Millennial Exploration of Good Design: Perceptions of the Elements of Design through Images and Language

This research explored young adult millennial student perceptions of good design and the extent to which the elements of design were reflected in the determination. The sample, sixty-five young adult millennials between twenty-two and thirty-four, derived from students studying design at a west coast US university. Access to students was through the researchers who posted a link to the survey on course online learning platforms. The instrument asked the respondent to take a photo of any object considered to be good design. Photo documentation offered familiar expression and individual voice regarding design perceptions. The student uploaded the image to the survey and then provided responses to quantitative and qualitative questions. These responses were intended to elicit design element perceptions, including identification of elements most and least representative of good design. Color, texture, and mass/form were most frequently selected as least or most representative of good design. Good design was often described without using the fundamental elements of design as descriptors. The majority described good design based on object functionality, material use, simplicity, and the overall design result rather than focusing on the design elements. The image, as a learning methodology, is a powerful approach to analyzing good design. Assigning photo documentation of design along with descriptions of elements will lead to a greater understanding of these very fundamental design aspects. Providing millennials the opportunity to engage in learning about design using an approach to which they easily relate is vital to their success in articulating thoughts about and beyond the image.

The Event of Fear in Thriller Films: The Silence of the Lambs

This article builds a new relationship between film and architecture. It studies the architectural phenomenology of fear in creating an event and proposes a framework to understand the event of fear spatially and emotionally. In order to do this, the article uses a scene from the last sequence from the 1991 film The Silence of the Lambs and analyses the event’s components: namely the subject and the atmosphere being encountered. Drawing upon Hanich’s categorization of the cinematic emotion in horrors and thrillers and Mølbak’s definition of the event, the article analyses the atmosphere, how to engineer it, and how to energise it. It studies the subject’s perception and embodiment in encountering the space to turn it into a place. It also explores the phenomenal zones and the “thing” that manifests the space and increases the feeling of fear.

Redefining Photojournalism in a Post-Media Techno-Creative World

Photojournalism is rapidly reconfiguring in the digital post-media age as print media outlets shrink or cease to exist. This article will critically examine contemporary photojournalism, reframing its practice globally within the contemporary techno-creative practice of the art world. The article will focus on key photographic projects from Oculi, a collective of photographers portraying the beauty, wonder, and struggle of daily life in Australia, as the case study to reframe the definition of photojournalism. Oculi is emblematic of the normative art world and evolution within the practice of photojournalism. The photo-essay, according to theorists David Campany and Allan Sekula, does not extend beyond the print media. Although the history of photography situates the photo-essay as flourishing in the shadow of journalistic media practices, the rapid decline of traditional media print outlets indicates an urgent necessity to redefine photojournalism. Reframing photojournalism will extend the practice into a contemporary techno-creative world of art practice through ideas such as Alexandre Astruc’s metaphor “Camera Stylo” (camera pen) and David Campany’s concept of “late photography.” The article proposes that photojournalism outside the parameters of the media and the “event” as “late photography” can also include the human element, not just the empty melancholy of disaster or aftermath.