deep explorationof artifacts through

    image capture, scaling, rotation, deep

    physical examination can educate users

    on the effects of technique on form.

    what if you could get inside the artifacts

    form to understand technique?

    how materials address contemporary

    issues; recycling, environment,

    sustainability, healthcare, etc.

    materials breakdown to revealorigin

    can revealthe duration of use of an

    artifact; lifespace w/in a community

    how an artifact changes use over time

    how an artifact advances / works against

    the progress of a culture / society

    how does the subject matter of an artifact

    address an artists perspective?

    historical geography revealsthe political

    positioningof an artifact in history

    LOCATION

    user orientation aids in the understanding

    of how form is derived from technique;

    using exploded views, to revealprocess,

    w/the ability to exploreprocess while

    moving around and when capturedvia

    photo.

    enables viewer to make connections

    between artifacts in exhibit (critical

    position)

    how is a curators narrative evident in

    material connections?

    1

    CRITICAL POSITION: connectionsamong

    messages, movements, larger social issues

    (global warming, etc.), gender association,

    representation of primitive to advanced

    societies revealedin the artifacts

    geography can revealinformation about

    the socioeconomic status

    CATEGORY

    form can revealinformation on gender.

    ornamentation will reveal information

    about social status

    enables viewer to make finer material

    connectionsbetween multiple artifacts;

    illuminating material connectionsthat

    may not be evident

    how materials differ within function, classdistinction, gender association,

    material culture allows user to explore

    meaning of, and social issues evident w/

    in artifacts

    function revealsgender associations; vise

    versa

    access and storesubject matter to create

    a collection

    3

    form, function, scale and decoration

    can revealinformation about the

    socioeconomic status an artifact

    representsthe circumstances of creation can reveal

    the economic and political climate an

    artifact was created in

    CONTINUUM

    revealthe function of an artifact;

    utilitarian to aesthetic; a breakdown of

    creation process

    2

    will revealwhere an artifact sits within

    class distinctions, gender association

    material breakdown; depth, durability,

    how does the function of an artifact shift

    over time; utilitarian to work of art

    isolated to cosmopolitan cultures in

    relation to subject matter / social issues

    the circumstances of creation (responsive

    to proactive) can help a user understand

    the political climate of a place or time

    THE SYSTEM CAN: Reveal, Inform, Recommend, Explore, Recognize (Positioning, Pattern) and Predict, Store / Capture / Collect and Direct

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