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Filed under 3D models Home designs 3DMF format 3D models Design Modeling Spatial models Disqus privacy policy. Where applicable, you can see country-specific product information, offers, and pricing. For the best experience, update your browser version or try Chrome or Firefox. Available only with a Fusion 360 subscription. Financing options available. 1-833-843-3437 Get started with tutorials, videos, events, and more.http://www.drupalitalia.org/node/71799 Financing options available. 1-833-843-3437 Digital River Trading (Shanghai) Co., Ltd. is an authorized dealer of Autodesk Software (China) Co., Ltd. Every subscriber has access to: We offer multiple different options. Hiring the right qualified professional is as simple as an online search. 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All other brand names, product names, or trademarks belong to their respective holders.https://www.accessoriperdisabili.com/images/bosch-washing-machine-manual-singapore.pdf All rights reserved. I understand that the Reseller will be the party responsible for how this data will be used and managed. By understanding the physics of how it is spread and how it may be contained, we can all be a part of the solution. Organizations around the world trust ANSYS to deliver the best value for their engineering simulation software investment. With the easy-to-use tools, you can build and optimize lighter and smarter products. We strive to create a workplace where people from distinct backgrounds can come together to support each other and solve our customers’ problems. We respect, value, embrace and are strengthened by the unique perspectives that our employees bring to work each day to make us ONE ANSYS. ENOVIA allows companies to fully master the creation and lifecycle management of products whether they are complex or simple. It addresses all manufacturing organizations, from OEMs through their supply chains, to small independent producers. For people in sales, product marketing, training, and support, 3DVIA creates engaging and intuitive 3D interactive apps that advance communications and accelerate learning. Objectives Develop professional visual sensitivity and competency in graphic communication through discipline of the magazine design process. Continuing development of professional computer design skills in drawing, page layout, and image manipulation using appropriate software. Develop a series of professional portfolio pieces including magazine brands, feature layouts, news section layouts and information graphics. Content This is a design class—not a software training class. Students will produce a series of design projects, developing them from thumbnail rough to smooths to final. Students will be expected to have, or to develop, the technical and computer skills necessary to complete their projects. By their nature, studios are dynamic educational environments.www.drmarlenebothma.co.za/wp-content/plugins/formcraft/file-upload/server/content/files/16270398952008---boss-gt-pro-service-manual.pdf During critique periods and in the interaction of instructor and student on ongoing projects, the studio provides resources and learning opportunities that cannot be “made up” by other means. In short, your attendance is just as important as mine. Students arriving 20 minutes or more late will be marked absent. Three tardy marks equals one absence. TEXT AND REFERENCES Required: Rothstein, Jandos, Designing Magazines, Allworth Press, New York, 2007. Students are also expected to purchase at least three copies of the magazine they are redesigning during the course of the semester, and two magazines for the mashup assignment. Suggested (add or subtract books as needed): Adobe CS2 Illustrator Classroom in a Book, Adobe Press, Salinas, California, 2005. Adobe CS2 Photoshop Classroom in a Book, Adobe Press, Salinas, California, 2005. The Adobe Type Reference, Adobe Press, Salinas, California, 2005. Williams, Robin, The Mac Is Not a Typewriter (1st. not 2nd. ed.), Peachpit Press, 1990. Course Outline (Subject to change) Workup Material With each incremental deadline, students will turn in color proofs—full-sized and cut neatly (razor or X-acto and straight edge—no scissors!) to trim, and an envelope containing documentation of creative preparatory work. Each envelope should contain at least 8 distinct concepts, 4 pencil or computer refinements of the chosen idea, and at least one preliminary printed piece. The envelope must also contain a cd rom, dvd or zip disk with Quark files (no thumb drives), and all supporting art and typefaces. Final pdfs must also be included. Purchase two magazines, one each from the following two groups. You will note that nearly every magazine divides articles into sections. Generally, shorter items appear in the front and sometimes the back, (FOB, BOB) and longer pieces appear in the center “feature well.” While the content of the two magazines you purchase will vary, much of the underlying structure will be similar.www.cjacksonlaw.com/ckfinder/userfiles/files/canon-sx1-manual-download.pdf Consider how both magazines use typography design and imagery, and how those choices appeal to readers. The rich visual and editorial choices the magazine’s staffs make form the personality or “brand” of each magazine. Come to the next class prepared to discuss specific features of each design and how the design relates to content. You may only use a magazine excluded from these lists if you choose mainstream newsstand consumer publication and you get my e-mailed approval before Wednesday’s class. I will not approve two magazines that are too similar— for example two