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