INVESTIGATING ARTISTIC COMMODITY DESIGN THROUGH THE SHIFT BETWEEN ART AND DESIGN
Accompanying the rapid development of cultural and creative industries in recent years, there has been frequent collaboration between art and design fields. Although the dimensions of emphasis vary between these two fields, implying the existence of a divergence, coordination can be achieved by reaching a consensus in communication prior to cooperation, thereby creating an outcome that is beneficial for all involved parties. Based on this concept, we analyzed the divergences between the considerations of artists and designers by examining fundamental art and design concepts. This analysis also considered the differences between these fields. Subsequently, we analyzed the present shifting phenomena between art and design. According to the current trend in which artwork is becoming a design commodity, the following 2 spirit-led models are proposed to describe artistic commodity design: 1) the artist-led model and 2) the designer-led model. These 2 models generate innovative form shifts such as reproduction, decomposition, and innovation. The shifting methods corresponding to these 3 form principles are classified into the “3T” models: transfer, transit, and transform. Therefore, we can achieve a common goal that coordinates varied purposes and styles by determining the sprit-led model, form principle, and 3T method that the artistic commodity should display.
DIFFERENCES IN DESIGN INNOVATION FORMS IN CREATING ARTISTIC CULTURAL COMMODITIES
We conducted a prospectivc study trial of cu]tural commodity creation using different design innovation forms, working with 37 junior students or the visual communication desigri department (14 males, 23 females). The process of transforming artworks into cultural commodities is distinguished by three forms of innovation: 1) Copying form (artist led-the commodity almost completely retains the original appearance of the original artwork), 2) Deconstructive form (a designer transforms the piece, breaking through its construction or function), and 3) All new form (designer led-a designer extracts the jnspiration from the artwork or artist). Different design situations and constraints elicit variable mental iterations, therefore, we treated two different limited situations of design: 1) non-constrained condition, and 2) constrained condition. In an experiment in making commodities under a non-constrained condition. 17 works were in the copying form, 11 works were in the deconstmctive form, and nine were in the a]1 new form, Under a constrained condition, we found 12 works in the copying fbrm, 16 deconstructive, and nine were all new. 1(bywordst Cultural & Cneative lhdustries, Design lhnovation, Cultural Commodity
The guaianolides of ambrosia cumanensis HBK : The structures of cumambrins A and B☆
Abstract Cumambrins A and B isolated from Ambrosia cumanensis HBK were shown to be guaianolides with structures Ia and Ib.