fashion magazines. Presentation of research results, Wednesday. Read: Introduction, Chapters 1 and 2. Magazine Content Part II: Mash-Up. Using the same two magazines as for the first assignment, design a feature story for one in the style of a feature from the other. You should not imitate an existing feature, but seek to simulate how magazine “A” might handle “B’s” content. Text and headlines should be real (you may find text but not images on the internet), Length: minimum 5pp, but be guided by how your magazine “packages” its features. Strive for a similar density of text and images across pages. Week 2 Lecture on long-form documents, defining colors in Quark, work time, Monday, Parts of a magazine handout. Work time, small-group critiques, Wednesday. Read: Chapters 27, 28, 33. Week 3 Studio time, Introduction of redesign assignment, Monday. Final critique, Wednesday. Our major project this semester will be a complete overhaul of a magazine, or an “editorial redesign.” While this may seem like a lot of time to accomplish a small goal, as you have already seen, a magazine format is a complex, carefully balanced machine with lots of components. A vast number of decisions go into a magazine format, which relate to obvious design decisions—type, color, grid, budget—but also the less obvious, how information is distributed and presented within sections.http://www.sg-callenberg.de/wp-content/plugins/formcraft/file-upload/server/content/files/162703996aa70d---boss-gt-10-user-manual1.pdf Many redesigns go farther—considering what sections might be enhanced, reduced, eliminated, or added, as well as the overall tone or voice of the magazine. A redesign can be done with an eye towards making the magazine appeal to a younger or wealthier audience, it may be intended to make the magazine seem more serious, or more approachable, it may attempt to use art or photography more effectively. You will start this project with a magazine that you believe is “broken”—severely in need of improvement or updating. For this reason, it is recommended that you do not choose a major “supermarket” newsstand magazine (like People, Vogue or Esquire). You must also turn in a copy of the published magazine. You are responsible for purchasing and reading the real magazine during the duration of this project. All pages must be printed in full size, full-color, trimmed neatly to bleed, and mounted on black mounting boards, which are logically organized and stacked in the order the pages would appear in the magazine. As with any large project, it is anticipated that later design decisions will make it necessary to rethink earlier decisions. Therefore, grades given over the course of the semester will be considered provisional. The 21 pages turned in at the end of the semester must be “of a piece.” Even though pages will be designed over time, all finals must make editorial and graphic sense when viewed together. The final grade may be adjusted up or down to reflect how well the final magazine works as a complete solution. Your final must be turned in with supporting files using Quark’s gather for output feature which puts art, page files and fonts in a single folder. You must also create usable templates from your pages (which include page grids and style sheets). Finally, your disk(s) must include PDFs of every page. Your disk will not be returned to you. Retain all files separately for your records.https://rescue.bg/wp-content/plugins/formcraft/file-upload/server/content/files/1627039a54ad91---boss-gt-10-manual-rus.pdf Week 4 Magazine Branding: color, type, pacing, Comments on getting started, Studio time both days. Read: Chapters 13 and 20. Week 6 Lecture on Briefs, Studio time, Written proposal due. Monday. smallgroup critiques Wednesday. Read: Chapters 25 and 29. Week 7 Work time, lecture on ASFs, Monday, Small group critique of progress on FOB Wednesday. Read: Chapters 3, 6 and 7. Week 8 Lecture on covers, studio time, Monday. Preliminary FOB finals due Wednesday. Read: Chapters 18 and 30. Week 9 Studio time, Monday.Read: Chapters 22 and 23. Week 10 Lecture: feature design. Studio time, Monday. Preliminary cover finals due, Wednesday. Small-group critiques of features in progress, Wednesday Read: Chapters 17, 21 and 26. While that may seem like a lot to get done in two weeks (and you may start earlier) you will likely find that by this point in the semester that you will have a good feel for your magazine by now, and these last two sections will go quickly. Week 12 Lecture: creating style sheets, Monday. Preliminary feature final due, Wednesday. Week 13 Lecture: creating templates, Studio time, Wednesday: optional small-group critiques. Week 14 Optional Studio time, Monday. Optional small-group critiques, Wednesday. Week 15 Optional studio time, Monday. Final critique, Wednesday. We are a non-profit group that run this service to share documents. We need your help to maintenance and improve this website. You do not need to download them if you use MySQL Workbench binaries provided by us or compile MySQL Workbench using pre-compiledThe listed items are provided as links to the corresponding download pages where you can fetch the necessary files. It may not be available at this time, the URL may have changed, or we may be experiencing technical problems locating it. If possible, include the resource’s title and the URL that is no longer working. The personal and crea- that they create content that is later displayed in the museums.www.ecolecielbleu.com/ckfinder/userfiles/files/canon-sx1-is-user-manual.pdf Participatory design tive way that people relate to exhibited material makes the contribution of the mu- approaches influenced the design