The year 2017 marks fifteen years for me as a fashion educator in Australia and the United States, nine of those in a full-time capacity. My research has focused on various facets of fashion and sustainability for almost as long. In that time many positive developments have occurred, among them, the 2015 Paris Agreement on climate action and the formation of the Sustainable Apparel Coalition in 2010, to name two. Yet an immense amount of urgent work remains. Wallace-Wells (...) presents an apocalyptic near-future caused by anthropogenic global warming;1 within two weeks the online version of the article became New York Magazine's most read in history. It is worth reading in tandem with Rockström et al.,2 as the latter... (shrink)

We examine creativity from a qualitative process rather than a quantitative product perspective. Our focus is on “habits of mind” (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms (Hetland, Winner, Veenema, & Sheridan, 2007, 2013). Our source of data was footage from a popular reality television show, Project Runway, in which nascent fashion designers are given garment design challenges. An entire (...) season of the show (14 episodes) was transcribed and coded for the presence of eight Studio Habits of Mind. We found abundant evidence of all eight of these thinking dispositions in all portions of the show. We argue that the creative thinking occurring during fashion design bears strong resemblances to that which occurs in the art studio-classroom. Qualitatively created frameworks, like those of the Studio Habits of Mind, can be used to inform our understanding of creative behavior in various disciplines. (shrink)

Fashion design is a feminized occupation, but there is a widespread perception that gay male designers are advantaged in receiving awards, publicity, and praise. This article develops the notion of a “glass runway” to explain this inequality. First, using design canons and lists of award recipients, I show that men, especially gay men, receive more consecration than women. Second, I show how men and women are consecrated differently by analyzing the content of 157 entries in Voguepedia’s (...) class='Hi'>design canon and 96 fashion media articles. Attributions of value and legitimacy construct a gendered image of the ideal fashion designer through discourses of art and culture that reinforce essentialist ideas about gender difference. Because cultural value is ambiguous, processes of valorization are shaped by gender essentialism, pushing male cultural producers down the glass runway and into the spotlight of fame, consecration, and legitimation. Finally, the case of fashion design offers insights into how intersecting inequalities can shape the glass runway. Gay designers experience both valorization and discrimination from intersections of gender and sexuality. (shrink)

This research examines wearable, fashionable interaction design to mediate the narrative and semiotic concepts found in technology and fashion. We discuss the principles of design anthropology using Taiwan proverbs to transmit the “people-situation-reason-object” method and analyze five case studies that provide new approaches for designers engaged in future industry. Design anthropology attempts to engage physiological and psychological design through technological function, meaning formation, and fashion aesthetics to achieve cognition between people and the environment. The (...) wearable, fashionable interaction displays characteristics of narrative and semantics transmitted through craft culture as well as collective, cheerful, and creative performance. It is a confident and innovative attempt, which bears a joyful and fundamental interface. This study takes two directions, with cultural thinking serving as the basis to establish a set of traditional craft designs and interactive objects that assist designers in using the senses to inform and initiate new lifestyle values. (shrink)

This research examines wearable, fashionable interaction design to mediate the narrative and semiotic concepts found in technology and fashion. We discuss the principles of design anthropology using Taiwan proverbs to transmit the “people-situation-reason-object” method and analyze five case studies that provide new approaches for designers engaged in future industry. Design anthropology attempts to engage physiological and psychological design through technological function, meaning formation, and fashion aesthetics to achieve cognition between people and the environment. The (...) wearable, fashionable interaction displays characteristics of narrative and semantics transmitted through craft culture as well as collective, cheerful, and creative performance. It is a confident and innovative attempt, which bears a joyful and fundamental interface. This study takes two directions, with cultural thinking serving as the basis to establish a set of traditional craft designs and interactive objects that assist designers in using the senses to inform and initiate new lifestyle values. (shrink)

This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also amo...

Through an examination of the bacteria that produce the cellulose, an investigation of the growing process and properties, and a discussion of an artistic exploration, one can fully grasp bio cellulose’s potential in becoming a synergist for sustainable fashion. This new creative and radical approach re-imagines the future materials for fashion and other fields requiring textile applications that are grown and renewable. Questions how textile can be created to be sustainable, biodegradable and infinitely reusable and mainly what the (...) paradigms for the new aesthetics are. The aim of this article is to convey the need for new biomaterials inspired by nature. (shrink)

This paper arises out of research on the New Zealand designer fashion industry. An unexpected success story, this export-oriented industry is dominated by women as designers, employees, wholesale and public relations agents, industry officials, fashion writers and editors, in addition to women holding more traditionally gendered roles as garment workers, tastemakers and consumers. Our analysis of the gendered globalization of the New Zealand fashion industry exposes a number of disconnections between women's positions in this industry and the (...) literatures on globalization, clothing and fashion. We argue that the New Zealand designer fashion industry not only embodies new ways of working associated with the movement of first world women into the labour force, but its very success is underpinned by these changes. Our conclusion is that more work is needed to explicate links between globalization and first world women's entry into the labour force. (shrink)

This paper presents a multimodal analysis of the design of an online fashion shop. Departing from systemic-functional genre theory, it analyses the functionality of the site, bringing out how it designs what sellers do to and for consumers and what the site does and does not enable consumers to do. Drawing on Joos’ analysis of formality in language and Hall’s proxemics, the paper then analyses how the site conceals the power of its functional design by simulating informality (...) and solidarity in a way that ultimately remains one-way and cannot be reciprocated. It finally argues that designs of consumer behaviour similar to that of the analysed site increasingly stand as a model for the digitization of other domains of practice, including education and research, so extending what Fairclough called the ‘marketization of discourse’ into these other domains. (shrink)

