Intellect’s Cover Design Competition: Art, Design & Communication in Higher Education

It is with great pleasure that we announce Vincent Sauvan as the winner of Intellect's cover design competition for Art, Design & Communication in Higher Education (ADCHE). His design will be used for issue 14.1, which will be available later this year, as well as subsequent volumes. We congratulate Vincent and thank him for his contribution to this journal. 

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Editorial - Journal of Design, Business & Society
It is an exciting time for Design and Architecture here at Intellect. With the launch of the Journal of Design, Business & Society we are exploring new areas. Below is editor-in-chief Gjoko Muratovski's editorial from issue 1.1. Read more about the journal.
Gjoko Muratovski
The Death Spiral in Design
There is a phenomenon in nature called the ‘circular mill’ (Beebe, 1921, pp. 291–94). This phenomenon occurs when a group of army ants (foragers) are separated from the main swarm column. After a period of disorder the separated group randomly picks up a pheromonal scent that they follow, unaware that the scent is coming from themselves rather than from the main colony. Soon after, they end up running around in a densely packed circle, following each other, until they all die from exhaustion. This phenomenon has been dubbed the ‘death spiral’ (Schneirla, 1971, p. 349; Delsuc, 2003, p. 155). The death spiral has been used as a metaphor in such contexts as digital culture (Tanner, 2013), finance (Baldwin, 2012) and even insurance (Cutler and Zeckhauser, 1998). Designers are no exception when it comes to this type of behaviour. When designers choose to focus on themselves rather than on the community they should be serving, they enter the death spiral.
Even though design is part of a broader sociocultural and economic process, and nothing neither starts nor ends with design (Muratovski, 2007, pp. 20–21), design practitioners and design academics alike often choose
to operate within their own circles of likeminded individuals. For design practitioners, the death spiral begins when they start looking to other designers as their sole source of inspiration and for validation. When this happens, designers’ understanding of their primary audience changes. They no longer see design in the context of providing a service to others; instead, they start designing for themselves. In doing so they become ‘authors’ of designs that serve no other purpose than that of fulfilling their own need for self-expression (see Rock, 1996). For design academics, the death spiral begins when they refer to knowledge that can only be found within the field of design. In doing so they are forgetting that design is a relatively young academic discipline and that a handful of design theorists do not hold the answers to all questions. When academics choose to look only to others like them for references and acknowledgement, they risk ending up developing theories with no real benefit to anyone, including the discipline of design itself. Instead, they need to be open to new insights from areas that go beyond design, and should try integrating these into the design process (see Zimmerman, 2003). This is how the discipline of design can continue to evolve and expand, and designers can make a meaningful contribution to the world around them.
In the real world, we do not measure designers by awards or scholarly articles. This may add to the level of prestige a designer commands within his own community, but this often means little in practice. In the real world designers are measured by the types of clients they serve or the social contributions they make. In this context there is little need for exclusiveness. This is because effective designers work at the intersection of many fields, engaging with a wide range of stakeholders. They are rarely in a position to act as their own clients. In fact, they often work on projects with which they may never come in contact with as end users. Regardless of this, designers are expected to know a great deal about the people that will be using their work. Designers are rarely asked to manufacture their own designs or to deliver the services they have been developing. Nevertheless, they must demonstrate an understanding of material properties, production processes or the logistics behind service delivery. This means that designers must be willing to develop new knowledge and to constantly challenge and broaden the idea of design. Good design is a collaborative process. In this process, designers must work with many people with diverse backgrounds and expertise.
That is why the Journal of Design, Business & Society was envisioned as a transdisciplinary platform from the very beginning. This is a journal that will publish research on the role of design in business or society, or articles that examine design while coming from researchers in other fields. This is the reason why our editorial and advisory boards are comprised of international experts from a broad range of areas such as design innovation, design thinking, service design, sustainable design, communication design, fashion design, industrial design, engineering design, digital media, design theory and history, architecture, media studies, branding, business management, marketing, economics, cognitive science and psychology, creative industries, advanced manufacturing and more. In line with this editorial concept, the articles in this issue will cover highly diverse topics, presented from a range of perspectives.
