Art and Design Commons^™

Exploring The Role Of Repertoire In Library Cataloging, Rachel Ivy Clarke, Brian Dobreski

School of Information Studies - Faculty Scholarship

• Purpose
• Library work is increasingly being explored from the perspective of design. Still, little work has actively explored specific aspects of design as they relate to library cataloging. This study seeks to dive deeper into the relationship between library cataloging and design by exploring a specific aspect of design—the concept of repertoire, or the use of previous experiences and bodies of knowledge during current work.
• Design/methodology/approach
• To examine catalogers’ use of repertoire, this study employed a juxtaposition of field observations of professional library catalogers’ work processes with elements of “think-aloud” protocols.
• Findings
• The researchers identified three major types of repertory …

Transitioning From The Mls To The Mld: Integrating Design Thinking And Philosophy Into Library And Information Science Education, Rachel I. Clarke, Steven Bell

School of Information Studies - Faculty Scholarship

Purpose

As change creates more uncertainty for library practitioners, graduate library education needs to explore how to best prepare students to manage ambiguity through new approaches to identifying and solving challenging problems. We advocate for incorporating design into graduate library education.

Design/Methodology/Approach

First, we discuss the need for a design approach to librarianship. We then introduce the nature of design thinking and philosophy, and discuss the ways in which it is already present in librarianship. We review past developments and recent trends with a special focus on the ways in which design thinking, methods, and philosophies are (or are not) …

A Conceptual Model For Video Games And Interactive Media, Rachel I. Clarke, Jacob Jett, Simone Sacchi, Jin Ha Lee

School of Information Studies - Faculty Scholarship

In this paper, we describe a conceptual model for video games and interactive media. Existing conceptual models such as the Functional Requirements for Bibliographic Records (FRBR) are not adequate to represent the unique descriptive attributes, levels of variance, and relationships among video games. Previous video game-specific models tend to focus on the development of video games and their technical aspects. Our model instead attempts to reflect how users such as game players, collectors, and scholars understand video games and the relationships among them. We specifically consider use cases of gamers, with future intentions of using this conceptual model as a …

Empirical Evaluation Of Metadata For Video Games And Interactive Media, Rachel I. Clarke, Jin Ha Lee, Andrew Perti

School of Information Studies - Faculty Scholarship

Despite increasing interest in and acknowledgment of the significance of video games, current descriptive practices are not sufficiently robust to support searching, browsing, and other access behaviors from diverse user groups. To address this issue, the Game Metadata Research Group at the University of Washington Information School, in collaboration with the Seattle Interactive Media Museum, worked to create a standardized metadata schema. This metadata schema was empirically evaluated using multiple approaches—collaborative review, schema testing, semi-structured user interview, and a large-scale survey. Reviewing and testing the schema revealed issues and challenges in sourcing the metadata for particular elements, determining the level …

Why Video Game Genres Fail: A Classificatory Analysis, Rachel I. Clarke, Jin Ha Lee, Neils Clark

School of Information Studies - Faculty Scholarship

This paper explores the current affordances and limitations of video game genre from a library and information science perspective with an emphasis on classification theory. We identify and discuss various purposes of genre relating to video games, including identity, collocation and retrieval, commercial marketing, and educational instruction. Through the use of examples, we discuss the ways in which these purposes are supported by genre classification and conceptualization, and the implications for video games. Suggestions for improved conceptualizations such as family resemblances, prototype theory, faceted classification, and appeal factors for video game genres are considered, with discussions of strengths and weaknesses. …

A Qualitative Investigation Of Users’ Video Game Information Needs And Behaviors, Rachel I. Clarke, Jin Ha Lee, Stephanie Rossi

School of Information Studies - Faculty Scholarship

Video games are popular consumer products as well as research subjects, yet little exists about how players and other stakeholders find video games and what information they need to select, acquire, and play video games. With the aim of better understanding people’s game-related information needs and behaviors, we conducted 56 semi-structured interviews with users who find, play, purchase, collect, and recommend video games. Participants included casual and avid gamers, parents, collectors, industry professionals, librarians, and scholars. From this user data, we derive and discuss key design implications for video game information systems: designing for target user populations, enabling recommendations on …

Choosing Glass: Color And Impressions, Robert N. Oddy

School of Information Studies - Faculty Scholarship

In the last issue of Glass Craftsman, I said that, for me, the choice of glass is probably the most important factor contributing to artistry in stained glass. Tiffany’s company made glass for specific purposes, and raised the medium to a new level of expressive power. Now, we have a huge selection of stained glass available for our creative purposes. We just have to make the effort to familiarize ourselves to what is out there.

The Illusion Of Depth In Stained Glass: Techniques, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.

Spontaneity In Stained Glass Work, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Stained glass does not lend itself to spontaneity. We design, thinking always about how the glass will be cut and what glass will be available to us. Then, the fabrication is a very slow and meticulous process, requiring accuracy of cutting so that the pieces fit together closely – glass doesn’t bend, stretch or squash. We have to do too much careful planning, and too much engineering! How can we make our subjects come alive, with movement and energy, when we cannot use our bodies to express these things while we are doing the art?

The Illusion Of Depth In Stained Glass: Exposed To The Light, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Stained glass artwork often looks flat. Of course, most stained glass panels are flat. What I mean is that the objects depicted look flat. In my own work, I have given a lot of attention to creating the illusion of depth. What is depth? It refers to the spacial dimension that recedes directly away from our eyes into the distance. If a picture has depth, we see some of its elements as solid objects; some appear closer than others; we are aware of foreground, middle distance and background.

The Lead Line Effect: Shape Without The Came, Robert N. Oddy

School of Information Studies - Faculty Scholarship

In a previous article, I have mentioned my view that stained glass work is akin to impressionism. We use the features of the glass to suggest detail in our subject matter. However, I often find that for some details, this approach is not adequate. For an example, see the scales in Koi, figure 1. It is also not always practical to implement this fine detail by joining large numbers of very small pieces of glass. In this article, I will talk about methods that produce effects compatible with the ‘lead’ lines of traditional stained glass, namely the use of copper …

Line Relationships: More To Lines Than Meets The Eye, Robert N. Oddy

School of Information Studies - Faculty Scholarship

Lines in stained glass artwork are important design features. With copper foil and lead came techniques, they are often prominent and black with the light source behind them. Carefully designed and implemented lines can enhance the sense of depth in a picture and have a rather paradoxical nature in our work. I find that I have a rather complicated relationship with my lines.

Plating In Stained Glass: Experience The Beauty, Robert N. Oddy

School of Information Studies - Faculty Scholarship

“Plating” is a piece of stained glass jargon. It refers to the practice of using more than one layer of glass in the construction of a panel. The layers are not fused together. They are simply stacked up, one on top of another and joined by soldering foil or came. I would like to spend a little time on the reasons for using this plating technique. In a future article I may say more about the techniques themselves, but the why’s are more important than the how’s.

The Fall And Rise Of "Owl", Robert N. Oddy

School of Information Studies - Faculty Scholarship

This article is an account of the work of restoring Owl back to good health. Although the task was initially daunting–and I put it off for a while favoring new creations—it turned out to be interesting. I was able to relive the experience of building one of my early windows, going back to an early stage in my career as a stained glass artist. I hope you will find this account good reading. One of the features that makes the Owl repair interesting is that many parts of the window are plated. In other words, they are made with more …

A Stained Glass Artist’S Adventure Into Sculpture: Adding A New Dimension To My Work, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.

Thoughts Of An Artist In Stained Glass, Robert N. Oddy

School of Information Studies - Faculty Scholarship

No abstract provided.