The article analyses fashion as a reflex of philosophy of identity in everyday life. Contemporary fashion is not imaginable without postulation of national and/or regional identity. Worldly recognisable French, Italian and other regional fashions show a variety of models that have recognisability. Internationally recognisable as fashion that represents particular national identity it still can be seen as not the only possible its identity version. Contemporary variety in identity models in fashion design are reflecting identity models (...) in general. Identity is understood as changeable and liquid that can reflect aspects of identity depending on participants of interaction. Fashion, differently, is a form of mass communication that does not change the message depending on the receiver. (shrink)

This essay considers Moscow’s simultaneously peripheral and central position on the global fashion map. It is predicated on a study of imaginary Russian geographies presented in Vogue and other fashion media, advertisements and promotional activities by important fashion brands, as well as the promotional texts and visuals of several new Russian fashion designers. While these different players all contribute to shaping the imagery of Russian fashion today, their agendas and aesthetics differ. This essay identifies three (...) main approaches within the field of the symbolic production of Russian fashion. Western fashion designers and fashion media mainly rely on Russian imperial sartorial heritage in their orientalizing approach to Russian fashion. Secondly, Russian Vogue perpetuates Moscow’s peripheral international fashion position either by passively transmitting derivative Western representations of Russianness, or by reconstructing its own high-fashion versions of traditional Russian decorative style. Finally, several young Russian fashion designers deconstruct both traditional Russian and socialist iconography, in a fundamentally new development for the country’s fashion scene. (shrink)

Resumen: La ola creciente de la China-chic proporciona un nuevo modo de presentación para la excelente cultura tradicional, permitiendo a la gente volver a ser testigo de la vitalidad innovadora de la cultura local y brindando una nueva vía de creación para la cultura popular rural. En este contexto, el diseño con el tema de la cultura popular rural se enfrenta tanto a nuevas oportunidades como a nuevos retos. En este artículo, basado en el estudio de caso del diseño folclórico (...) rural del Templo señorial del condado de Hexian, en la provincia de Anhui, se analizan brevemente la relación dialéctica y la práctica de la herencia y la innovación en el trabajo de diseño bajo el trasfondo del China-chic. Se propusieron estrategias de diseño innovador para revitalizar el énfasis de la gente en la cultura tradicional, reavivar la atención de la gente hacia la cultura tradicional y ampliar la vía de diseño innovador de una vía de comunicación de la cultura tradicional para promover la transformación creativa y el desarrollo innovador de la cultura tradicional china. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without (...) an effective lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

This article explores Nicolas Malebranche's approach to fashion: an inescapable postlapsarian consequence of God's sociable design of the human mind and body as manifested in the imagination. A problematic side effect of the general laws established by God governing the soul-body relationship, fashion wreaked havoc on individuals' thinking and potential for redemption yet pointed to a larger providential plan for social benefit. These ideas led Malebranche to a distinctive nonpolitical approach to fashion—both “Enlightenment project” and theodicy—in (...) which he sought to promote, toward human liberation and salvation, an enlightened understanding of the processes that created fashion and a charitable approach to managing it. Ultimately, however, his brain-based analysis ended up limiting individual freedoms (imaginative, cognitive, and behavioral), notably for those endowed with certain kinds of minds, in ways that had long-lasting effect. It also helped lay foundations for the Enlightenment's conflicted views about fashion as individual folly and beneficial social phenomenon. -/- Cet article montre que, pour Nicolas Malebranche, la mode constitua une conséquence inévitable de la Chute et du dessin sociable et providentiel de l'esprit et du corps, manifesté dans l'imagination. Effet secondaire et problématique des lois générales établies par Dieu pour gouverner les relations entre l'esprit et le corps, la mode entrave la réflexion et l'accès au salut tout en dessinant un plan providentiel, au bénéfice de tous. A la fois projet des Lumières et théodicée, cette approche apolitique s'efforce, dans une visée mêlant libération, salut et charité, de saisir les processus qui créent la mode afin de s'en accommoder. Parce qu'elle met l'accent sur le cerveau, cette approche tend pourtant à restreindre, de manière durable, les libertés individuelles (imagination, cognition, comportement), surtout pour certains types d'esprit. Et elle montre comment, pour les Lumières, la mode peut être à la fois une folie individuelle et un phénomène à multiples vertus sociales. -/- Copyright 2022 by Society for French Historical Studies. (shrink)

If you just can't decide what to wear, this enlightening guide will lead you through the diverse and sometimes contradictory aspects of fashion in a series of lively, entertaining and thoughtful essays from prominent philosophers and writers. A unique and enlightening insight into the underlying philosophy behind the power of fashion Contributions address issues in fashion from a variety of viewpoints, including aesthetics, the nature of fashion and fashionability, ethics, gender and identity politics, and design (...) Includes a foreword by Jennifer Baumgardner, feminist author, activist and cultural critic, editor of Ms magazine and regular contributor to major women's magazines including Glamour and Marie-Claire. (shrink)

