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The design thinking methodology is a problem-solving approach that involves empathising with end-users, (re)defining problems, brainstorming solutions creatively, and experimenting with prototypes and testing. It has been widely adopted in education to help students develop critical thinking, creativity, and problem-solving skills in design. On the other hand, text-to-image artificial intelligence is a method used to generate images from natural language descriptors (usually referred to as prompts). Design thinking methodology can teach students to think creatively and critically about real-world problems when applied in the classroom. In the context of design teaching at the University of Saint Joseph, Macao, students use the design thinking methodology to develop innovative proposals for furniture design solutions. Combining design thinking methodologies with text-to-image artificial intelligence can further enhance the learning experience by allowing students to generate visual representations of their ideas during the ideation phase. The authors developed a systematic approach to generate images for ideation on furniture design based on prompting text-to-image (PTI). The analysis related students’ results who applied the design thinking methodology without using AI tools and the results generated using a standard text-to-image programme. By combining both methods, teachers can help students develop critical thinking, creativity, and problem-solving skills, while also allowing them to generate visual representations in a different paradigm and, by so, being able to communicate their ideas with the most appropriate support for them.

Design for Classroom Units: A Collaborative Multicultural Studio Development with Chinese Students

Resumo O fascínio do Ocidente pela dicção poética oriental está atestado em várias latitudes e línguas, e resultou numa profícua produção na área da poesia. Sabe-se que a reinvenção da poesia chinesa da autoria de Pound, em grande medida na origem da sua proposta de revolução do idioma poético, nas primeiras décadas do séc. XX, assentou, na verdade, numa falácia; numa concepção errada da natureza da escrita chinesa (e japonesa) como essencialmente pictográfica e ideogramática, na base de propriedades expressivas reconhecidas na poesia que resultariam numa particular eficácia na apreensão e tradução do real. Pessanha enaltece, em termos similares aos da exaltação poundiana, a escrita da poesia chinesa clássica. Interessa-nos rever alguns inventários dos traços da dicção poética chinesa e japonesa que explicam que ela seja tomada como metonímia e metáfora da poesia, ou como meta e utopia da poesia, para perceber o que terá levado autores muito díspares a tentar a mão nos haikus, processo em que sondaremos algumas formulações poéticas em língua portuguesa. Consideramos também que esse fascínio por uma (sonhada) origem da dicção poética, quando cruzada com o habitar (não metafórico, neste caso) do pequenino enclave de Macau, de autores que nele lançaram raízes, resultou em alguns exercícios poéticos particularmente felizes e singulares. Serão trazidos à colação nesta abordagem poemas de Eugénio de Andrade, Sophia de Mello Breyner Andresen, José Tolentino Mendonça, Yao Feng, Fernanda Dias e Fernando Sales Lopes.

Maria Celeste Natário, Renato Epifânio, Carlos Ascenso André, Gonçalo Cordeiro, Inocência Mata, Jorge Rangel, Maria Antónia Espadinha

To what extent is students' understanding of computer science culturally situated? This, possibly philosophical question, has come to the surface at Uppsala University, Uppsala, Sweden, where many Chinese students study computer science together with the local students. We did an exploratory study using email interviews to see if our intuitions could be relied on. We collected data from Chinese students studying in master programs and analysed the data using a phenomenographic perspective. A complex intertwined relationship between the content of their learning (the WHAT), the ways in which they went about studying (the HOW), the aims of their studies (the WHY), and the competencies developed from the intercultural context they studied in (the WHERE) was observed. In this paper we offer some insights from the results of the pilot study and discuss how they have shaped our on-going study in the field.

Abstract Earlier linguistic research suggested that Malacca Creole Portuguese (MCP) had existed without diglossia with Portuguese ever since the Dutch conquest of Portuguese Malacca in 1642, yet it had experienced some contact with Portuguese in the 19th and 20th centuries. The present study adds significantly to this discussion. It considers a range of information from sociohistorical studies and archival sources (including linguistic data) relating to the Dutch (1642–1795, 1818–1823) and early British (1795–1818, 1823–1884) colonial periods. For the Dutch period, it is seen that contact with other Creole Portuguese communities is likely to have persisted for some time. Most significant, however, is the finding that 19th century texts in Portuguese and creole Portuguese, recently identified in archival sources in London and Graz, show that Portuguese continued to be part of the Malacca sociolinguistic setting until the early British period, and that missionary Indo-Portuguese also had a presence at that time. It is concluded that, rather than presenting a narrow lectal range akin to that of the MCP community in the late 20th century, the creole lectal grid in the 19th century was more complex, and included dimensions of a continuum in a diglossic relationship with Portuguese.

Sounding Architecture, is the first collaborative teaching development between Department of Architecture and Department of Music at the University of Hong Kong (HKU), introduced in Fall 2016. In this paper we present critical observations about the studio after a final public presentation of all projects. The Review was conducted with demonstrations by groups of students supervised by different Lecturer, in each case focusing on a different strategy to create a connection between Sound, Music, Acoustics, Space and Architectural Design. There was an assumption that the core working process would have to include the design of a new musical instrument, which in some cases became the final deliverable of the Studio and in other cases a step in a process that leads to a different outcome (such as an architectural Design, a performance or social experiment). One other relevant aspect was that Digital technology was used in the design and fabrication of the physical instruments' prototypes, but in very few cases, it was used in the actual generation or enhancement of sound, with the instruments relying almost exclusively in acoustic and mechanical sound.

Research in ubiquitous networked music systems has unveiled the potential of behavioural-driven interaction interfaces as an effective model to cope with network communication delays in remote musical performances. Most of the techniques developed under these premises are based on digital music interfaces implemented on laptop computers or tablet devices, where a certain degree of gestural control comes as an added dimension. The purpose of this paper is to present an implementation of such type of interfaces in the form of a physical tangible musical instrument, contemplating multiple expressive possibilities. This is viable at the current stage of technological development thanks to leveraging 3D printing and laser cutting technologies for effective prototyping and testing of such a device. The paper seeks to demonstrate that this approach opens a wide range of possibilities for creating musical instruments with versatility and expressiveness beyond what is usually accomplished in traditional instruments. This implementation, entitled “Radial String Chimes,” is presented with its advantages, the challenges it faces, and the methods used to create it. Finally, the paper will offer suggestions for further developing such an instrument to unlock its potential.