I marts 2023 opstod der polemik omkring Frederiksberg Biblioteks formidling af Renée Toft Simonsens roman Børnene fra Sølvgade (2019), hvor oplæsning blev kombineret med dragperformance og et interaktivt børneprogram. Arrangementet affødte kritik fra politiske aktører, som anklagede biblioteket for at fremme en identitetspolitisk dagsorden og for at udsætte børn for kønsforvirring. Artiklen undersøger denne polemik som en kulturpolitisk reaktion på en børnelitterær fortælling, der iscenesætter queerslægtskab som alternativ til krononormative barndomsdiskurser. Med afsæt i teoretiske begreber fra Marah Gubar, Kathryn Bond Stockton, Jack Halberstam og Elizabeth Freeman analyseres romanens fremstilling af børn som sidelænsvoksende subjekter, der indgår i relationer baseret på omsorg frem for biologisk eller juridisk forældreskab. Artiklen viser, hvordan karakteren Miss Nelly – en homoseksuel transvestit med feminint udtryk – fungerer som omsorgsfigur og modstander af den binære mangelmodel, repræsenteret ved skoleinspektøren fru Moth. I forlængelse af analysen diskuteres den kulturpolitiske modstand mod bibliotekets formidling som del af en bredere antisociokønsideologisk bevægelse, der i stigende grad benytter censur og retorisk mobilisering mod queerpositiv børnekultur. Artiklen argumenterer for, at børnelitteratur som Børnene fra Sølvgade har potentiale til at udfordre normative forestillinger om barndom, køn og familie, og at modstanden mod sådanne fortællinger bør forstås som en epistemologisk konflikt om, hvad børn er – og hvad de må blive.
Drawing. Design. Illustration, Literature (General)
Objective. This study aims to provide a comprehensive characterization of post- modern features in the works of Transcarpathian artists active in the 1980s and 1990s. It examines the transformation of graphic art in the region under the influence of socio-political changes, the opening of borders, and the integration of international artistic trends into the local cultural environment. Special attention is given to the Poptrans art group, which introduced innovative approaches in graphic design and self-publishing. Research Methods. The study employs historical, comparative, and stylistic analysis to explore the evolu- tion of Transcarpathian graphic art in the late 20th century. Archival research, case studies of key artists, and an examination of self-published materials provide insight into the artistic strategies used by the Poptrans group. The methodology also includes an analysis of visual language, focusing on techniques such as photomontage, stencil art, and replication methods. Scientific Novelty. The research offers the first systematic study of postmodern influences on Transcarpathian graphic art and self-publishing practices. It highlights the role of the Poptrans art group in redefining the boundaries of graphic design by integrating elements of American pop art, Soviet conceptualism, and experimental typography. The study also emphasizes the importance of text as a visual component in their works, combining typeface composition with handwritten elements. Conclusions. The Poptrans group significantly contributed to the modernization of Transcarpathian graphic art by developing new forms of artistic expression. Their experimental approach, incorporating postmodern aesthetics and alternative printing techniques, influenced the broader artistic landscape of the region. The study concludes that the group’s innovative use of self-publishing, visual quotations, and compilation methods played a crucial role in shaping contemporary graphic design practices in Ukraine.