Although an elusive concept, "camp" can be found in most forms of artistic expression, revealing itself through an aesthetic of deliberate stylization. Fashion is one of the most overt and enduring conduits of the camp aesthetic. As a site for the playful dynamics between high art and popular culture, fashion both embraces and expresses such camp modes of enactment as irony, humor, parody, pastiche, artifice, theatricality, and exaggeration. Drawing from Susan Sontag's seminal essay "Notes on 'camp,'" the book (...) explores how fashion designers have used their metier as a vehicle to engage with the camp aesthetic in compelling, humorous, and sometimes incongruous ways. As a sartorial manifestation of the camp sensibility, this thought-provoking publication contributes new theoretical and conceptual insights into the camp canon through texts and images. Stunning new photography by Johnny Dufort highlights works by such fashion designers as Virgil Abloh, Thom Browne, Jean-Charles de Castelbajac, John Galliano, Jean Paul Gaultier, Marc Jacobs, Karl Lagerfeld, Alessandro Michele, Franco Moschino, Miuccia Prada, Richard Quinn, Yves Saint Laurent, Elsa Schiaparelli, Jeremy Scott, Anna Sui, Gianni Versace, and Vivienne Westwood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fashioning the "Order of Saint Clare." A Rule illuminated by Neri da Rimini:Princeton University Library MS 83 in contextFrances Andrews (bio) and Louise Bourdua (bio)KeywordsRule of Urban IV, Clare of Assisi, Urbanist Clare nuns, Manuscript illumination, Neri da RiminiIntroduction1This interdisciplinary essay is an investigation of an illuminated, early 14th-century copy of the rule of the "Order of Saint Clare" issued by Pope Urban IV in 1263, now in Princeton. (...) It examines the unprecedented visual language adopted in a female Franciscan context to authorize their way of life, and places the manuscript in context, exploring how it relates to other early representations showing Saints Francis and Clare together and documenting the production of this and comparable early rule manuscripts, including a previously unpublished copy now in Venice.2Thousands of manuscript copies of rules of life were produced in and for late medieval religious houses and their members, good numbers of which remain extant, though these are scarce remnants of what must originally have been produced. Rules do sometimes appear in extant library inventories,3 but unlike individual books destined for personal [End Page 75] prayer or study and ultimately deposit in a conventual library, their primary purpose was as legal texts binding all who professed them.4 In their iterative function, read and reread, alone or aloud in the community, they were comparable to liturgical books, though they were not for use in church nor kept in the sacristy.5 In the rule of Urban IV for the Order of Saint Clare investigated here, chapter twenty-four required that the rule be read and explained annually by the visitator, while the final chapter emphasized that it be read once each fortnight lest the sisters neglect it.6 This sort of repetition must have ensured most nuns knew the rule by memory, having first encountered its details as novices, with no need to own the text. Copies were perhaps in the hands of the abbess, a visitator, or other monastic superior, or kept in the chapter room or refectory, ready for routine use.7 Nonetheless, wealthier women may have had a copy prepared or received one as a gift, either on entering the religious life or on becoming a superior responsible for its observance.8Princeton University Library, Manuscripts Division, Department of Rare Books and Special Collections, MS 83, contains a Latin, [End Page 76] professionally made and illuminated copy of the text designed to substitute existing rules, including the 1219 Forma Vitae issued by Cardinal Hugolino and the rule of Innocent IV from 1247.9 Clare's own hard-fought for rule, approved in 1253, was initially for the San Damiano community alone and was followed in subsequent decades by a very small group of houses.10 The making of Urban IV's rule, adopted instead by hundreds of communities, has been much discussed, but the survival of this early illuminated copy has gone unnoticed outside the library catalog.11 The manuscript includes the earliest extant sequence known to us showing Clare of Assisi receiving the rule from the pope and in turn taking the profession of her sisters, images designed to legitimize the new order by building ties to its "founder" while yet acknowledging its papal origins. Among extant imagery it is pioneering. The large, illuminated initials have been recognized as painted by Nerius da Rimini and his workshop but the case has never been set out and PUL MS 83 has [End Page 77] not been included in accounts of this artist's production.12 Better known as "Neri," he is a comparatively well-documented manuscript illuminator whose signatures sometimes survive on his work, a rare practice at this date.13Historians of medieval women religious are by now familiar with books produced by women themselves.14 A beautiful manuscript, for example, containing Bonaventure's Legenda Maior of Saint Francis, the Vita beati Antonii and documents relating to the Portiuncula indulgence was written in Latin in 1337 by two sisters, Elspet von Amberk and Katerina von Purchausen, perhaps living in the Paradies convent in Diessenhofen (Switzerland).15 Other women have been identified as skilled illuminators.16 The prolific activity of... (shrink)

Learn how to make ethical decisions on a daily basis. Industry professionals share with you the dilemmas they've faced in their careers around issues like factory conditions, fair wages, fast fashions, designer knock-offs, shoplifting, and controversial advertising, to help you do the right thing. The book covers corporate social responsibility, social media, social compliance audits, diversity, and human rights, among many other topics. Case Studies, Profiles, and other box features highlight current events and notable industry professionals.

The role of figurative languages such as metaphor and metonymy in creativity has been studied in cognitive linguistics. These methods can also be applied to analyze non-linguistic data such as pictures and gestures. In this paper we analyze fashion design by focusing on visual metaphor and metonymy. The nature of creativity in fashion design is not fully studied from a cognitive perspective compared to other related fields such as art. We especially focus on the aspect of (...) fashion design as a communication tool between the designer and the audience to convey designer’s image of human. Photos from two fashion shows are analyzed. We carried out an experiment to compare how human images in two shows are interpreted by those who are familiar with fashion and those who are not. We got three results: (1) As far as figurative (metaphorical and metonymic) interpretations of human image are concerned, two groups with different familiarity to fashion have significantly different patterns of responses to two shows. (2) For non-figurative interpretations (such as physical or personal attributes), no significant difference in the pattern of response to the show was observed between two groups. The participants as a whole, however, responded to the two shows differently. (3) In addition for non-figurative interpretation, fashion experts found significantly more attributes in human images than the others. The results show that the analysis of figurative interpreations is effective in seeing how the familiarity to fashion affects the mode of seeing fashion shows. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, (...) characterized by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