The first article will introduce you to a design-led approach used in crime prevention. This project that has been developed by the Copenhagen-based research advisory firm INITATIVES on behalf of the Danish Police. This article is written by Rex and Stine Degnegaard from INITATIVES in collaboration with Peter Coughlan from the Bainbridge Graduate Institute. Rex Degneegard, until recently a researcher at the Copenhagen Business School, co-founded INITATIVES together with his partner Stine. Stine Degneegard is also a Ph.D. Fellow at the Royal Danish Academy of Fine Arts and Global Ambassador of the Stanford d.School. Peter Coughlan is a design veteran with fifteen-years of experience working for IDEO prior to his involvement with the Bainbridge Graduate
Institute - an American institute for graduate studies in sustainable business.
Next we have an article by Andreas Benker from the Aalto University School of Business. Benker’s article focuses on healthcare. In his study, Benker examines the design process behind developing complex medical devices. In the article he provides an advice to medical device manufacturers on how to improve the marketability of their products and how to develop better usercentred designs.
The third article is by Emily Ballantyne-Brodie who spends her time between the School of Design at the Queensland University of Technology and the School of Design at Politecnico di Milan. This article examines how design-led innovation can enable business models for local food systems, with a particular focus on a community project established in Melbourne, Australia. This article is co-written with Cara Wrigley and Rebecca Ramsey from the Queensland University of Technology.
Following this we have a study by Aoi Tanaka, Cathy Nguyen and Jenni Romaniuk on the strengths and weaknesses of using celebrities as design and branding elements in advertising. Tanaka, Nguyen and Romaniuk are from the Ehrenberg-Bass Institute of Marketing Science. This is a high impact industry focused research institute based at the University of South Australia. The institute provides marketing research services to leading international businesses and organizations such as Coca-Cola, Google, P&G, Turner Media, MasterCard and Unilever.
The fifth article is by Gerard Healey from the global design and engineering consultancy Arup, which became famous in its field for a string of iconic projects such as the Sydney Opera House and Centre Pompidou in
Paris. Most recently, Arup was brought into the spotlight again with a range of projects associated with the 2008 Beijing Olympics. In his article, Healey presents a new business case for sustainable building initiatives. In doing so, he draws on principles found in behavioural economics, judgment and decision-making, green buildings and sustainability communication, as well as on his own extensive experience as an engineer and sustainable building
practitioner with Arup.
Søren Ingomar Petersen, the Chief Executive Officer of the design consultancy Ingomar & Ingomar, has developed the final article in this issue. Petersen, who holds a doctorate from Stanford University is an engineer, automotive designers, and design researcher. He has experience working on projects for BMW, Williams Formula 1, Rolls Royce and CERN – the European Organization for Nuclear Research. Petersen currently uses his extensive industry experience to provide design research services to clients such as Stanford University, Copenhagen Business School and Hong Kong Polytechnic University. In this article he examines the role of gamification in concept design for the purposes of enhancing innovation and performance. The article is co-written with Hokyoung Blake Ryu from Hanyang University in Korea.
This is our first issue – we are delighted to bring it to you. We hope that you will enjoy reading these articles as much as we have done.
Baldwin, W., 2012. Do you live in a death spiral state? Forbes, [online] Available at: < spiral-state/> [Accessed 8 December 2014].
Beebe, W., 1921. Edge of the Jungle. New York: Henry Holt & Co.
Cutler, D. M. and Zeckhauser, R. J., 1998. Adverse selection in health insurance. Forum for Health Economics & Policy, 1(1), [online] Available at:
<> [Accessed 8 December 2014].
Delsuc, F., 2003. Army ants trapped by their evolutionary history. PLoS Biology, 1(2), pp. 155–156.
Muratovski, G., 2007. Beyond design. Skopje: NAM.
Rock, M., 1996. The designer as author. Eye Magazine, Spring, [online] Available at: <> [Accessed 18 December 2014].
Schneirla, T. C., 1971. Army Ants: A Study in Social Organization. San Francisco:
W. H. Freeman & Co.
Tanner, S., 2013. Avoiding the digital death spiral: surviving and thriving through understanding the value and impact of digital culture. In National Digital Forum (NDF) Conference, 25–26 November. Wellington, New Zealand.
Zimmerman, E., 2003. Creating a culture of design research. In: B. Laurel, ed. Design research: methods and perspective. Cambridge, MA: MIT Press, pp. 185–192.
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Journal of New Zealand & Pacific Studies