<p class="5Abstract"><span lang="EN-US">Pemilihan warna furnitur yang tepat dapat memberikan kesan tertentu bagi sebuah ruang tidur. Kamar tidur didesain agar nyaman dan hangat untuk beristirahat. Akan tetapi seringkali warna furnitur yang tersedia di pasaran tidak selaras dengan <em>tone </em>ruang yang diharapkan, utamanya ruang berwarna gelap. Berdasarkan hasil observasi pada furnitur nakas, penerapan <em>finishing</em> yang sering diterapkan pada furnitur di pasaran memiliki warna yang cerah, sedangkan <em>finishing</em> berwarna gelap cenderung lebih sedikit. Berangkat dari fenomena tersebut, perancangan furnitur nakas bernama Arion dengan pengaplikasian <em>black doff finishing</em> diharap mampu menjawab kebutuhan furnitur bertema gelap di pasaran. Metode penelitian yang diterapkan adalah <em>design thinking</em> dengan menggunakan metode <em>test </em>kuantitatif berupa kuesioner. <em>Prototype </em>nakas skala 1:1 adalah hasil akhir dari penelitian ini yang kemudian diuji melalui kuesioner dan wawancara oleh para ahli. Presentase sebesar 91% menunjukkan bahwa nakas yang didesain telah memenuhi unsur estetika dengan mencerminkan penggambaran tokoh mitologi ke dalam sebuah desain nakas. Perpaduan antara bentuk, <em>tone</em> warna, penggunaan <em>finishing</em>, penggunaan teknologi tambahan sudah tepat dan sesuai dengan prinsip estetika serta menghasilkan <em>finishing</em> yang <em>simple</em>, elegan dan memiliki kesatuan yang berkelas.<strong> </strong></span></p>
We introduce ShadowDraw, a framework that transforms ordinary 3D objects into shadow-drawing compositional art. Given a 3D object, our system predicts scene parameters, including object pose and lighting, together with a partial line drawing, such that the cast shadow completes the drawing into a recognizable image. To this end, we optimize scene configurations to reveal meaningful shadows, employ shadow strokes to guide line drawing generation, and adopt automatic evaluation to enforce shadow-drawing coherence and visual quality. Experiments show that ShadowDraw produces compelling results across diverse inputs, from real-world scans and curated datasets to generative assets, and naturally extends to multi-object scenes, animations, and physical deployments. Our work provides a practical pipeline for creating shadow-drawing art and broadens the design space of computational visual art, bridging the gap between algorithmic design and artistic storytelling. Check out our project page https://red-fairy.github.io/ShadowDraw/ for more results and an end-to-end real-world demonstration of our pipeline!
Pierre-Marie Chauvin, Angèle Merlin, Xavier Fresquet
et al.
This paper explores the integration of generative AI into the fashion design process. Drawing on insights from the January 2025 seminar ``Tisser le futur,'' it investigates how AI reshapes creative workflows, from ideation to prototyping, while interrogating the ethical, aesthetic, and labor implications. The paper highlights co-creative dynamics between humans and machines, the potential for aesthetic innovation, and the environmental and cultural challenges of algorithmic design.
This paper describes the AI Drawing Partner, which is a co-creative drawing agent that also serves as a research platform to model co-creation. The AI Drawing Partner is an early example of a quantified co-creative AI system that automatically models the co-creation that happens on the system. The method the system uses to capture this data is based on a new cognitive science framework called co-creative sense-making (CCSM). The CCSM is based on the cognitive theory of enaction, which describes how meaning emerges through interaction with the environment and other people in that environment in a process of sense-making. The CCSM quantifies elements of interaction dynamics to identify sense-making patterns and interaction trends. This paper describes a new technique for modeling the interaction and collaboration dynamics of co-creative AI systems with the co-creative sense-making (CCSM) framework. A case study is conducted of ten co-creative drawing sessions between a human user and the co-creative agent. The analysis includes showing the artworks produced, the quantified data from the AI Drawing Partner, the curves describing interaction dynamics, and a visualization of interaction trend sequences. The primary contribution of this paper is presenting the AI Drawing Partner, which is a unique co-creative AI system and research platform that collaborates with the user in addition to quantifying, modeling, and visualizing the co-creative process using the CCSM framework.
Automatic generation of graphic designs has recently received considerable attention. However, the state-of-the-art approaches are complex and rely on proprietary datasets, which creates reproducibility barriers. In this paper, we propose an open framework for automatic graphic design called OpenCOLE, where we build a modified version of the pioneering COLE and train our model exclusively on publicly available datasets. Based on GPT4V evaluations, our model shows promising performance comparable to the original COLE. We release the pipeline and training results to encourage open development.
The k-planar graphs, which are (usually with small values of k such as 1, 2, 3) subject to recent intense research, admit a drawing in which edges are allowed to cross, but each one edge is allowed to carry at most k crossings. In recently introduced [Binucci et al., GD 2023] min-k-planar drawings of graphs, edges may possibly carry more than k crossings, but in any two crossing edges, at least one of the two must have at most k crossings. In both concepts, one may consider general drawings or a popular restricted concept of drawings called simple. In a simple drawing, every two edges are allowed to cross at most once, and any two edges which share a vertex are forbidden to cross. While, regarding the former concept, it is for k<=3 known (but perhaps not widely known) that every general k-planar graph admits a simple k-planar drawing and this ceases to be true for any k>=4, the difference between general and simple drawings in the latter concept is more striking. We prove that there exist graphs with a min-2-planar drawing, or with a min-3-planar drawing avoiding crossings of adjacent edges, which have no simple min-k-planar drawings for arbitrarily large fixed k.
