Bombs Away: visual thinking and students’ engagement in design studios contexts

In design studio, sketching or visual thinking is part of processes that assist students to achieve final design solutions. At QUT’s First and Third Year industrial design studio classes we engage in a variety of teaching pedagogies from which we identify ‘Concept Bombs’ as an instrumental in the development of students’ visual thinking and reflective design process, and also as a vehicle to foster positive student engagement. Our ‘formula’: Concept Bombs are 20 minute design tasks focusing on rapid development of initial concept designs and free-hand sketching. Our experience and surveys tell us that students value intensive studio activities especially when combined with timely assessment and feedback. While conventional longer-duration design projects are essential for allowing students to engage with the full depth and complexity of the design process, short and intensive design activities introduce variety to the learning experience and enhance student engagement. This paper presents a comparative analysis of First and Third Year students’ Concept Bomb sketches to describe the types of design knowledge embedded in them, a discussion of limitations and opportunities of this pedagogical technique, as well as considerations for future development of studio based tasks of this kind as design pedagogies in the midst of current university education trends.

Bombs away: Visual thinking and students’ engagement in design studios contexts

In design studio, sketching or visual thinking is part of processes that assist students to achieve final design solutions. At QUT’s First and Third Year industrial design studio classes we engage in a variety of teaching pedagogies from which we identify ‘Concept Bombs’ as instrumental in the development of students’ visual thinking and reflective design process, and also as a vehicle to foster positive student engagement. In First year studios our Concept Bombs’ consist of 20 minute individual design tasks focusing on rapid development of initial concept designs and free-hand sketching. In Third Year studios we adopt a variety of formats and different timing, combining individual and team based tasks. Our experience and surveys tell us that students value intensive studio activities especially when combined with timely assessment and feedback. While conventional longer-duration design projects are essential for allowing students to engage with the full depth and complexity of the design process, short and intensive design activities introduce variety to the learning experience and enhance student engagement. This paper presents a comparative analysis of First and Third Year students’ Concept Bomb sketches to describe the types of design knowledge embedded in them, a discussion of limitations and opportunities of this pedagogical technique, as well as considerations for future development of studio based tasks of this kind as design pedagogies in the midst of current university education trends.

Visual thinking in recent neuroscience

After a consideration of visual thinking in science the role of such thinking in neuroscience is discussed. Three instances are examined - cortical column, retina, impulse - and it is argued that visual thinking is employed, though in different ways, in each. It lies at the core of neurobiological thought.

Metaphor: The Hidden Link between Visual Literacy and Learning

Visual Thinking Strategies (VTS) have been proven to enhance learning abilities in children. This study will examine how the use of metaphor might affect the development of fourth graders’ verbal and written abilities at three schools in the Miami-Dade County Public School system.

Visual Insight in Geometry

According to a traditional rationalist proposal, it is possible to attain knowledge of certain necessary truths by means of insight—an epistemic mental act that combines the 'presentational' character of perception with the a priori status usually reserved for discursive reasoning. In this dissertation, I defend the insight proposal in relation to a specific subject matter: elementary Euclidean plane geometry, as set out in Book I of Euclid's Elements. In particular, I argue that visualizations and visual experiences of diagrams allow human subjects to grasp truths of geometry by means of visual insight. In the first two chapters, I provide an initial defense of the geometrical insight proposal, drawing on a novel interpretation of Plato's Meno to motivate the view and to reply to some objections. In the remaining three chapters, I provide an account of the psychological underpinnings of geometrical insight, a task that requires considering the psychology of visual imagery alongside the details of Euclid's geometrical system. One important challenge is to explain how basic features of human visual representations can serve to ground our intuitive grasp of Euclid's postulates and other initial assumptions. A second challenge is to explain how we are able to grasp general theorems by considering diagrams that depict only special cases. I argue that both of these challenges can be met by an account that regards geometrical insight as based in visual experiences involving the combined deployment of two varieties of 'dynamic' visual imagery: one that allows the subject to visually rehearse spatial transformations of a figure's parts, and another that allows the subject to entertain alternative ways of structurally integrating the figure as a whole. It is the interplay between these two forms of dynamic imagery that enables a visual experience of a diagram, suitably animated in visual imagination, to justify belief in the propositions of Euclid’s geometry. The upshot is a novel dynamic imagery account that explains how intuitive knowledge of elementary Euclidean plane geometry can be understood as grounded in visual insight.

A new approach to understanding readings for design students

In this paper I describe an innovative technique for helping design students to approach and understand reading tasks. There is ample literature on design students’ use of visual thinking for design tasks, but less on how they can use their visual skills to apply to their learning in other areas, particularly those that challenge them such as academic reading and writing. I set a cartooning task as a way to get students motivated and involved in doing set readings for a design history course. This has been successful in enhancing students’ involvement and understanding, and they have been able to apply their improved understanding to writing tasks based on the cartoons.

Using a visually-based assignment to reinforce and assess design history knowledge and understanding

This paper presents a visual timeline-based assignment used in an undergraduate Industrial Design History, Theory and Critcism unit. The assignment was developed in order to find a better way of supporting design history learning than an exam or essay assessment. It was developed using constructive alignment and it allows design students to use their strong visual thinking skills to understand unfamiliar content, develop their visual literacy of design history, and think deeply about the links between the designs, styles, movements, events and people in their timeline. The task produced a variety of responses, from websites and electronic presentations to large paper timelines, scrolls and 3D models. These have been admired by peers and used for end of year shows and permanent displays. Questionnaires were issued to students to gain feedback about the assessment. Students stated that the visual nature of the assignment helped them to understand how different aspects of design history related to each other, assisted with retaining the information, and that it was more interesting and fun than a report or an exam. This paper explores the theories behind and the benefits of using such methods of assessment for design history courses.

