Arts Design & Architecture

Publication Search Results

Now showing 1 - 10 of 1820
  • (1998) Armour, William Spencer
    Journal Article
    Traditionally, the LOTE teacher is positioned as the learners' language model. Ingram argues that since the L2 is both the target and the medium of instruction 'the teacher is often the principal (if not sole) model of the language for the student'. This implies that the language of instruction should define the particular teaching method. In practice, however, the teacher speaks and writes model dialogues or more precisely model texts that act as the major source of L2 input, especially in the initial stages of learning the language. Model dialogues are those 'simulated conversation dialogues found at the beginning of textbook language lessons' presented to learners at any time during a class. These models appear not only in textbooks, but also on cassette tapes, in computer 'interactive' multimedia software packages, on photocopied worksheets, the blackboard, and from teachers' mouths. Erickson describes model dialogues as 'stilted' and sometimes 'stereotypical'. The purpose of this paper is to examine the relationships between model dialogues, teachers, learners, and other stake holders by investigating what aspects of social reality model dialogues attempt to characterise; why model dialogues are used extensively as motifs representing actuality, motifs which learners (and teachers) are expected to memorise and use in the future; and whether it would be possible to teach and learn Japanese without using model dialogues.

  • (2004) Armour, William Spencer
    Journal Article
    This article discusses how Sarah Lamond, a Japanese language teacher in Sydney, Australia has juggled three of her identities: second language (L2) learner, L2 user, and L2 teacher. Data come from four interviews used to create an edited life history. These data are used to draw attention to the relationship between L2 learner and language user. The concept of “identity slippage” is briefly discussed and is introduced as a way of explaining this relationship. Although these three identities are foregrounded, it was found that Sarah's other identities of wife and mother also played a significant part in her becoming a Japanese language learner. Furthermore, Sarah's story also raises the native versus nonnative language teacher issue and in turn explores notions of authentic and impostor.

  • (2003) Armour, William Spencer
    Journal Article
    This paper addresses the questions of how and what kinds of multiple self-presentations may inhabit the same narrative space. I draw on two types of data, both of which highlight changes that have occurred to individuals who have learned another language. By foregrounding the topical life histories of two Anglo-Celt Australians who have learned Japanese as an additional language after the age of 11 years, it was possible to investigate: (i) the extent to which multiple self-presentations are 'scaffolded' by the ability to make meaning in Japanese as an additional language; and (ii) the process of 'identity slippage' as part of the social semiotic construction of a bilingual self. In this paper, I challenge how 'Asian', and more specifically, 'Japanese' identities have been traditionally described.

  • (2001) Armour, William Spencer
    Journal Article
    This paper addresses two issues within a general theory of cross-cultural adaptation. The first concerns the extent to which cross-cultural adaptation is activated by the ability to make meaning in Japanese as a foreign language. The second investigates the phenomenon of 'identity slippage'. Six life histories taken from informants who had learned Japanese after the age of 11 years have been used as narratives to provide qualitative date to shed light on issues concerning additional language development, and especially some of the consequences of learning Japanese on each informant's sense of self. It was found that making and interpreting meaning with a different set of appropriated linguistic, non-verbal and pivotal information plays a major role in cross-cultural adaptation. It was also discovered that 'identity slippage' is a multilayered phenomenon which relies, in part, on the ability to make meaning in a location and with an audience. Those who can and do identity slip challenge the notions of native and non-native.

  • (2007) Misawa, Fumiko; Hirota, Kiko
    Conference Paper
    This paper discusses a new approach to an education program about timber architecture for a sustainable future and rehabilitation in relation to the forestry industry, the community as well as architectural education. Due to global concerns of environmental sustainability, forestry and timber architecture have been chosen as key building environments. However, in Japan, there is a knowledge gap in the education program for more than 30 years relating to a specific aspect of timber architecture. In 1995, design problems of modern Japanese timber architecture were revealed in the aftermath of the Hanshin Awaji Great earthquake. Gifu Academy of Forest Science and Culture decided to adopt a new type of timber architecture curriculum for “Learning with Forests”, consisting of three major projects. They are: 1) self-build project, 2) local project and 3) intensive design studio project. In these projects, four major characteristics of timber architecture were selected as core educational focuses, in addition to community partnership and local culture. They are: structure, materials, space and function. This methodology has already been applied to local projects in Japan and the collaboration design studio with The University of New South Wales (UNSW). This paper highlights the final project of this intensive design studio and documents the outcome of this novel approach to modern timber architecture program in terms of environmental, social and cultural sustainability.