With the development of information technology, the ideas of programming and mass calculation were introduced into the design field, resulting in the growth of computer-aided design. With the idea of designing by data, we began to manipulate data directly, and interpret data through design works. Machine Learning as a decision making tool has been widely used in many fields. It can be used to analyze large amounts of data and predict future changes. Generative Adversarial Network (GAN) is a model framework in machine learning. It’s specially designed to learn and generate output data with similar or identical characteristics. Pix2pixHD is a modified version of GAN that learns image data in pairs and generates new images based on the input. The author applied pix2pixHD in recognizing and generating architectural drawings, marking rooms with different colors and then generating apartment plans through two convolutional neural networks. Next, in order to understand how these networks work, the author analyzed their framework, and provided an explanation of the three working principles of the networks, convolution layer, residual network layer and deconvolution layer. Lastly, in order to visualize the networks in architectural drawings, the author derived data from different layer and different training epochs, and visualized the findings as gray scale images. It was found that the features of the architectural plan drawings have been gradually learned and stored as parameters in the networks. As the networks get deeper and the training epoch increases, the features in the graph become more concise and clearer. This phenomenon may be inspiring in understanding the designing behavior of humans.
As clothing represents social, political, and performative values pertaining to gender, it is not surprising that they also serve as oppressive designed objects. One of the most significant symbols of gender power relations were the trousers that women were banned from wearing in the West as a daily fashion item until the second half of the 20th century. This article presents the history of trousers via a new research methodology for studying oppressive design. This methodology is built on Michel Foucault’s approach to genealogical research and Bruno Latour’s ideas about the social agency of objects. Just as Foucault revealed the history of norms, ideas, discourses, and values, which are abstract yet powerful entities, this methodology focuses on identifying the moment in which oppressive objects first entered into daily common use, becoming a new natural and oppressive ‘truth’ that shaped the worldview of its users. This approach builds on Latour’s argument that objects serve as mediating devices of values and discourses between individuals, and the idea that genealogical research concerning their use might expose their socio-historical function and powerful involvement in shaping and policing power relations over time.
In this section called ‘postcards from abroad’ we propose to diversify and open up the understandings and practices of repair itself, engaging material repair in conversation with other types of repair, coming from fields of creation and knowledge other than design. Although there could be many other ‘postcards’ from different reparative places, here we invited: DNA repair in the field of genetics; soil bioremediation from the perspective of edaphology; psychotherapy as a form of emotional and psychological ‘repair’; memory repair from the field of restorative justice and human rights; home maintenance and cleaning as a form of domestic infrastructure repair and care; repair of electrical and electronic devices by activist collectives for waste prevention; repair of scientific observation instruments in the field of astronomy; and neuro-rehabilitation and physical rehabilitation from the first-person experience of long COVID. We hope these postcards provide a plurality of visions and actions on repair that might lead to resonances, inspirations, and cross-fertilizations among the various forms of repair.
Purpose This paper aims to analyze the process of producing a reported profit number to understand how different actors overcome the tensions arising from the often conflicting value frames that apply in different situations during this process and how the actors can benefit from the ensuing friction. Design/methodology/approach The tensions found in the profit production process are theorized in terms of dissonance (Stark, 2009), emphasizing how multiple voices, drawing on different value frames, contribute to the search for a profit number. The authors study this by means of a case study of a large listed company in the construction industry, where, because of how judgment pervades the profit production process, the search for profit is particularly exposed. Findings The authors find three important value frames – caution, control and compliance – which managers, accountants and auditors draw on in the profit production process, depending on the situation they find themselves in. With this finding, the authors contribute to the previous research on financial reporting and management work and the production of profits by demonstrating how the relationships between the involved actors – primarily the auditor–client relationship – can be characterized by principled and constructive rivalry in which competing value frames can coexist alongside each other and how the dissonance created in these situations can produce generative and productive friction. Originality/value Previous research has mostly focused on profit measurement, taking the existence of a “true” profit number for granted. The auditor–client negotiation literature typically suggests that actors endeavor to solve situations in a zero-sum game where different value frames are present. This paper, drawing on an incipient theoretical approach to accounting research which emphasizes multivocality and perspective, contributes to the nascent research on financial accounting and management work in general and the profit production process in particular. With empirical illustrations of the dissonance found in this process, this paper suggests that tensions resulting from dissonance (Stark, 2009) may be a resource in situations like the profit production process.
