Journal of Visual Art and Design 2022-06-30T08:45:06+07:00 Hafiz Aziz Ahmad, Ph.D. Open Journal Systems <p><img class="imgdesc" src="" alt="" /></p> <p align="justify"><em>Journal of Visual Art and Design</em> welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists' writing, case study or critical essays in the fields of Art and Design.</p> <p align="justify"><em>Journal of Visual Art and Design</em> focuses on theoretical and empirical research articles in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education.</p> <p align="justify"><strong>Indexing/ abstracting/ archiving</strong> : <a href=";ISSN=2337-5795">Web of Science (Emerging Sources Citation Index) - Clarivate Analytics</a>, <a href=";hl=en" target="_blank" rel="noopener">Google Scholar</a>, <a href="">CrossReff</a>, Perpustakaan Nasional Republik Indonesia, <a href=",p2654,3.html" target="_blank" rel="noopener">Index Copernicus</a>, <a href=";recCount=25&amp;recPointer=7&amp;bibId=15763839">Library of Congress</a>, <a href="">Indonesian Publication Index</a>, <a href="">Science and Technology Index (SINTA)</a>.</p> <p>ISSN: 2337-5795, E-ISSN: 2338-5480</p> <p style="text-align: justify;">Published by The Institute for Research and Community Services, Institut Teknologi Bandung, in collaboration with The Aliance of Indonesian Industrial Product Designer (<a href="">Aliansi Desainer Produk Industri Indonesia (ADPII)</a>).</p> <p align="justify">The journal has been also accredited for five years based on The Decree of Directorate General of Research and Development Strengthening, Ministry of Research, Technology and Higher Education of the Republic of Indonesia <a href="">No. 30/E/KPT/2018</a>, dated on October 24th, 2018. <a href="">Certificate</a>.</p> <p style="text-decoration: underline;"><strong>Publication History</strong></p> <p><strong>Formerly known as:</strong></p> <p>ITB Journal of Visual Art and Design (2007 - 2014)</p> <p>Back issues can be read online at:</p> Integrated Arts and Culture Education Model for Public Schools in Indonesia 2022-03-04T14:40:49+07:00 Jeong Ok Jeon Evelyn Huang Nin Djani <p style="user-select: auto;">There is an urgency to improve arts and culture education in public schools in Indonesia. Currently, the sector faces various challenges, such as insufficient course hours, limited topics, as well as inadequate number and expertise of teachers. With the Covid-19 pandemic, the situation has become even more precarious. To solve these problems, ARCOLABS organized an alternative arts and culture education program for local public-school students in 2020 as part of the Official Development Assistance (ODA) for Arts and Culture Education. Entitled ‘Made in Cirebon’, this pilot project served as preliminary research to look for the most appropriate models to encourage innovations and sustainability in arts and culture education in local public schools in Cirebon through cooperation with local artists. This project-based study utilized several research methodologies, including seminars and discussions to develop learning contents, implementation of an online/on-site learning model, a mini showcase of learning outcomes by students, along with participant interviews, surveys, and evaluation by all stakeholders to prepare for a successive project in 2021. Through the inclusive, innovative and productive outcomes of the project, this research has drawn several positive conclusions: (1) various genres and disciplines can be integrated into an interdisciplinary subject that could overcome the limited course hours and topics within the school curriculum; (2) local artists can be important artistic and educational assets that could fill the gaps in formal education; and (3) a creative approach to local issues is a significant catalyst for the sustainability of the implemented model.</p> 2022-06-30T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design Design for Sustainability – Learning from Traditional Indian Products and Practices 2021-12-06T16:14:16+07:00 Sejal Changede Lisa Thomas Stuart Walker <p style="user-select: auto;">Mainstream design approaches for developing more sustainable ways of living are often underpinned by the very modern values that have been instrumental in creating our unsustainable world. These values include those of consumerism, economic growth, efficiency, and technological optimism – exemplified by mainstream Triple Bottom Line approaches, including the popular Circular Economy concept. Mounting evidence of unsustainability, however, suggests that such approaches may not be sufficient to bring about the scale of change required. We present initial findings from an ongoing research project that examines what Design for Sustainability can learn from traditional products and practices in India that are not underpinned by modern values. We focused on one traditional product, the mortar and pestle, comparing it with a contemporary spice grinder. We offer five initial findings for developing contemporary products in a more comprehensive and holistic manner than is currently the case.</p> 2022-06-30T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design Interactive Art Readings Focusing on Gilles Deleuze’s Thoughts 2020-07-28T12:11:28+07:00 Sara Jahangiri Hossein Ardalani <p style="user-select: auto;">Gilles Deleuze is a post-structuralist philosopher whose viewpoints have a postmodern and post-structuralist atmosphere that transform any solid and stable structure into dynamism, oppression and fluidity. In the twentieth century, several developments occurred in the arts and technology. This brought about the emergence of new art forms, including interactive art. In this research, we deal with interactive art from the viewpoint of Deleuze based on the interpretation of two examples of works of an interactive artist, i.e., Maurice Benayoun. We looked specifically at the role of the audience in this art form. The research methodology used was descriptive-analytical and the method of information analysis was qualitative. The results of this study show that in interactive art, in as in Deleuze’s view, stagnation and one-dimensionality do not make sense. The audience finds himself/herself in between the work and the personal. However, the meaning of the artwork and its transmission among the creator, the work, and the audience is always in progress, a fluid flow happening in the middle of the potential and actual task.