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Color Hearing: Creating a Body of Creative Design Scholarship Using Psychomimicry
Abstract
This study examined the use of psychomimicry in the apparel design process by exploring a series of three garments entitled, Color Hearing. The designer delineates the iterative design process, explains the design challenges, and expands on what is known by implementing a new technique of coding music to create textile print designs. The designer used a four-stage design process for each of the three garments included in this study. The important contributions of this study include the novel approach of using psychomimicry as a design influence and the establishment of a coding process to generate textile print designs based on the neurological phenomena of synesthesia.
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It is unclear whether synesthesia is one condition or many, and this has implications for whether theories should postulate a single cause or multiple independent causes. Study 1 analyses data from a large sample of self-referred synesthetes ( N = 2,925), who answered a questionnaire about N = 164 potential types of synesthesia. Clustering and factor analysis methods identified around seven coherent groupings of synesthesia, as well as showing that some common types of synesthesia do not fall into any grouping at all (mirror-touch, hearing-motion, tickertape). There was a residual positive correlation between clusters (they tend to associate rather than compete). Moreover, we observed a “snowball effect” whereby the chances of having a given cluster of synesthesia go up in proportion to the number of other clusters a person has (again suggesting non-independence). Clusters tended to be distinguished by shared concurrent experiences rather than shared triggering stimuli (inducers). We speculate that modulatory feedback pathways from the concurrent to inducers may play a key role in the emergence of synesthesia. Study 2 assessed the external validity of these clusters by showing that they predict performance on other measures known to be linked to synesthesia.
The aim of this design research is to explore modular shapes and interlocking systems for apparel design using research through practice approach. As a transformable design approach, modular design features small standardized units that can be independently combined in various configurations to create different forms and provide multiple functions. However, there has been little hands-on integration of methods for developing more fitted garment designs and incorporating visually appealing surfaces, such as prints, within a modular system. By adopting Bye’s description of a research through practice approach, the researchers for this study aimed to explore modular textile systems that would result in more fitted garments and aesthetically appealing surfaces. Through documenting and analyzing a range of data from the design process and outcome of four experimental designs, this study resulted in the development of advanced research through a Focused Knowledge Design Practice framework.
K. V. Rashmi is currently an M. E. student at the Indian Institute of Science. She received her B. Tech. degree from the National Institute of Technology Karnataka, Surathkal. Her current research interests are in coding theory, error-correction in networks and wireless communication." Today we cannot imagine our lives without a variety of colours. Every colour we see, consume, enjoy, apply and use wherever we need has a dye associated with it. More than 90% of the thousands of dyes used now are synthetic. A little more than 150 years ago a handful of dyes of only natural origin were available. In 1856 the era of synthetic dyes was ushered in by a spirited young chemist, William Henry Perkin, when he was trying to synthesize quinine, but obtained a coloured substance instead. It was a much desired colour and therefore became an instant hit. The following is an account of Perkin's life as a chemist and an industrialist par excellence. Eighteen hundred and fifty six was the year when one of the most celebrated accidental discoveries in chemistry was made. It im-pacted not just chemistry or science in general, but many other areas of human activity. It provided stimulus to the economy, and became an instrument of social, cultural and political change. Textiles and printing became more colourful and cheaper; artists had more choices of shades to paint with; staining of biological specimens revolutionized biology and medicine. The discovery kindled a rapid growth in research activity that went directly into industrial manufacturing. It was not only the momentous happening, but the vigorous pursuit to exploit it by an enthusiastic teenage youth that led to the developments that followed. The young man was William Henry Perkin, who is credited with the preparation of the first synthetic dye called mauve or mauveine or aniline purple. It became the basis on which a new chemical industry was built, which became a model for others to follow.
The past 20 years have seen growth in exposure and academic outlets for design scholarship through new journals, special topics sessions and conferences, and PhD programs. Yet, there is a lack of strong published examples of design scholarship in textiles and apparel as designer scholars and administrators still struggle to understand how to conduct, document, and evaluate design scholarship. This issue, long overdue, looks at the current state of design research in our textile and apparel discipline and provides examples that begin to fill the gap in our shared understanding of a way forward.
