新西兰论文代写

新西兰essay 代 写:艺术和设计

新西兰essay 代 写:艺术和设计

这篇文章的目的是对Kjetil Fallan的工作做一个批判性的总结。他的书《设计史:理解理论与方法》是批判性呈现的内容。其他的研究被用来分析内容。

作者意图理解

日常事物和它们在世界上的位置,因为它们呈现出对文化和历史的理解,是这篇文章的基本动机。小事有助于理解历史哲学。正如作者所说,这些“日常”的东西是设计人类环境的普通元素。作者的意图是展示人们是如何通过构建和解释这些小事情,来识别特定的人、想法和关系的。本书提供了一个关于这一背景的论述,主要侧重于向读者介绍一些当前的理论视角和框架,这些视角和框架正在告知设计历史,并在当前时代对其进行改造。这将有助于读者理性地吸收他在研究中遇到的信息,无论是历史学科还是其他交叉学科。设计历史作为一种更近的现象,有必要在理论上给予更多的支持,这本书在这里是一种资源。

新西兰essay 代 写:艺术和设计

作者指出,目前对什么是设计这一主题的大多数理解,以及它的组成部分,不可能仅仅通过讨论或思考它。事实上,通过理解与主体相关的理论和分析方法来考虑主体是必要的,因为这将使理解更加深入。史学部分试图呈现设计历史以前是如何被对待的,以及后来如何发展。第二章试图从理论的角度来呈现设计的历史,例如社会和文化对技术的影响是如何被理解的,以及不断变化的学术讨论是如何为更强的科学技术研究铺平道路的。最后一部分旨在教育读者关于设计历史研究的认识论观点。

新西兰essay 代 写:艺术和设计

The purpose of this writing is to present a critical summary on the work of Kjetil Fallan. His book “Design History: Understanding Theory and Method” is the content to be presented critically. Other research studies are used to analyze the content.

Understanding of Author Intention

Everyday things and their place in the world as they present an understanding of culture and history is the basic motivation of this writing. Little things help understand the philosophy of history. As the author calls it, these “quotidian” things are the ordinary elements which designed the environment of people. The author’s intention is to show how the little things, framed and interpreted by people, have led to the identification of specific people, ideas and relationships. The book serves to provide a discourse on this context, primarily focusing on introducing the readers to some current theoretical perspectives and frameworks that are informing design history and transforming it in current times. This would help the reader rationally assimilate information that he would encounter in his studies, whether it is b the discipline of history or other inter-disciplines. Design history as a more recent phenomenon, it makes sense that the study had to be augmented with as much support in theory and the book serves as a resource here.

新西兰essay 代 写:艺术和设计

The author states that most of the current understandings on the subject of what design is, and its constituents would not be possible by merely discussing it or musing about it. In fact, it is necessary to consider the subject by understanding both theories and methods of analysis that connect with the subject, as this would enable a deeper understanding. The historiography section attempts to present design history as it was treated before and how it branched out later. The second chapter intends to present design history with theoretical perspectives, such as how social and cultural influences were understood with respect to technology, and how the changing scholarly discussions paved way for stronger science and technology studies. The final sections intend to educate the reader on the epistemological perceptions that exist with respect to design history studies.