One of the few philosophers who comments on fashion, Kant claims in his Anthropology from a Pragmatic Point of View that fashion should be classified as vanity and foolishness. He writes ‘it is novelty that makes fashion popular, and to be inventive in all sorts of external forms, even if they often degenerate into something fantastic and somewhat hideous, belongs to the style of courtiers, especially ladies. Others then anxiously imitate these forms, and those in low social (...) positions burden themselves with them long after the courtiers have put them away. – So fashion is not, strictly speaking, a matter of taste (for it can be quite contrary to taste), but of mere vanity in giving oneself airs, and of rivalry in outdoing one another by it.’ (Anthropology, 2006, 7: 246) Kant’s condemnation of fashion depends on him associating fashion exclusively with mere novelty in production (as opposed to true originality) and imitation in fashion’s wearers. In this paper I distinguish fashion understood as invention for its own sake followed by slavish imitation with a true fashion, which like art, involves both taste and ‘genius’ as understood by Kant. Taste involves a judgement of a particular to be, for example, beautiful. This judgement must be one that we can communicate to others. Genius is in fashion that is original and provides a model to others. (See Kant, Critique of the Power of Judgement, 5: 308) While notable designer fashion provides the most obvious examples, this way of looking at fashion does not preclude the possibility of this kind of genius developing outside or alongside the fashion industry. Furthermore, wearers of fashion have to exercise their sense of taste in choosing what to wear and how to wear it. This sense of taste appeals to others and requires an enlargement of our thought just as our taste in art does. Thus seen, fashion and interest in fashion has a potential for improvement of the self as other forms of taste arguably do. (shrink)

The article examines the place of graphic design in modern post-industrial society, extending beyond purely applied art and aspiring to play the role of an expert in the interiors of human existence, determining the social and cultural status of an individual. It is argued that graphic design, organically integrating into contexts and actively responding to the challenges of such a social-decorative phenomenon as fashion, plays a significant role in shaping taste culture. This attests to the multiplicity of (...) ambivalent cultural manifestations of graphic design. Special attention is given to identifying the functional potential of graphic design in creating cross-cutting trends that, through non-verbal means of communication, can form and maintain social and cultural unity. In connection with this, an analysis of graphic design is carried out through the prism of philosophical communication, allowing the identification of graphic design as the most effective practice of nonverbal communication and information visualization in post-industrial society. It is determined that graphic design is capable not only of generating new meanings but also of creating communicative gaps. Given this specificity, the article particularly focuses on identifying the educational and upbringing potential of graphic design. It is demonstrated that the process of creating visual images and their subsequent interpretation by consumers of graphic information depends not only on the aesthetic taste, ethical beliefs, and humanistic orientation of the designer (visualizer) but also on their educational and upbringing potential. The necessity of strengthening humanistic orientations in modern Ukrainian design and art education is emphasized. (shrink)

Designer babies are often presented in the popular media as a kind of apocalyptical spectre of things to come in a brave new world where reproduction is the province of white coated scientists and potential parents in pursuit of trophy children. In this realm physical, intellectual, and social perfection is sought through the manipulation of genes and selection of favoured traits and attributes to the detriment of individuals who cannot compete and of society more generally through the loss of natural (...) selection. It is therefore a pleasure to discover a short readable book that sets out the discussion and its many nuances in concise and accurate terms that will be accessible to all and should help to dispel some of these science fiction myths through scholarly debate.This volume is part of a collection of books under the title Debating Matters that sprang out of a series of public debates organised by the Institute of Ideas. The conferences were intended to reinvigorate debate and the contestation of ideas and contemporary issues the Institute regards as “too frequently sidelined”. The arguments are presented by an authoritative who’s who of commentators who offer their own insightful readings of various aspects of the debate. Each essayist confirms the fact that the term “ designer babies ” is an inaccurate reflection of the current ability of science to actively fashion children with selected characteristics, and as a result …. (shrink)

This chapter contains sections titled: What Can Be Fashionable? From Pugs to Poodle Skirts Do Masses Matter? Robinson Crusoe's Runway Do Experts Matter? Khaki Glory Do Intentions Matter? Accidental Chic Do Aesthetics Matter? Form Over Function Does Identity Matter? Tribal Colors Does Timing Matter? To Everything, There is a Season Conclusion: What Matters?

Data center technology changes the mode of computing. Traditional DCs consist of a single layer and only have Ethernet connections among switches. Those old-fashioned DCs cannot fulfill the high resource demand compared with today’s DCs. The architectural design of the DCs is getting substantial importance and acting as the backbone of the network because of its essential feature of supporting and maintaining the rapidly increasing Internet-based applications which include search engines and social networking applications. Every application has its parameters, (...) like latency and blocking in the DC network. Every data center network has its specialized architecture. It has a specific arrangement of layers and switches, which increase or decrease the DC network’s efficiency. We develop a simulation tool that comprises two different DC architectures: basic tree architecture and c-Through architecture. Using this simulation, we analyze the traffic behavior and the performance of the simulated DCN. Our main purpose is to focus on mean waiting time, load, and blocking with respect to the traffic within the DCN. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, (...) characterized by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

This chapter contains sections titled: Design as Problem‐Solving or Design as Fashion? The Rise of Design As a Profession: Is Design a Response to Consumerism? Consumerism, Self‐expression, and The “Invention” of Design Consumerism Is Not Essential to Design Were Neolithic Flint Tools Designed? Can We Avoid Designing? – The Idea of “Useless Work” The Function and Value of Fashion.