Apparel and textile (AT) design scholarship can be classified in diverse ways. As a professional organization, International Textile and Apparel Association is in a unique position to lead in identifying what constitutes contributions to research in the field. Defining, presenting, and evaluating design production as scholarship is critical, especially as the broader design disciplines become more rigorous and academic institutions become more focused on evaluation metrics. Our purpose was to examine AT design scholarship through the lens of three critical components of research: shared knowledge, dissemination, and evaluation. These three components of research should be points of reference for AT design scholarship in moving forward to establish a unified vision of research that focuses on designed objects as valuable forms of scholarship. Additional work is necessary to identify core values that represent AT design knowledge, disseminate in formats that facilitate contributions to research, and measure the impact of design scholarship.
Abstract
This paper reports a study that investigated the synergies of influence (that which shapes the
context for creative ideas) and inspiration (that which inspires the content) during the creation
process of ten seasoned textile designers towards a better understanding of creativity. The
behaviors and rhythm of textile designers were mapped using participant observation with multiple
methods including field observation, capturing visual records using video equipment and
photography, note taking, auditory records using mp3 recorders, and conducting informal dialogue
during studio sessions. The results provide detailed interpretive information in the form of
themes focused on understanding how they used and transformed inspirational sources towards
the completion of their projects and how designers use their personal thesauruses through their
sociocultural capital as influences. No two designers used and transformed inspirational sources in
exactly the same way, yet each designer exhibited multiple methods of transformation by including
an element of inspiration in their design process. Four separate themes emerged when we looked
at how the designers used their personal thesauruses as influences. These themes were: (a)
connections made to their sociocultural capital and through research, (b) narratives found or told
to focus their projects, (c) emotions related to their attachments and reactions, and (d) design
elements they referenced that aided in their decision making. Our rich descriptions of when and
how often influence and inspirational sources play into the creative and problem-solving processes
are a step toward a better understanding of creativity as a dynamic, complex, and diverse
endeavor.
Brahms's familiar "Wiegenlied" op. 49, no. 4 (1868) is emblematic of numerous nineteenth-century compositions that sonorously enact idealized images of the mother and child. Its back and forth harmonic movement imitates the phenomenal sensation of rocking, and its interlocking syncopations support and interact with the emotive declamation of the singer's voice. Because its musical features are so easily accessible, the "Wiegenlied" has escaped music-analytical attention, its deceptive simplicity seemingly transparent to our music-theoretical gaze. Yet, certain aspects of this music render our familiar analytical or critical strategies inadequate for explaining the intuitions we have about it, aspects that suggest tracing their connections within a broader cultural and musical context. My discussion of the lullaby draws from a number of cultural theorists - among them Friedrich Kittler, Michel Chion, Gilles DeLeuze, Fèlix Guattari, and Theodor W. Adorno - to theorize the power of the mother's voice (la voix maternelle) in forming lifelong vocal and musical connections. I provide a close reading of Alexander Baumann's "S'is Anderscht" (1842), the Austrian vocal duet that inspired Brahms's composition of the lullaby, and a critical comparison of it with the lullaby. Finally, after uncovering latent etymological sources of several key words in the lullaby's text, I offer a hermeneutic re-reading of the poem, one that ultimately undermines our casual assumptions of this simple childhood song. Copyright © 2005 by The Regents of the University of California. All rights reserved.
D, a middle-aged female art educator, exemplifies the phenomenon of chromesthesia or “ color hearing, ” a form of synesthesia in which a tone elicits a visual color experience as well as an auditory sensation. Extensive interviews and tests with music stimuli over a five-year period revealed a remarkable range and consistency of tone-color linkages. Absolute pitch, which D possesses independently of her chromesthesia, showed less stability than the chromesthesia. Synesthesia, while not unnatural, rarely is demonstrated because of societal constraints in childhood. Potential learning problems are revealed that should be considered in the development of instructional programs. Also, individual perceptual differences may significantly influence learning style.
