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D. Rio Adiwijaya
Bina Nusantara University
Humanities

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Basic Design is Indeed for Expert Anita Rahardja; D. Rio Adiwijaya
Humaniora Vol. 2 No. 2 (2011): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v2i2.3138

Abstract

This article would argue that basic design in undergraduate design study is equally significant in both freshmen as well as senior years (when projects of simulated professional practice tend to regard contexts as more significant than visual itself). It will be shown that basic design plays a profound role throughout the whole education setting, from lectures, form-creation process, to design criticism and assessments. It even expands its worth into sphere of professional practice, as long as form analysis and form-making ability are still demanded as a vital part of designer’s set of competencies. For how could visual analytic or consideration become less important than e.g. marketing, since designer becomes designer, if and only if he/she has certain competence in visual instead of academic-grade marketing? More after, this brief inquiry employs the method of literary study in conjunction with direct and indirect observation through the internet concerning design education and its practice, followed by critical reflections. The outcome of this study would be a firm recommendation for basic design engagement through the whole education years, since its descriptive-generative functions of visual are yet highly relevant, for they lie at the very core of visual communication design discipline itself. 
Penelitian Atas Penelitian Seni dan Desain: Suatu Studi Kerangka Filosofis-Paradigmatis Bagi Penelitian Seni dan Desain Visual Karna Mustaqim; D. Rio Adiwijaya; Ferdinand Indrajaya
Humaniora Vol. 4 No. 2 (2013): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v4i2.3541

Abstract

This paper discusses philosophical framework of practice-based artistic research within the field of art and design in contrast with research in the natural and social science. It is stated that paradigm of artistic inquiry is ilustrated with the role of practicioner as researcher wherein subjectivity, involvement and reflexivity are acknowledged, while (k)nowledge is negotiated – inter-subjective, context bound, and is a result of personal construction. Visual objects have been exhausting large amount of our physical and emotional energy in seeing it which certainly gives them a central role in contemporary ages. It is suggested that research could become part of the needs for experience, to inspire, or to collectively develop a profession. Recently, research as knowledge production has been increasing and gaining its interest within the creative art field. However, there is a foundation which underpins a research, at least some implicit philosophical assumptions of it, which serve as the basis of understanding of reality (ontology), and how to know and justify it (epistemology); and by explicating it, it is believed that scrupulous consideration of it may contribute practical benefits in conducting art and design research. In that regard, this paper presents ontological outlook of Heidegger and also epistemology of art of Merleau-Ponty – which rises within phenomenological tradition – as a philosophical framework which can serve as paradigmatic underpinning of artistic research, in contrast with objectivist approach already identical with research in general.  
Co-Authors Anita Rahardja Ferdinand Indrajaya, Ferdinand Karna Mustaqim