Intellect are delighted to announce the new issue of the Journal of New Zealand and Pacific Studies. This articles in this issue explore the transcultural influences of explorers, colonists and reformers on the Pacific. It also contains a conference report from the Across the Pacific conference, Oslo, Norway, 25–28 June 2014, and a variety of insightful book reviews. 

To gain access to the journal please click here

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Journal of Italian Cinema and Media Studies

Rome, Open City: Examining the legacy after seventy years is an international conference held at the Department of Film and Television Studies, University of Warwick between 12-13 November 2015.

This conference will be linked to a special issue of Journal of Italian Cinema & Media Studies.

To find out more about the conference please contact Louis Bayman at


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Call for Papers: Critical Studies in Men's Fashion

Call for Papers for a special issue of Critical Studies in Men's Fashion on 'The Impact of  "Queer" and "Gay" on Men's Fashion' has an extended deadline of the 10th August 2015. 

To find the full call for papers please follow the link below.

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Interview with Francesca Zampollo, editor of International Journal of Food Design

Francesca Zampollo spoke to us about Food Design and what motivated her to start the new journal International Journal of Food Design. To find out more about the journal click here.

1.     What first attracted you to Food Design as an area of study?
This is a good story actually. I was in my second year BA in Industrial Design at Polytechnic of Turin. We were designing washing machines and blenders, and typical industrial stuff. Looking back I now see that I was going through my studies a bit numbed I think. I never complained, but I sure didn’t love it. I just didn’t know I didn’t love it. I found out soon enough, when one day I went to a workshop in between semesters; not knowing which one to choose of the different options I chose the one with the least boring title. That day a chef came in, a chef with his white chef shirt, and started talking about Food Design. He did not talk about cooking food, he talked about designing food. In that moment my life changed forever. That chef was Davide Scabin, chef and owner of the two Michelin star restaurant Combal Zero, in Rivoli, Italy. The time of washing machines was over, and the time of food started. From there, every project I did was related to food and eating, and I did my internship at Venchi, a chocolate factory in Cuneo, Italy, where I designed a chocolate snack called Unico, which is still produced today, 9 years later. From there I moved to London where I continued with my postgraduate studies of course on Food Design, and more in particular on food experiences considered from a design perspective. What captured me so much, that day at that workshop, what opened my eyes and made me fall in love with Food Design, is that fact that I started thinking about the possibility of designing with and for food. Food, a material of similar qualities to those I was more used to (like polymers, glass, etc.) but at the same time very different, and this is why: food disappears. Food doesn’t last. As a designer you think of making your mark in the world through the products you put in the world: a furniture designer might make a chair that lasts decades, and an architect might make buildings that last centuries. As a food designer you most likely will design products that last a few hours to a few weeks. And anyway, they are designed to be eaten and therefore disappear. This to me is the most exciting aspect of Food Design: we don’t really design products, we design memories. Only memories of the experience that or product creates can last forever.
2.     What drew you to the idea of editing an academic journal?
Simple: there wasn’t an academic journal on Food Design, but I started feeling the need for people to have a space where to publish their research with the possibility to call if Food Design. Food Design is a discipline that has always existed, as we have always been applying the Design process to food products and services. The term Food Design though, was probably used for the first time about 30 years ago. Awareness of this discipline has been growing since mainly amongst professionals. Research on Food Design has been slower to develop, but in the last 5 years we have seen a growing interest: undergraduate and postgraduate courses have started to emerge, and researchers have started to respond to various conference calls. The International Food Design Society has pioneered this area with the First International Symposium on Food Experience Design (London, 2010) the First International Conference on Designing Food and Designing for Food (London, 2012,, and the Second International Conference on Food Design (New York, 2015, The conference in 2012 in particular was the first international research conference on Food Design, and the interest it generated was the proof that within the research community there was plenty of people wanting to contribute to this field. So the Journal was the obvious second step: creating a place for these researchers and practitioners to publish.
3.     What aspirations do you have for the journal?
The aspiration is for all research that connects food and Design to be collected into an international dedicated academic journal. It is my intention and primary goal to make this a respected journal, by building issues of high quality content. Authors should choose to publish with us not because this the only Food Design journal, but because this is a very good quality journal, which also happens to be the only one entirely dedicated to Food Design 
4.     Approaches to food and food consumption have changed dramatically in recent years; do you feel this has been reflected adequately in Food Design research?
I think we are getting there. Research on Food Design is research on food and eating related issues being addressed with a Design awareness, and research on Design that focuses on food and eating in particular. There is plenty of research being done on food and eating with particular interest in the changing aspects of consumptions, some of this embraces a Design perspective and can therefore be called as research on Food Design. The challenge within Food Design research is just to align or combine what is done on food, with Design, and what is done on Design, with food.
5.     Where do your personal research interests and background lie?
As I’ve mentioned above my background is Industrial Design, and with my Master and PhD I move towards less tangible aspects of Design, towards Design theory applied to Food Design. In particular I am investigating the possibility for a branch of Design Thinking I call Food Design Thinking: a branch of Design Thinking that is specific for food and eating related design process, where the design methods themselves are specifically designed to investigate or generate ideas related to food and eating. My design approach though is Design-Driven Innovation, which at its core asks designers to design for radical change in meaning. So the design methods for Food Design Thinking I have designed so fare all aim at helping designers to generate outcomes (food products, services or systems) that have the potentials to generate radical change in meanings. This triggered my interest in starting a research project that aims at understanding meaningful food: this project is called In Search of Meaningful Food, a collection of videos where people tell the story of their most meaningful food. Once I’ll be able to create a picture of what makes food meaningful, I’ll be able to design design methods that can better help achieving meaningful solutions.
6.     What new areas of Food Design do you hope the journal will explore in the future?