Autoinhibition is a design principle realized in many molecular mechanisms in biology. After explicating the notion of a design principle and showing that autoinhibition is such a principle, we focus on how researchers discovered instances of autoinhibition, using research establishing the autoinhibition of the molecular motors kinesin and dynein as our case study. Research on kinesin and dynein began in the fashion described in accounts of mechanistic explanation but, once the mechanisms had been discovered, researchers discovered that (...) they exhibited a second phenomenon, autoinhibition. The discovery of autoinhibition not only reverses the pattern in terms of which philosophers have understood mechanism discovery but runs counter to the one phenomenon-one mechanism principle assumed to relate mechanisms and the phenomena they explain. The ubiquity of autoinhibition as a design principle, therefore, necessitates a philosophical understanding of mechanisms that recognizes how they can participate in more than one phenomenon. Since mechanisms with this design are released from autoinhibition only when they are acted on by control mechanisms, we advance a revised account of mechanisms that accommodates attribution of multiple phenomena to the same mechanism and distinguishes them from other processes that control them. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, (...) characterized by two stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

As a traditional clothing symbol that is unique to the Chinese nation, the dragon symbol combines the distinctive features of the Chinese nation, reflecting the depth of mental changes and the historical context of Chinese culture. The image of the dragon has formed a kind of dragon pattern as a certain set of ideas about the culture that encoded all its changes. Therefore, in national clothing the dragon image has been one of the most favorite patterns for thousands of years. (...) With the interweaving of world cultures and the deepening of the concept of clothing design, the dragon pattern will incorporate fresh elements of Western culture while maintaining the essence of traditional Chinese culture, and show a new design image through the utilization of various innovative ideas and design methods. The following methods were used for the study: literature review, field research, analysis of design cases, analysis of fashion trends. Using these methods, the specifics of using dragon designs in the fashion industry in different seasons and years are analyzed, and the trend of their evolution in the field of high fashion is studied. In the article we analyzed modern trends of clothing design and gave their characteristics. The results of the study showed that even in modern youth fashion this national symbol is actively used, which indicates that the patterns and images of the dragon have real applicability and wide prospects of application in modern fashion design. Modern clothing design provides a rich cultural heritage for modern clothing to retain the characteristics of civilization on the basis of continuous innovation. The use of dragon motifs in modern clothing not only meets the aesthetic concepts of modern people, but also adds vitality to clothing design. (shrink)

One of the greatest problems facing luxury goods firms in a globalizing market is that of counterfeiting. The purpose of this paper is to analyze the different types of counterfeiting that take place in thefashion industry and the ethical issues raised. We argue that the problem partly lies in the industry itself. Copying of designs is endemic and condoned, which raises several ethical dilemmas in passing judgment on the practice of counterfeiting. We analyze the ethical issues in a number of (...) different types of counterfeiting encountered in the fashion industry. We conclude with some observations on the general implications for ethics in intellectual property rights. (shrink)

The late Vivienne Westwood sketched a role for fashion that elevates it from the prosaic to the status of art, as something important, life-enhancing, and worthy of pursuit. Here, a philosophical treatment of Westwood’s vision of fashion that does justice to the artistic and life-enhancing value that fashion can realise is offered, using an emergent theory in contemporary analytic aesthetics. The virtue theory of art delineates the intrinsic worth of art in terms of the opportunities it provides (...) for us to exercise and cultivate virtues such as courage, self-expression, imagination, wit, or authenticity. Our engagement with art can subsequently be genuinely life-enhancing in lieu of the constitutive role the virtues play in living well. The present study takes Westwood’s claims as a jumping-off point, considering how they speak not just to her own designs but to our relationship with our clothes more broadly. Fashion is defended as a practice that performs this function in analogous ways to other genres of art and thus has clear artistic value as well as enables us to live well. Given this potential, just as Westwood claimed, there are reasons to perform the practice well because it has importance for the ways in which it can realise artistic value and aid us in living well. (shrink)

I am an audiovisual artist, designer, and researcher. Since 2015, I have been working on a practice-based research project that explores sonic value and sonic identity in the field of fashion design. My research project "Aesthetics of the Invisible: Toward a Sonic Fashion Ontology" focuses on the nonvisual aesthetics of fashion and uses speculative design methods to explore the possibilities of forming future sonic identities. By considering the ways in which we could reconceive fashion (...) as a sonic experience, my research aims to inspire alternative forms of design thinking for fashion design education that would reflect fashion's nonvisual aspects.We are born into a humanly developed world that is already designed.... (shrink)