Presentamos el primer monográfico dedicado al arte de calle, producido, curado y gestionado desde los espacios urbanos. Se trata, sin lugar a dudas, de un hito, en el sentido de generar un fructífero diálogo entre la urbe y la academia. Con diversas temáticas enhebradas en torno a este particular objeto de estudio, ofrecemos este interesantísimo monográfico dedicado íntegramente a complejizar la calle y a su producción creativa. Pensar, marcar, rayar y correr es un espacio para la reflexión local e internacional, que presenta una serie de seis artículos académico provenientes de México, España y Ecuador. Estos trabajos de escritura reflejan las actuales preocupaciones sobre el arte de calle, y su relación con el espacio museo, con el activismo, con los procesos pedagógicos y, asimismo, con la necesidad de un trabajo de campo riguroso que encuentre metodologías y sistematizaciones claras. Ensayos, crónicas y testimonios para pensar, rayar, marcar y correr. Las reflexiones multidimensionales sobre el arte de calle, que el lector podrá disfrutar a continuación, constituye una publicación única, y una parada obligada para quienes han encontrado en el asfalto su lugar de enunciación. Siempre efímeros, nunca sin memoria.
Drawing. Design. Illustration, Communication. Mass media
Additive manufacturing (AM) has gained prominence over the last 15 years and become a viable manufacturing option. Since there is great industrial interest to implement serial production of products using AM, the education of engineers in design for additive manufacturing (DfAM) is important today. DfAM extends on design for manufacturing to provide knowledge about the new design opportunities enabled by AM. A set of design heuristics for additive manufacturing (DHAM) to assist designers with conceptual-level DfAM has previously been proposed. In this paper, these DHAM are evaluated through workshops with 3 engineering companies and 19 engineers, in which the participants re-design existing company products for AM using the DHAM as an aid, and then give feedback. The DHAM are well received by the workshop participants, and they find that the DHAM are good for teaching others about the capabilities of AM, provide a checklist of items to consider to help avoid oversights, and encourage the generation of new ideas. Criticisms include the number of examples provided and the lack of information about how to implement the ideas concretely. It is also found that the DHAM fulfil 16 of 18 criteria for early design phase DfAM methods, identified in academic literature.
Clara Fannjiang, Stephen Bates, Anastasios N. Angelopoulos
et al.
Many applications of machine learning methods involve an iterative protocol in which data are collected, a model is trained, and then outputs of that model are used to choose what data to consider next. For example, one data-driven approach for designing proteins is to train a regression model to predict the fitness of protein sequences, then use it to propose new sequences believed to exhibit greater fitness than observed in the training data. Since validating designed sequences in the wet lab is typically costly, it is important to quantify the uncertainty in the model's predictions. This is challenging because of a characteristic type of distribution shift between the training and test data in the design setting -- one in which the training and test data are statistically dependent, as the latter is chosen based on the former. Consequently, the model's error on the test data -- that is, the designed sequences -- has an unknown and possibly complex relationship with its error on the training data. We introduce a method to quantify predictive uncertainty in such settings. We do so by constructing confidence sets for predictions that account for the dependence between the training and test data. The confidence sets we construct have finite-sample guarantees that hold for any prediction algorithm, even when a trained model chooses the test-time input distribution. As a motivating use case, we demonstrate with several real data sets how our method quantifies uncertainty for the predicted fitness of designed proteins, and can therefore be used to select design algorithms that achieve acceptable trade-offs between high predicted fitness and low predictive uncertainty.
The stylized fashion figure or croqui is fundamental to the fashion design process. Highly regarded as a tool for design articulation and innovation, it is also an immensely popular creative art form, enjoying a recent renaissance on social media platforms. Most fashion institutions across the globe teach illustration as a foundation-level skill. Students absorb a strict set of rules dictated by the ten-head body proportion. This article explores the colonial implications of the stylized croqui. The drawings challenge the genre by selectively abandoning and playing with the rules of fashion illustration in order to decolonize this design tool.