Since I am particularly interested in Design Theory, I’m really looking forward to more discussion on Food Design Theory, and from the submissions I have received so far I can see that there are other researchers out there with the same interests, and who are creating original contribution to knowledge on this with their research. I am also at the moment fascinated with the intersections between Food Design and Fashion Design and looking at gathering likeminded people to discuss such connections. I am also interested in starting a debate on the existence of a branch of Design History specific to food: Food Design History. Is there a scope for such sub-discipline? And finally, what I am really looking forward, is interdisciplinary research on food and eating topics, made accessible to the Design world: I’m looking forward to collaborations between food scientists and Designers, to propose not only very interesting findings on food perception or preference, for example, but also its application through Design. This is the perfect marriage between food and Design.
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Intellect Design Week - Free Visual Arts Issues
To celebrate Intellect Design Week we are delighted to announce we are now providing online access to the below journal issues free of charge. The full issues can be downloaded for free via IngentaConnect. We hope you enjoy reading them.

International Journal of Islamic Architecture 3.1

This journal is intended for those interested in urban design and planning, architecture, and landscape design in the historic Islamic world, but also the more recent geographies of Islam in its global dimensions. Articles in this issue include Farshid Emami's analysis of the planning of a new urban centre of Tehran, Saima Akhtar's discussion of architecture as collection exploring Doris Dukes' collection of Islamic art objects and Nader Ardalan's essay examining the move towards sustainable urbanism in the Persian Gulf.
Art, Design & Communication in Higher Education 13.1
Focusing on arts and media-based subjects, and encompassing all areas of higher education, this journal reveals the potential value of new educational styles and creative teaching methods. This free issue includes Nicholas Houghton's case study of two pioneering art schools, Marek Wasilewski's analysis of arts education in Poland and Dean Hughes's research article looking to provide an alternate account of creative pedagogy to the predominant view.  
Book 2.0 4.1&2 
Book 2.0 publishes articles and reviews on developments in book creation and design. Selected articles from this double issue are available to download free of charge including Pavel Kat's article exploring digital publishing as the great leveller, Alan Macfarlane's examination of the multimedia book and Bernard Robin and Sara McNeil's article discussing the benefits and challenges associated with the collaborative design, development and evaluation of real-world projects with community stakeholders serving as clients. 
Visual Inquiry: Learning & Teaching Art 3.1
This journal is a medium for engaging the rich and multifaceted process of learning and teaching art that takes place in the classroom, studio, and beyond. This issue includes Roshanak Keyghobadi's article focusing on the visual response of a contemporary Iranian artist to a painting by a Renaissance Italian artist, Theresa Alo's article examining the benefit of the inclusion of the arts in all students' education and Martha Christopoulou's case study exploring how primary-age children engaged in a drawing-telling project to represent their understandings of the Greek financial crisis.
Download free issue
Journal of Curatorial Studies 3.1
This journal explores the cultural functioning of curating. This issue includes Margot Bouman's article discussing postproduction, video installation and Christian Marclay's The Clock, Vanessa Rocco's article which aims to demonstrate how the exhibition form and content created a powerful dialectic in the Exhibition of the Building Workers Unions (Berlin, 1931) and Amanda H. Hellman's article examining the processes by which European museum standards were translated to colonial-era African museums and how early Nigerian museums were both an extension of and departure from the way British museums were used for social and political purposes.
Critical Studies in Fashion & Beauty 5.1

This journal is dedicated to the critical examination of the fashion and the beauty systems as symbolic spaces of production and reproduction and representation of artifacts, meanings, social practices, and visual or textual renditions of cloth, clothing and appearance. This issue includes Naomi Braithwaite's ethnographic study of contemporary British women's shoe designers that explored what creativity in shoe design entails, Helen Holmes's article seeking to explore the changeable materiality of hair and Alison Slater's article considering materiality in relation to memories of dress and explores why women remember the materiality of clothes they no longer wear or even no longer own. 
Other Visual Arts issues now available for free from Intellect:



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Visual Inquiry 4.1

Intellect is delighted to announce the new issue of Visual Inquiry 4.1

This issue is co-edited by Gary Granville and Jim Daichendt, and discusses the important topic of Art and Design assessment in Ireland. The papers stem from an international colloquium on the assessment in art and design education, held at NCAD in March 2014. This issue highlights the role and potential of art and design in Irish education, with articles from a range of educators and scholars with unrivalled experience in the field. 

To gain access to the journal please follow this link

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Horror studies website

We are pleased to announce the journal, Horror Studies has a new website from where you can be kept updated on all things related to the journal.

To view the website please click on the link



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College Radio Watch

Interactions: Studies in Communication & Culture has a new publication out which is a special issue of student radio.

To findout more form one of the contributors, Jennifer Waits, please click here


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