This essay explores an aspect of Cicero's use of cultural writing for political ends: his employment of the epideictic rhetorical mode in two of his speeches, Pro Archia and In Pisonem. The epideictic is a ludic rhetorical domain that embraces paradoxes: it encompasses both praise and blame, is both markedly Greek and proximate to the Romans' laudatio funebris, and is associated both with textual fixity and viva voce improvisation. The epideictic mode is thus an ideal vehicle for Cicero's self-fashioning and, (...) moreover, constitutes a framework which reveals that Cicero's encomiastic defense of Archias' Roman citizenship and his invective against his aristocratic nemesis Piso are polar and complementary opposites. The self-consciously literary quality of epideictic allows Cicero to transform the Pro Archia from a legal defense to a general meditation on literary culture in which Cicero blurs himself with his client to defend his own status within Rome's elite while fixing his version of his consulate in ornate prose. The Pro Archia simultaneously becomes a simulacrum of the poem which Cicero hopes Archias will write and Cicero's own pre-mortem funeral oration. Yet the Pro Archia's suppressed legal arguments pregure the eventual failure of his immediate self-fashioning aims. The In Pisonem's invective inverts the Pro Archia's self-fashioning strategies in order to debunk Piso's image and to recuperate Cicero's own prestige at the expense of Piso's. The In Pisonem has the same long-range cultural ambitions as the Pro Archia, but without the previous speech's hopes for tangible short-term success. Faced with his inability to cause Piso real political damage, Cicero crafts an ornately polished caricature of Piso designed to achieve canonical longevity. Cicero's reception by the orators of Seneca's Suasoriae and Controversiae gives evidence of the successes, and limitations, of these long-term cultural goals. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Commentary on “Towards a Design-Based Analysis of Emotional Episodes”Margaret A. Boden (bio)The theoretical work of Wright, Sloman, and Beaudoin is a significant contribution to our understanding of the nature and function of emotions, and potentially also to therapeutic method. Their message that emotions, as controlling and scheduling mechanisms, are essential to any complex intelligent system (that is: one with multiple and potentially conflicting motives, and situated in a (...) changing and unfriendly world) is important. It encourages cognitive psychologists to regard emotions as a central aspect of intelligence, not to sideline (or even to forget) them, as is too often done. In addition, it shows—at least in general outline—how emotions might be understood in computational terms.Critics of computational psychology too often assume that emotions and motivation must lie outside its scope. This is not so, although it is true that relatively little computational work has been done in this area. Interestingly, the very early days of AI saw a comparatively high proportion of models of multiple goal-seeking, affective processes, and even personality (see, for example, the papers in Tomkins and Messick 1963). But, inevitably, these were so crude as to be almost useless in illuminating the nature of emotion and motivation. As AI-workers and their psychologist colleagues found to their cost, it is difficult enough to model the pursuit of one goal, never mind the pursuit of several mutually conflicting goals. Accordingly, personality and emotion soon faded from the scene as preferred topics of computational research—but not before I too had argued that they could, in principle, be so addressed (Boden 1965; 1972).I suggested—in the sketchiest terms—that the concepts of William McDougall’s personality theory could be interpreted in a computational fashion (Boden 1965; 1972). His concept of sentiment, for example, marks what Wright et al. call “goal-sets,” and his master sentiment of self-regard relates to the descriptive and normative aspects of the self-image to which they draw our attention. He even described emotions as (conscious) control mechanisms, enabling the subject to monitor the incipient excitement of distinct types of motivation, and (sometimes) to adjust behavior so as to facilitate or inhibit the otherwise-inevitable response. What the target-authors have done is to put subtle and sophisticated computational flesh onto these minimalist theoretical bones.McDougall himself, of course, will be turning in his grave. He saw affect as partly conscious (as well as dispositional), and argued that consciousness—and purposive behavior too—cannot possibly [End Page 135] be given a mechanistic, or physicalist, explanation. Despite Wright et al.’s persuasive anti-reductionist remarks about the necessity for highly abstract (psychological) levels of explanation, he would not have accepted that such explanations could be computationally grounded. He even insisted that the neurophysiological ground of goal-seeking behavior involved a special sort of energy, or horme, intrinsically directed to specific ends. Presumably, no professional reader today would agree with McDougall on that point. But many may agree with him about consciousness. And many more will insist that consciousness is a crucial aspect—perhaps the crucial aspect—of emotion. Such critics will doubtless point out that our three authors explicitly “factor out,” or refuse to discuss, consciousness as such.Wright et al.’s rhetorical reserve on this point is defensible on two counts. First, even though emotions do involve conscious sensations, the dispositional and control aspects of affect are at least as important. Indeed, it is evident from the quotations from individuals reacting to bereavement that people often describe the phenomenology of grief in terms of these sorts of factors, rather than in a “purely qualitative” fashion (whatever that might be). Even so, these dispositional aspects of emotion are often overlooked, or regarded as less significant than the conscious phenomenology. And second, theoretical psychologists in general sideline consciousness: either they ignore it entirely, or they take it for granted philosophically and ask about the conditions under which it appears or disappears. They are well advised to do so, since we do not yet understand this concept (more accurately: this mixed bag of related concepts) at the philosophical level. Even a journal whose title has “Philosophy” as its leading... (shrink)

Grounded in long-term ethnographic fieldwork in New Delhi’s fashion industry, this article explores the pressing question on the designer’s mind, namely: how do I align the desires of others with my -desire? This question points us towards an investigation of how people’s affects are mobilized and directed through commercial rituals such as fashion shows set within hyper-designed theatrical play-spheres. Translating the invisible or covert mobilization of affects into profit has been on the mind of advertisers for the last (...) decade. However, analysing such deliberately covert strategies of capture employed in two cases – JJ Valaya’s haute couture shows and Nitin Bal Chauhan’s youth brand – we realize that it is precisely their failure at being covert that makes them effective; clients know full well about them. Robert Pfaller’s theory of ‘illusions without owners’ can throw some light here on why clients passionately embrace the desire of capital precisely against their better knowledge. (shrink)

Among the many teaching methods, inquiry-based teaching is considered to be an effective way for students to learn and solve problems on their own. However, most of the research related to inquiry-based teaching and learning has concentrated mainly on K-12 education, while few to no studies have focused on the application of inquiry-based teaching and learning in project design courses at university level. Therefore, in order to expand the understanding of the application effect of inquiry-based teaching at university level, (...) this study adopted the quasi-experimental design method, and through the purposive sampling method, 20 students from the Department of Fashion Design at a University of Science and Technology were invited to participate in this study. During the 9-month period, teaching experiments were carried out using two inquiry models, QC/ADEAC and QD/ODEAC. First, when participants were thinking of a creative topic, they followed the process: Question, Collection/Analysis, Discussion, Explanation, Amendment, and Confirmation in the course. During the production process, the participants were allowed to improve on their work through the process of Question, Doing/Observation, Discussion, Explanation, Amendment, and Confirmation. The teacher became a true guide, so that the participants could explore and work out how to improve their designs through independent inquiry and practice. In this study, questionnaires were administered to participants at five important stages of the design project: “theme development,” “color development,” “first Work,” “second Work,” and “third Work.” The results of the five surveys showed that the participants’ curriculum interest, curriculum value perception, and curriculum confidence in the inquiry program all increased. (shrink)

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading (...) players in their efforts to understand the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

This paper addresses the intellectual motivation of some of those involved in the intelligent design movement. It identifies their concerns with the critique of the claim that Darwinism offers an adequate explanation of prima facie teleological features in biology, a critique of naturalism, and the concern on the part of some of these authors including Dembski, with the revival of 'Old Princeton' apologetics. It is argued that their work is interesting and is in principle intellectually legitimate. It is also (...) suggested, however, that it needs to be appraised qua 'research programme' (after the fashion of the early work of Lakatos), and that, seen in that light, what needs to be accomplished might seem daunting. (shrink)

