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As digital technology promises immediacy and interactivity in communication, sight and sound in motion graphics has expanded the range of design possibilities in advertising, social networking, and telecommunication beyond the visual realm. The experience of seeing has been greatly enriched by sound as visual solutions become dynamic and multi-dimensional. The

As digital technology promises immediacy and interactivity in communication, sight and sound in motion graphics has expanded the range of design possibilities in advertising, social networking, and telecommunication beyond the visual realm. The experience of seeing has been greatly enriched by sound as visual solutions become dynamic and multi-dimensional. The ability to record and transfer sight and sound with new media has granted the designer more control in manipulating a viewer's experience of time and space. This control allows time-based form to become the foundation that establishes many interactive, multisensory and interdisciplinary applications. Is conventional design theory for print media adequate to effectively approach time-based form? If not, what is the core element that is required to balance the static and dynamic aspects of time in new media? Should time-related theories and methodologies from other disciplines be adopted into our design principles? If so, how would this knowledge be integrated? How can this experience in time be effectively transferred to paper? Unless the role of the time dimension in sight is operationally deconstructed and retained with sound, it is very challenging to control the design in this fugitive form. Time activation refers to how time and the perception of time can be manipulated for design and communication purposes. Sound, as a shortcut to the active time design element, not only encapsulates the structure of its "invisible" time-based form, but also makes changes in time conspicuously measurable and comparable. Two experiments reflect the influence of sound on imagery, a slideshow and video, as well as how the dynamics in time are represented across all design media. A cyclical time-based model is established to reconnect the conventional design principles learned in print media with time-based media. This knowledge helps expand static images to motion and encapsulate motion in stasis. The findings provide creative methods for approaching visualization, interactivity, and design education.
ContributorsCheung, Hoi Yan Patrick (Author) / Giard, Jacques (Thesis advisor) / Sanft, Alfred C (Committee member) / Aisling, Kelliher (Committee member) / Arizona State University (Publisher)
Created2011
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Description
Serious play—the notion of bringing the benefits of play to bear on work-related tasks—is receiving more attention as a remedy to many challenges of the modern knowledge economy. Exploring and defining the role of serious play approaches to facilitate collaborative problem-solving and value creation, this dissertation consists of four related

Serious play—the notion of bringing the benefits of play to bear on work-related tasks—is receiving more attention as a remedy to many challenges of the modern knowledge economy. Exploring and defining the role of serious play approaches to facilitate collaborative problem-solving and value creation, this dissertation consists of four related research papers.

The first research paper (RP1) reconciles three different conceptualizations of knowledge into a new theory of knowledge. This pluralistic definition allows knowledge to change character across the span of the value creation process. The paper further introduces a model called the Wheel of Knowledge (WoK) for mobilizing knowledge throughout the different knowledge conversions of the value creation process. The second research paper (RP2) advocates that serious play can scaffold and accelerate these knowledge conversion processes, it disaggregates existing serious play approaches, and starts to operationalize the WoK by using it to match different types of serious play approaches to different types of knowledge conversion challenges. The third research paper (RP3) validates the WoK by sorting the serious play literature according to how it applies to the different knowledge conversion processes. The paper provides a framework for ascertaining the applicability of serious play methods to specific knowledge conversion challenges and identifies under-explored research areas of the serious play field. The fourth research paper (RP4) tests the recommendations of RP3 by applying the LEGO® Serious Play® (LSP) method to a knowledge conversion challenge focused on tacit knowledge sharing. It reports on a mixed-methods, multi-session case study in which LSP was used to facilitate cross-disciplinary dialogue and deliberation about a wicked problem. Results show that LSP is particularly useful in the beginning of a value creation process and that it facilitates socialization and tacit knowledge sharing. Taken together the papers demonstrate the necessity, potential, and application of serious play as a catalyst for the knowledge conversion processes presented in the WoK. It is now clear that different serious play approaches are suitable as respectively: an accelerator for trust-building and collective creativity, as a conduit for iterative innovation, and as a way of making rote tasks more engaging.
ContributorsNørgaard Jensen, Camilla (Author) / Seager, Thomas P (Thesis advisor) / Selin, Cynthia L (Thesis advisor) / Boradkar, Prasad (Committee member) / Giard, Jacques (Committee member) / Arizona State University (Publisher)
Created2017