of these pieces and facilitated the recognition of in- seum community valuable. Interaction designers have the possibility to plan from the formal museum practices (sharing thoughts, feelings, jokes and questions) as well as beginning the way that the museum community could create content.In order to work on these hypotheses, the main topics for my research are how to When examining the data, I adopted the concept of “ecology of participation” which create design that encourages community participation in the museum and what to ex- allowed me to map the complexity of the design arena, thus making visible possibilities pect from such participation. To tackle this issue, I created and participated in projects for intervention to interaction designers. The ecology-of-participation concept binds that attempted to encourage people to comment on an exhibition, whether in online or the interactive piece, the people, and the practices with the places. My hypothesis is onsite formats through interactive pieces. Most of the material that this thesis deals that by examining the ecology of participation it is possible to support and make use of with is firsthand, collected during exhibitions in different museums in Helsinki, Finland.This thesis emphasises The cases are Sound Trace (Aanijalki) in the Ateneum Museum in 2005, Conversational that the quality of the contributions depends on the inclusion and connections within Map (Keskustelukartta) in Kunsthalle in 2006, and The Secret Life of Objects (Esineiden the different components of the ecology.The three cases are tightly bonded to my Finally, I offer recommendations on engaging the community in technically mediated research; each case pointed me in new directions and posed questions that affected the exhibitions. These recommendations are intended to support the museum community design of the next case.The recommendations for the museum are to listen to and field and Museum studies, participating in forums around these issues. Both Museum trust the community by promoting community-created content, forming alliances with studies and Museum informatics have provided me with an understanding of the external partners, such as universities, for long-term collaborations, and taking risks.University of Limerick. Proceedings of the 6th International Conference of Design History and Design Studies. Another Name for Design, Words of Creation (ICDHS 2008)(pp. 106-109). Osaka: Osaka University. Article 4: (A.4) 185 Salgado, M. (2008). The Aesthetic of Participative Design Pieces: Two Case Studies in Museums. International Journal of the Inclusive Museum, 1(1), 105-110. In Nordic Design Research conference (Nordes). Oslo, Norway: Nordic Design Research. Many people have helped me in creating this dissertation; I owe all of you the most sincere and thankful credit. First of all I have a particular debt of gratitude to my supervisor Lily Diaz who from the beginning of my doctoral studies in Media Lab offered guidance, insights and support. I learned very much from her and her positive spirit. She has always provided me confidence with respect to my work. Secondly, Luigina Ciolfi, my external supervisor, has patiently and rigorously read the first drafts and provided sharp comments to improve it. Her work was of great value. Thanks Lui! I am grateful to Angelina Russo and Susanna Pettersson, the pre-evaluators, who provided critical and precise comments on the manuscript. I made corrections and additions following their valuable advice. My appreciation also goes to Palmyre Pierroux who kindly accepted the invitation to be the opponent for the defense. This work was possible because Media Lab, in the University of Art and Design Helsinki, granted me with a three-year research position. I enjoy working and studying in this research community, especially the possibility to get to know so many wonderful people. To Kari-Hans Kommonen I owe my being in the Lab in the first place, since he invited me to do my master’s thesis as part of a research project. It was excellent to listen to his visionary ideas; he was always a source of inspiration. I can never thank Andrea Botero enough, my dear friend. She was always there when I was in need of a book, an idea, time for reviewing chunks of text or a good laugh. Her generosity and her hard criticism have been important companions during this work. Gracias! During this time I have also had the pleasure to collaborate and make friends with Anna Salmi and Joanna Saad-Sulonen, with whom we have grown together as researchers. Sharing the workspace with Petri Lankoski was great luck. He has always been ready to help and give sensible comments. Kiitos Petri! Thanks to Andrew Paterson whose conversation has always been a creative stimulation. I enjoyed working and having dialogues with many of my other colleagues: Tommi Jauhiainen, Olga Goryunova, Hans Poldoja, Antti Raike, Heli Rantavuo, Koray Tahiroglu, Jurgen Scheible, Mari Tammisari, Pipsa Asiala and Juhani Tenhunen. Thanks to all of you. I want to express my gratitude towards all the people that made this collaboration in museums possible and enjoyable. This study relies on their time and efforts. Sound Trace: Erica Othman; Conversational Map: Saara Suojoki and Taru Tappola; and The Secret Life of Objects: Leena Svinhufvud, Hanna Kapanen, Elina Eerola, Mirjam Krafft, Jukka Savolainen, Matti Luhtala, Merja Vilhunen, Marianne Aav, Harri Kivilinna, Mikko Laitinen, Ilpo Kari, Atte Timonen and Vennu Nivalainen. My heartfelt thanks to all the participants in the workshops, especially to the teachers Rody Van Gemert, Outi-Maria Takkinen and Nana Smulovitz-Mulyana. Maria Koskijoki, Silvia Filippini-Fantoni, Satu