  • (2007) Bernabei, Rina; Walsh, Christopher
    Conference Paper
    This paper describes a collaborative introductory design studio experience, designed and coordinated by staff from the Faculty of the Built Environment- University of NSW. The aim of the one day event was to introduce students from diverse programs such as Landscape Architecture and Industrial Design to each other, design as a whole, the local environment and the importance of human interaction. The students understanding of design was enriched through a selection of short wide-ranging workshops. The work undertaken in this event was later used in the normal studio, and exhibited to their peers in a group exhibition. In addition to describing the event and its outcomes, this paper aims to capture students reflections.

  • (2004) Trouton, Lycia Danielle
    Conference Paper
    Strategies used in interdisciplinary needlework-textiles in public installation-performance are outlined. My paper discusses the particulars of my Irish Linen Memorial, begun in 2001, Justine Merritt's Ribbon around the Pentagon, 1982-85, and Suzanne Lacy's The Crystal Quilt, 1987. I discuss the sculptural use of textiles in public space and ritual, such as their historically political use as banners, as well as creations symbolic of the interconnectedness of life. More currently, textiles metaphorically illustrate violence and trauma inflicted upon the body, loss of life and the rupture of the fabric of social order which war involves. Cloth can be used as a reminder of displaced persons, the migrant identity and the plea for global stability. My collaboration with choreographer-dancer, Elizabeth Cameron-Dalman, OAM, is an example of international collaboration between Australia and Canada, on the issue of Northern Ireland's sectarian violence, 1969-2000.

  • (2007) Trouton, Lycia Danielle
    Journal Article
    This brief article explains the non-hierarchical listing of all 'Troubles' deaths in the inclusive Irish Linen Memorial (renamed The Linen Memorial in 2007) - killings for which various persons/groups on either side of the political divide, as well as the security forces, were responsible. The artwork-memorial can be read as an anti-monument. The Linen Memorial (hereafter LM) acts as a 'modest witness' in reordering relationships and engaging a parity of esteem between Nationalist/Republican ('Catholic') and Loyalist/Unionist ('Protestant') communities during the post-1998 period when Northern Ireland is emerging from conflict. The use of the linen handkerchief as symbolic for heartfelt grief was what inspired me to use it, as a building block, to create a non-traditional and mobile memorial to those killed in the sectarian violence, commonly called The Troubles, in Northern Ireland.

  • (2009) Fowler-Smith, Louise
    Journal Article
    How we perceive and contemplate the land affects how we treat the land, and ultimately how we live within it. Thus, is it possible for the artist to change how we perceive the environment to the extent that people change the way they respond and inhabit it? Encounters with venerated and Sacred Trees on field trips to India lead me to consider that respect for the environment is strengthened by the symbolic nature of images. Beyond the economic or conservationist perspective, there is an aesthetic rationale for preserving trees in India, where the tree is perceived aesthetically in its natural environment as an object adorned, and subsequently adored. The historic and contemporary practice of venerating the tree through decoration has, over time, effected cultural change in India. The tree is perceived differently, it is seen as a form that houses the sacred, and thus is protected. Louise Fowler-Smith is a Senior Lecturer and Director of the Imaging the Land International Research Institute (ILIRI) at the College of Fine Arts, University of NSW in Sydney, Australia. ILIRI aims to promote new ways of perceiving the land in the 21st century, while opening a dialogue across a wide spectrum of contemporary approaches to imaging the land, from indigenous and non-indigenous, local and international perspectives. ILIRI has established a residential Art Centre at the UNSW Fowlers Gap Research station north of Broken Hill. As a member of RESARTIS, (the international association of Artists’ Residencies), ILIRI attracts national and international artists to reside and work at this unique centre on the edge of the Australian Desert.