“Integrative Social Robotics” (ISR) is a new approach or general method for generating social robotics applications in a responsible and “culturally sustainable” fashion. Currently social robotics is caught in a basic difficulty we call the “triple gridlock of description, evaluation, and regulation”. We briefly recapitulate this problem and then present the core ideas of ISR in the form of five principles that should guide the development of applications in social robotics. Characteristic of ISR is to intertwine a mixed method (...) approach (i.e., conducting experimental, quantitative, qualitative, and phenomenological research for the same envisaged application) with conceptual and axiological analysis as required in professional studies in applied ethics; moreover, ISR is value-driven and abides by the “Non-Replacement Principle”: Social robots may only do what humans should but cannot do. We briefly compare ISR to other value-sensitive or value-directed design models, with a view to the task of overcoming the triple gridlock. Finally, working from an advanced classification of pluridiscplinary research, we argue that ISR establishes a research format that can turn social robotics into a new transdiscipline. (shrink)

Pliny’s letters generally seem designed to portray an image of Pliny himself as kind and altruistic, fulfilling the obligations of a Roman aristocrat. But in one group of his letters—those about the infamous delator Marcus Aquilius Regulus—the author’s voice instead appears malignant and hostile. If, as seems certain, Pliny carefully planned his letters with the aim of portraying himself in a certain way, why the discrepancy? This chapter argues that these letters serve a deliberate purpose in constructing part of the (...) overall persona Pliny wishes to project—a neo-Ciceronian persona of eloquence, moralizing, and memorializing. (shrink)

Proactively including the ethical and societal issues of new technologies could have a positive effect on their acceptance. These issues could be captured in terms of values. In the literature, the values stakeholders deem important for the development of technology have often been identified. However, the relative ranking of these values in relation to each other have not been studied often. The best worst method is proposed as a possible method to determine the weights of values, hence it is used (...) in an evaluative fashion. The applicability of the method is tested by applying it to the case of smart meters, one of the main components of the smart grid. The importance of values is examined for three dimensions of acceptance namely sociopolitical, market, and household acceptance. (shrink)

David Berry and Michael Dieter: Introduction -- Florian Cramer: What is post-digital? -- Malcolm Levy and Christine Paul: Genealogies of the new aesthetic -- David Berry: The post-digital constellation -- Lukacs Mirocha: Communication models, aesthetics and ontology of the computational age revealed -- Katja Kwastek: How to be theorized: a f*** academic essay on the new aesthetic -- Daniel Pinkas: A hyperbolic new aesthetic -- Stamatia Portanova: The genius and the algorithm: reflections on the new aesthetic as a computer's vision (...) -- Lev Manovich and Alise Tifentale: Selfiecity: exploring photography and self-fashioning in social media -- David Golumbia: Judging like a machine -- Caroline bassett: Not now? : feminism, technology, postdigital -- Geoff Cox: Postscript on the problem of temporality in the post-digital -- Michael Dieterdark: Patterns: interface design, augmentation and crisis -- Sean Cubitt: Data visualisation and the subject of political aesthetics -- Mercedes Bunz: School will never end: on infantilization in digital environments: amplifying empowerment or propagating stupidity? -- Jussi Parikkathe : City and the city: London 2012 visual (un)commons -- Shintaro Miyazaki: Going beyond the visible: new aesthetic as an aesthetic of blindness? -- Thomas Apperley: Glitch sorting: minecraft, curation and the postdigital -- Marc Tuters: Through glass darkly: Google's gnostic governance -- Vito Campanelli: New aesthetic in the perspective of social photography -- Søren Bro Pold and Christian Ulrik Andersen: Aesthetics of the banal: "new aesthetics" in an era of diverted digital revolutions -- Wendy Chunnet: Works now: belated too early. (shrink)

I will offer a conceptual analysis of different notions of structure and function of viral immunogens and of different structure-function relationships. My focus will then be on the mechanisms by which the desired immune response is induced and why strategies based on three-dimensional molecular antigen structures and their rational design are limited in their ability to induce the desired immunogenicity. I will look at the mechanisms of action of adjuvants (thus the wordplay with Janeway's "immunologist's dirty little secret"). Strategies (...) involving adjuvants and other (more successful) vaccination strategies rely on taking into account activities and functions ("what is going on"), and not just the structures involved ("who is there"), in binding in a "lock and key" fashion. Functional patterns as well as other organizational and temporal patterns, I will argue, are crucial for inducing the desired immune response and immunogenicity. The 3D structural approach by itself has its benefitsand its limits, which I want to highlight by this philosophical analysis, pointing out the importance of structure-function relationships. Different functional aspects such as antigenicity, immunogenicity, and immunity need to be kept separate and cannot be reduced to three-dimensional structures of vaccines. Taking into account different notions of structure and function and their relationships might thus advance our understanding of the immune system and rational HIV vaccine design, to which end philosophy can provide useful tools. (shrink)

The process of urban landmark-based navigation has proven to be difficult to study in a rigorous fashion, primarily due to confounding variables and the problem of obtaining reliable data in real-world contexts. The development of high-resolution, immersive virtual reality technologies has opened exciting new possibilities for gathering data on human wayfinding that could not otherwise be readily obtained. We developed a research platform using a virtual environment and electroencephalography to better understand the neural processes associated with landmark usage and (...) recognition during urban navigation tasks. By adjusting the architectural parameters of different buildings in this virtual environment, we isolated and tested specific design features to determine whether or not they served as a target for landmarking. EEG theta band event-related synchronization/desynchronization over posterior scalp areas was evaluated at the time when participants observed each target building along a predetermined self-paced route. A multi-level linear model was used to investigate the effects of salient architectural features on posterior scalp areas. Our results support the conclusion that highly salient architectural features—those that contrast sharply with the surrounding environment—are more likely to attract visual attention, remain in short-term memory, and activate brain regions associated with wayfinding compared with non-salient buildings. After establishing this main aggregate effect, we evaluated specific salient architectural features and neural correlates of navigation processing. The buildings that most strongly associated extended gaze time, location recall accuracy, and changes in theta-band neural patterns with landmarking in our study were those that incorporated rotational twist designs and natural elements such as trees and gardens. Other building features, such as unusual façade patterns or building heights, were to a lesser extent also associated with landmarking. (shrink)