Miettinen, Saila Poutiainen and Outi Turpeinen have kindly listened to my wonderings and provided me with interesting viewpoints. I would like also to thank my friend Michail Galanakis who contributed by reading the manuscript, offering ideas and encouragement. Another good friend that provide practical advice throughout the process was Paula Bello. Gracias! While I am grateful for the contribution of these colleagues, to the strength of this dissertation, the weaknesses are only my responsibility. Jane Brodie did the first English revision and Cindy Kohtala was kind enough to do the English checking adjusting to my tight schedule at the end of this process. Arja Karhumaa gave this work its beautiful visual style and Sanna Tyyri-Pohjonen designed the publication details. Anna Arsniva helped me with planning the defense. I wish to also thank all my good friends, neighbours and my immediate family who have always provided fun and affection. I thank my kids Alma and Eliel for lighting up my life as I worked. Thanks to my mother for her loving support and for transmitting a bit of her passion towards work. Above all, I thank my husband Timo Rantalaiho for his endless patience and love during the many years that it has taken to complete this project. This work is dedicated to you! 11 1 1.1. Introduction or die.The task pa e m sa e th even nd ways galleries is to fi museums and ssions d instilling pa of arousing an at ploring ideas th and ways of ex using d illuminating, people will fin the museum, and e th of s on ti ec the coll al and perience of actu curiosity and ex enhill, rs (Hooper-Gre to si vi al ti n te po 1994, p. 34). 12 Chapter 1. Introduction 1 Note that these networks did not start in 2009 but their sites are constantly being updated, and their copyright is from this year. Framing the Research Contribution This thesis intends to investigate how new technology can support people’s engagement in exhibitions. It does so by presenting and analysing three case studies that I created and in which I participated as interaction designer. I acknowledge that Interaction Design is the principal field of this study because I designed interactive pieces that were set in exhibition venues, and through them I propose and analyse participation within the museum-community. Furthermore, my personal background as industrial designer and my working experience in interior design have profoundly influenced my viewpoints. Both Museum Informatics and Museum Studies and have provided me with an understanding of the problematic from the museum point of view, which I intend to link in this thesis with questions relevant to interaction designers. From this group of researchers the most important authors are Lowgren and Stolterman, because they examine the roles of the interaction designers and the design processes and thus serve as fruitful material to my analysis. However, they have not focused specifically on the possibilities that museums and exhibition venues bring nor use them to make field studies. My contribution concerns understanding the possibilities of designing for participation using new media tools in museums and exhibition venues2. Therefore, for the purpose of this research social media and social interaction issues were the most relevant. Many people actively participate in creating information using new media tools. In an array of fields, changes are taking place, and content is being produced and published by new creators. Research and development of digital media tools support collaborative endeavours in both closed and open groups. All these developments demonstrate that technology is currently ready to enable opportunities for participation in co-creating or co-authoring information. Hence, it is relevant to ask what is going on in the museum milieu: how are museums giving voice to the members of their community and how are people reacting to the possibility of creating and sharing content in museums and exhibition venues. There are many strategies for answering these questions, as an exhibition entails distinct moments to include people. Visitors can be part of the design process by collaborating from the very beginning of the exhibition and its concept (Taxen, 2004; Friess, 2008) or by providing the objects that make up the exhibition. On many occasions, museums have invited communities to contribute before opening the exhibition to the general public. Recently, in Finland, the Helina Rautavaara Museum invited teenagers to contribute their own objects, music, and ideas to the exhibition Live Your Life (Helina Rautavaara Museo, 2008). At the London Science Museum, visitors have been invited to bring their own toys (Simon, 2007). Another way for visitors to participate is by making content that is later used to make the exhibition. An example of this type of participation was the case in which The Portrait Gallery of Canada invited people to make a portrait and made a collection out of the visitors’ contributions (Libraries and Archives Canada, 2008). In the same line Void Gallery has organised the event “today you are an artist” in which an artist and the public made the content material for an exhibition (Derry Journal, 2009). In the specific cases analysed in this thesis, museum staff, visitors and external collaborators commented on an exhibition’s content both online and at the museum during the time that the exhibition was on show. The museum communitycreated content has the role of being the interpretative material that helps to connect the visitors with the exhibition content. 14 Chapter 1. Introduction 1.2 2 In Chapter 3, Section 3.4.1, I define the specific participation to which I am referring.