Clothing and textile design is a discipline of practice, scholarship, and research, sharing many characteristics and issues with the broader discipline of design. This manuscript briefly introduces some of the history and main concepts of the design discipline and design research; presents a framework for Design Scholarship to initiate a discussion about research, and suggests ways to contribute to the larger academic dialogue on forming a design discipline. The main thrust is to argue that a different context is needed for creative scholarship; one of design research that can add to the knowledge base and help build theory in the field. The tacit knowledge of hands-on experience is distinct, but cannot remain solely with the practitioner or the artifact. Clothing and textile design has a long tradition in creative practice, but due to the increasing complexity of our world, there is a need to formally capture the knowledge of the field.
To encourage students to think of designing garments for special needs as part of a general designframework, a problem-solving approach that does not distinguish between functional apparel design and fashion design is presented. A model for assessing user needs and wants incorporates functional, expressive, and aesthetic (FEA) considerations. Examples of how the, framework has been used in design projects are presented Suggested uses for the FEA model are offered.
An effective apparel design process is key to the successful launch of an apparel product. Application of engineering design process theory, the foundation of the design process, may enhance understanding of the apparel design process. Goals of this research were to: (a) interpret actions and decisions made during the apparel design process, (b) determine whether the specific stages of engineering design process theory were used by apparel designers and merchandisers, and (c) determine applicability of engineering design process theory to apparel design. The research method was interpretive qualitative research employing triangulated methods of long interview and observation. Interview questions focused on actions and decisions made during the apparel design process. Inter-rater reliability and respondent validation were used to increase research reliability. Results showed that there is a systematic building block process to designing apparel lines and a direct relationship between engineering design process theory and process steps used by apparel design associates.
Design methodology and process are studied in different contexts and diverse fields. Designing has the potential to generate new knowledge and is intimately tied to new technologies, such as digital textile printing. These open up a constantly expanding range of creative possibilities, and generate a complex set of decision points for designers. In this paper we show how the design process is impacted and how new products can be created through exploration of the limits and potentials of digital technologies for textile and apparel design. Changes in design approach were analyzed through four design phases with five design projects. The design process was shown to change as various technical problems were evaluated and solved with each successive garment design. What began as a sporadic process that centered on solving sub-problems, evolved to a linear design progression with increased time spent in creative conceptualization.
In individual case studies the design processes of so-called p-designers (experienced designers from practice who have neither education at a university nor education in design methodology) were investigated and compared with those of m-designers (designers with education in design methodology at a university). The results are detailed descriptions of the design processes of eight individual cases and a set of hypotheses about the special design behaviour of p-designers. Possible causes for their procedures are discussed. A minimum design guideline for p-designers is suggested to support their design processes. At the end of the paper, the limitations of the study and conclusions for research and design methodology are presented.This paper is based on Günther and Ehrlenspiel[1]and was updated and revised for this Special Issue.
Continual exploration and understanding of the design process is necessary to advance and encourage implementation of this valuable tool in the field of textiles and clothing. This paper examines design processes used in related fields, presents a common structure that links these working methods, and demonstrates how the structure was used by a university design team to work with an industry client. Design processes used in fields that focus on the design of three-dimensional structures and spaces were reviewed. Salient features were examined and organized into three common stages of problem definition and research, creative exploration and development, and implementation. The project also demonstrates the application of the design process to a textile product design problem.
Although synesthesia has been known about for 200 years, it is only in the past decade or so that substantial progress has been made in studying it empirically and in understanding the mechanisms that give rise to it. The first part of the review considers the characteristics of synesthesia: its elicited nature, automaticity, prevalence, and consistency, and its perceptual and spatial phenomenology. The second part considers the causes of synesthesia both in terms of candidate neural mechanisms and the distal influences that shape this: genetic differences in developmental synesthesia and plasticity following sensory loss in acquired synesthesia. The final part considers developmental synesthesia as an individual difference in cognition and summarizes evidence of its influence on perception, imagery, memory, art/creativity, and numeracy. Expected final online publication date for the Annual Review of Psychology Volume 64 is November 30, 2012. Please see http://www.annualreviews.org/catalog/pubdates.aspx for revised estimates.
Muses and musings sing me to sleep honey! Johannes Brahms and Bertha Porubsky
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A most remarkable fella: Frank Loesser and the guys and dolls in his life, a portrait by his daughter. Hal Leonard
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by Keith Eubank. A survey of historic costume
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