An organizational conflict lens offers a distinct understanding of how higher education administrators and postsecondary students experience racial conflict on their campuses. Despite students of color historically reporting incidents with overt and subtle forms of racism on college campuses (George Mwangi et al., 2018; Hurtado & Ruiz, 2015; Nguyen et al., 2018; Serrano, 2020), postsecondary leaders continue to report positive race relations on campus (Jaschik & Lederman, 2017). This conflict in perception is the focus of this article. To understand how race-related conflicts are perceived in higher education, I examined perceptions of racial conflict across two types of postsecondary campuses. I used compositional diversity, or a numerical illustration of various racial and ethnic groups (Hurtado et al., 1998; Milem et al., 2005), as a determinant to decide which campuses to study for how racial conflict is understood by administrators, faculty, and students. Drawing from organizational conflict theory, this year-long qualitative study involved 35 open-ended interviews conducted at a minority serving institution (MSI) and a historically White institution (HWI). The main research question was: How does compositional diversity shape stakeholders’ perceptions of racial conflict? Across both campuses, and despite differences in compositional diversity, administrators responded similarly: they noted minimal problems among students regarding racism on their campuses. Alternately, students across both campuses responded similarly: they noted these issues as well but described it in terms of frequency and severity. To make sense of this, I describe findings in three ways: interpersonal and structural racism, intergroup conflict, and historical perspectives about racial conflict. Background/Context: Despite students of color historically reporting incidents with overt and subtle forms of racial conflict on college campuses, postsecondary leaders continue to report positive race relations on campus. Unfortunately, various forms of conflict are often reduced to isolated incidents that are disconnected from aspects of campus culture and climate. Although conflict is a permanent and indelible aspect of organizations, racism and other forms of race-related conflict on college campuses continue to be studied on an interpersonal level, less so at the organizational level of higher education. Purpose/Objective/Research Question/Focus of Study: An organizational conflict lens offers a distinct understanding of how higher education administrators and postsecondary students experience racial conflict on their campuses. Despite students of color historically reporting incidents with overt and subtle forms of racism on college campuses, postsecondary leaders continue to report positive race relations on campus. This conflict in perception is the focus of this article. To understand how race-related conflicts are perceived in higher education, I examined perceptions of racial conflict across two types of postsecondary campuses. I used compositional diversity, or a numerical illustration of various racial and ethnic groups, a determinant to decide which campuses to study for how racial conflict is understood by administrators, faculty, and students. The main research question I asked was: How does compositional diversity shape stakeholders’ perceptions of racial conflict? Research Design: To understand perceptions of racial conflict, I conducted a multiple case study of two types of institutions in the northeastern United States: a historically white institution (HWI) and a minority-serving institution (MSI). I purposely selected two racially distinct institutions to explore compositional diversity in higher education. I first asked: How does compositional diversity shape stakeholders’ perceptions of racial conflict? Drawing from organizational conflict theory, this year-long qualitative study involved 35 open-ended interviews conducted at a MSI and an HWI. Specifically, I sought respondents who were positioned informants. This approach assumes that informants’ positions inform their behaviors. Conclusions/Recommendations: Although the data here cannot be applied to all institutions, some lessons can be extracted for further exploration, should administrators and researchers desire to understand race-based organizational conflicts. Indeed, across both campuses and despite differences in compositional diversity, administrators responded similarly: they noted minimal problems among students regarding racism on their campuses. Alternately, students across both campuses responded similarly: they noted these issues as well but described it in terms of frequency and severity. To make sense of this, I describe findings in three ways: interpersonal and structural racism, intergroup conflict, and historical perspectives about racial conflict.
José Francisco Brito-del-Pino, Nathalie Madeleine Santamaría-Herrera, Carlos Andrés Macas-Peñaranda
et al.
La presente investigación tiene como objetivo realizar la revisión del estado del arte del adobe como material de construcción sostenible y vernáculo. En este sentido la hipótesis se refiere al planteamiento de una nueva metodología de elaboración del adobe sostenible donde confluyan las técnicas manuales con las pruebas de laboratorio. Para ello, se realizó un análisis bibliográfico referente al estado del arte de la elaboración adobe en parte de la zona urbano – rural de la ciudad de Riobamba, y su impacto ambiental; además, se describen algunos materiales para estabilización del adobe en la parte introductoria. La segunda parte se refiere, a la propuesta de esta investigación que consiste en el planteamiento de una metodología para elaboración del adobe, partiendo de la adecuada identificación y recolección de las muestras de suelo, y seguidamente realizar las distintas pruebas manuales de campo que permitirán conocer empíricamente la calidad del suelo, mientras que las pruebas de laboratorio físicas, químicas y mineralógicas permitirán científicamente seleccionar el tipo de suelo. Finalmente se exponen los resultados de simular el bloque de tierra y su comportamiento térmico, luego se comparan los resultados simulados y experimentales. Luego de la selección del tipo de suelo, se estableció la Norma peruana E.080 (2017) para la elaboración del bloque de adobe, haciendo énfasis en los beneficios de la estabilización del adobe con fibras naturales. La investigación bibliográfica realizada se espera sirva como modelo metodológico para futuras investigaciones para elaboración del adobe sostenible, considerando que los sistemas constructivos en tierra son parte del patrimonio y saberes ancestrales de la zona andina que se deben recuperar.