</p> 2022-06-30T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design A Qualitative Review of Learning Methods in Exhibition Design Course 2022-03-04T14:41:29+07:00 Kukuh Rizki Satriaji Eljihadi Alfin <p style="user-select: auto;">The Interior Design Study Program of Institut Teknologi Bandung, Indonesia focuses primarily on design education. The main objectives of this study are teaching how to design and educating designers to be professional. The exhibition design course is an elective course and uses a student-centered learning method. This method is usually adopted to improve student participation. Active student participation is a major element in almost every learning process. This course not only provides knowledge about the ins and outs of exhibition design, but also invites students to solve problems through given assignments. Each assignment is unique and forces the student to role-play as a stakeholder around an exhibition, such as a designer, visitor, content creator, decision maker, etc., to provide different points of view. The student is asked to see the problem from different angles and produce optimal solutions based on their skills and knowledge. The present study was based on observation of the process and results of Exhibition Design courses from two semesters in 2021, during the Covid-19 pandemic. Based on the assignment results and their evaluation, it is shown that this approach can generate student participation and improve the students’ understanding of the subject. The students were always curious about what would happen in the next lecture. All students showed positive learning experiences throughout the course. The general concept of this learning method could be implemented to varying degrees in other courses in interior design schools.</p> 2022-06-30T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design Reconstructing Identity through Spice Route Narrative: 2022-04-06T10:50:25+07:00 Dewi Kumoratih <p>In line with Joko Widodo's vision to position Indonesia as the ‘Global Maritime Fulcrum’ by 2045, the Indonesian government through the Ministry of Education and Culture has initiated the proposal of nominating the Spice Route (Jalur Rempah) as World Heritage in 2017 to UNESCO. This article aims to show the dynamic process of redefining national identity through the Spice Route narrative, which is full of contestation between the state, society, and the market. Previous studies have shown that the process of reproduction of nationalism through the reconstruction of national history and national identity is now no longer always initiated by the elite. Democratization and globalization also provide space for civil society to reinterpret their ideal image of Indonesia. Methods used in this qualitative research included auto-ethnography through participant observation, in-depth interviews, literature studies, comparison, and visual communication design analysis of form-content-context, both descriptively and reflectively. In conclusion, instead of being a political-ideological narrative, the Spice Route narrative is reinterpreted in a new domain: the creative industry. It has become a source of inspiration for branding commercial products, feature films and documentaries, community activities, festivals, educational curricula, and at the same time included in the content of Indonesian cultural diplomacy through gastronomy, all of which require a contribution of design. This article examines the extent to which the Spice Route narrative, seemingly intended as a nation brand, is able to reconstruct and redefine the national identity of Indonesia.</p> 2022-06-30T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design A Study of the Non-Visual Factors of Cars Affecting the Consumer’s Cognitive Appeal 2021-09-05T23:16:36+07:00 Jitender Singh Parth Ahuja Prabir Sarkar <p class="Abstract" style="user-select: auto;">The success of a car in the market depends on visual as well as non-visual factors. Both these sets of factors influence the cognitive appeal of cars for potential buyers. Purchasing a car is not only about economic choices but also related to emotional, aesthetic, sensory responses to driving, kinship patterns, habitation, sociability, and functionality. This study aimed to identify the major non-visual factors of cars that affect the cognitive perception of buyers and estimate their importance relative to each other. A set of non-visual factors and their sub-factors were identified through a literature search and an open-ended survey among car owners. Many of the sub-factors had the same meaning and therefore these factors were grouped under twenty separate sub-factors. Then, these twenty sub-factors were analyzed by using the Decision-Making Trial and Evaluation Laboratory (DEMATEL) approach to evaluate the most influential sub-factors among the identified sub-factors. Six designers were involved in the analysis of the sub-factors through the DEMATEL approach. The results showed that the car’s brand value, cost, engine performance, reliability, and safety are the top five sub-factors. Outcomes of this study can be utilized by designers and top management people to understand the most influential factors affecting the cognitive behavior of consumers when purchasing a car. This understanding will help companies to design cars as per the requirements of consumers, which will ultimately lead to better profitability of these companies.</p> 2022-06-30T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design Cultural Code Analysis of the Integration of Pintados Design in Furniture Product Development using Semiotics and Quality Function Deployment 2022-04-06T10:50:59+07:00 Melchor Paete <p style="user-select: auto;">This study consisted of a design research into the application of <em style="user-select: auto;">Pintados</em> tattoo patterns in a furniture product design and used semiotic theories to explore furniture product design methods. The research was carried out in three phases: (1) semiotic analysis (thematic analysis), (2) Quality Function Deployment (technical case study), and (3) cultural code analysis. The purpose was to find new strategies to convey scientific-based design information in introducing the cultural connotations of <em style="user-select: auto;">Pintados</em> tattoo patterns to modern design. The main results of this study were: (1) the developed <em style="user-select: auto;">Pintados</em> furniture design was semiotically projected onto a traditional time development axis, a localized spatial development axis, and a cultural conforming/cultural difference axis; (2) the cultural code analysis revealed that the psychological aspect reflects affect, transmission, and identification codes, while the behavioral aspect generates function and transmission codes, and the physical aspect expresses aesthetic, transmission, style and hue codes; (3) designers are recommended to start from their own traditional roots, meaning in this case that the ‘culturally literate market’ must be part of the Visayan community and must be aware of the <em style="user-select: auto;">Pintados</em> tattoo tradition. By considering developments from the pre-colonial past to the present, we can assess the paradigm shift of cultural codes from the traditional interpretation to the contemporary modern understanding, stripped of preconceived biases imposed by the hegemonic Western mindset. These biases, which are a systemic problem in the process of semiotic practice (discourse, design, production and distribution), can be addressed by art and design appreciation and a thorough analysis of consumer culture.</p> 2022-07-13T00:00:00+07:00 Copyright (c) 2022 Journal of Visual Art and Design