Teaching Tips from a Recovered Autistic

An article by Grandin sharing tips for teaching and working with autistic children. The focus is on: Structured Environment, Learning to Talk, Rhythm, Sensory Problems, Reducing Arousal, Tactile Stimulation, Fixations, Visual Thinking. The conclusion of the article reads "I cannot over emphasize the important role that good teachers and therapists play in enabling autistics to lead a fuller life. A good autism program needs dedicated people and should use a variety of treatment methods in combination with an intense structured environment".

Estrategias para trabajar la creatividad en la Educaci??n Superior : pensamiento de dise??o, aprendizaje basado en juegos y en proyectos.

Resumen basado en el de la publicaci??n

Intuizione e visualizzazione in matematica con particolare riferimento a Felix Klein

Questo lavoro trae spunto da un rinnovato interesse per l’«intuizione» e il «pensiero visivo» in matematica, e intende offrire un contributo alla discussione contemporanea su tali questioni attraverso lo studio del caso storico di Felix Klein. Dopo una breve ricognizione di alcuni dei saggi più significativi al riguardo, provenienti sia dalla filosofia della matematica, sia dalla pedagogia, dalle neuroscienze e dalle scienze cognitive, l’attenzione si concentra sulla concezione epistemologia di Klein, con particolare riferimento al suo uso del concetto di ‘intuizione’. Dai suoi lavori e dalla sua riflessione critica si ricavano non solo considerazioni illuminanti sulla fecondità di un approccio «visivo», ma argomenti convincenti a sostegno del ruolo cruciale dell’intuizione in matematica.

Brain electric microstates and momentary conscious mind states as building blocks of spontaneous thinking: I. Visual imagery and abstract thoughts

Prompted reports of recall of spontaneous, conscious experiences were collected in a no-input, no-task, no-response paradigm (30 random prompts to each of 13 healthy volunteers). The mentation reports were classified into visual imagery and abstract thought. Spontaneous 19-channel brain electric activity (EEG) was continuously recorded, viewed as series of momentary spatial distributions (maps) of the brain electric field and segmented into microstates, i.e. into time segments characterized by quasi-stable landscapes of potential distribution maps which showed varying durations in the sub-second range. Microstate segmentation used a data-driven strategy. Different microstates, i.e. different brain electric landscapes must have been generated by activity of different neural assemblies and therefore are hypothesized to constitute different functions. The two types of reported experiences were associated with significantly different microstates (mean duration 121 ms) immediately preceding the prompts; these microstates showed, across subjects, for abstract thought (compared to visual imagery) a shift of the electric gravity center to the left and a clockwise rotation of the field axis. Contrariwise, the microstates 2 s before the prompt did not differ between the two types of experiences. The results support the hypothesis that different microstates of the brain as recognized in its electric field implement different conscious, reportable mind states, i.e. different classes (types) of thoughts (mentations); thus, the microstates might be candidates for the `atoms of thought'.

Thinking feeling

In “Thinking Feeling” a camera zooms in and around an animated constellation of words. There are ten words, each repeated one hundred times. The individual words independently pulse and orbit an invisible nucleus. The slow movements of the words and camera are reinforced by an airy, synthesised soundtrack. Over time, various phrasal combinations form and dissolve on screen. A bit like forcing oneself to sleep, “Thinking Feeling” picks at that fine line between controlling and letting go of thoughts. It creates small mantric loops that slip in and out of focus, playing with the liminal zones between the conscious and unconscious, between language and sensation, between gripping and releasing, and between calm and irritation.

Liminal moments : designing, thinking and learning

This paper provides a contextual reflection for understanding best practice teaching to first year design students. The outcome (job) focused approach to higher education has lead to some unanticipated collateral damage for students, and in the case we discuss, has altered the students’ expectations of course delivery with specific implications and challenges for design educators. This tendency in educational delivery systems is further compounded by the distinct characteristics of Generation Y students within a classroom context. It is our belief that foundational design education must focus more on process than outcomes, and through this research with first year design students we analyse and raise questions relative to the curriculum for a Design and Creative Thinking course—in which students not only benefit from learning the theories and processes of design thinking, conceptualisation and creativity, but also are encouraged to see it as an essential tool for their education and development as designers. This study considers the challenges within a design environment; specifically, we address the need for process based learning in contrast to the outcome-focused approach taken by most students. The authors base their reflections on teaching design students at a university in Queensland, Australia.

Liminal moments : designing, thinking and learning

This paper provides a contextual reflection for understanding best practice teaching to first year design students. The outcome (job) focussed approach to higher education has lead to some unanticipated collateral damage for students, and in the case we discuss, has altered the students’ expectations of course delivery with specific implications and challenges for design educators. This tendency in educational delivery systems is further compounded by the distinct characteristics of Generation Y students within a classroom context. It is our belief that foundational design education must focus more on process than outcomes, and through this research with first year design students we analyse and raise questions relative to the curriculum for a Design and Creative Thinking course—in which students not only benefit from learning the theories and processes of design thinking, conceptualisation and creativity, but also are encouraged to see it as an essential tool for their education and development as designers. This study considers the challenges within a design environment; specifically, we address the need for process based learning in contrast to the outcome-focused approach taken by most students. With this approach, students simultaneously learn to be a designer and rethink their approach to “doing design”.