At the outset of this discussion, I undertook to present an argument from design which would follow Swinburne's example in making use of a priori judgments, while avoiding some of the objections which have been posed in response to his treatment of these issues. So we need to ask: how does this approach to the question of design compare with Swinburne's?Swinburne argues that a chaotic world is a priori more likely than an ordered world: this consideration provides one (...) central reason, on his account, for giving an explanation of some sort for the world's regularity. The other central argument he advances for this claim is the argument from analogy (in terms of the coins) which we noted earlier. The approach I have taken offers an alternative route to this same conclusion. In particular, it substitutes the simpler a priori judgments recorded in (i) and (ii) for the rather difficult and contentious claim that chaos is a priori more likely than order. In place of this claim, I have offered the judgment that order, or recurrence, is more likely given the activity of a common source or common kind of source than otherwise: this proposal does not commit us to a view either way on the question of whether order is a priori likely per se. Moreover, in place of Swinburne's analogical argument, I have offered an a priori approach, with the advantages I have noted.Given that recurrence is to be explained, we might ask: why offer an explanation in terms of design? On this point, Swinburne argues, for instance, that no other explanation of temporal regularity is even possible a priori. Again, the a priori principles which I have used, in (iv) and (v), may be less ambitious, but at the same time more persuasive. In support of this same idea, Swinburne also cites various ideas to do with the predictive power of the idea of design. I have tried to bring out the role of this sort of consideration in terms of my principle (v). Principle (iv) has no place in Swinburne's account, in view of his reliance on the principle of simplicity as a measure of prior probability.Lastly, we may ask: if we are to cite a designer, are there reasons for attributing to this agent more powers than are needed for the production of the effect to be explained? On this point, Swinburne cites the principle of simplicity. Again, my approach avoids what has proved to be a relatively controversial judgment about the nature of a priori probabilities, offering in place of the principle of simplicity the less ambitious principle recorded in (iii). At this point, I have moreover inverted the logical sequence of Swinburne's argument: it seems to me that, in the ways I have indicated, it is helpful to consider the extent of the powers of the source of recurrence before addressing the question of design.In these various ways, I hope I have made good my undertaking to present an argument which avoids some of the controversy surrounding the particular measures of a priori probability which figure in Swinburne's argument. Moreover, I hope that this approach provides an indication of how a priori judgments may function in a relatively unproblematic way within an argument from design, in so far as (i)–(v) are all rather modest proposals. In sum, the argument I have presented is distinguished by its explicit use of the a priori judgments recorded in (i)–(v), by its attempt to buttress in this fashion analogical forms of argument, and by the logical role it gives to the idea that the source of regularity possesses more powers than are required for the production of this effect.Lastly, we might ask: how persuasive is this argument? Of course, the cogency of the idea of design depends upon the balance of debate in other areas of the philosophy of religion, especially upon our ability to provide some account of the existence of evil. In this paper, I have been concerned to argue simply that recurrence by kind provides evidence for design: I have not addressed the question of whether other features of the world provide good evidence against the idea of (benevolent) design. However, if we confine our attention to this one phenomenon, there is it seems to me good evidence for the idea of design, (i) and (ii) suggest that recurrence surely calls for some explanation; (iii), together with the existence in nature of statistical irregularities, suggests that whatever provides this explanation could have brought about other effects besides; and design seems the only clear explanation of why this effect should have been brought about, if (as I have argued) analogies drawn from vegetable and animal reproduction fail, and if we cannot explain the effect satisfactorily by reference to the conditions of observation. Moreover, I have argued that there are reasons for supposing that the probability a priori of design is relatively high in relation to the probability a priori of any rival hypothesis of equivalent predictive power. In brief, this is because the design hypothesis (unlike the hypothesis of theism) can cite an agent of relatively indeterminate power in order to account for the phenomenon to be explained. In this regard, it is less ‘precisely defined’ than any rival hypothesis of equivalent predictive power. If all of this is so, then as philosophers from early times have supposed, temporal regularity provides the basis for a powerful argument in favour of design. It remains true, of course, that its import can be judged in full only when we have taken into account the relevance of other phenomena, many of which are apparently less favourable to the idea of design. (shrink)

The purpose of the research is to identify professionally important qualities of the specialists in design, technology, and service, in particular cutters in the postmodern society. At the first stage, a preliminary list of 39 professionally important qualities of the skilled workers in the fashion industry has been formulated by means of theoretical analysis. The list considers the specifics of the cutter`s work at the intersection of three industries – design, technology, and service. At the second stage, (...) a priori ranking of factors has been conducted by interviewing 5 experts. The list, reduced after a priori ranking, has become a basis for surveying 246 respondents from different groups of stakeholders at the third stage. As a result, the lists of input parameters of the model of specialist, which are professionally important qualities of the skilled cutters, are obtained. The lists contain 28 professionally important personal qualities, which are grouped into the following groups: executive and motor manifestations, cognitive processes, memory and thinking, emotions, business qualities, creative features, specific requirements. The obtained results make it possible to develop optimal prognostic models of training the skilled workers in the fashion industry, as well as to conduct a scientifically grounded selection of personnel and career counseling. (shrink)