Master of Fine Arts, The Ohio State University, 2024, Theatre

The subconscious mind gathers a lot about a person based on visuals alone. In the world of live theatre, this initial impression is highly controlled by the costume designer. Each element of live theatre combines to create a story that captures the attention of the audience; the actor walks onto the stage, their mind and heart completely in their performance, surrounded by an involved environment and adorned with skillfully detailed garments. Together with my professors and associates at The Ohio State University, we produced a surreal yet modern telling of Blood Wedding by early 20th century playwright Federico Garcia Lorca. We dove into the text, found our balance between poetry and realism, and created a world of bittersweet love. This thesis documents the costume design process from that production. The five chapters will discuss the producing situation, concept and design scheme, character analyses, production, and self-evaluation of the project.

Committee: Rebecca Turk (Advisor); Alex Oliszewski (Committee Member); Tom Dugdale (Committee Member) Subjects: Design; Performing Arts; Theater; Theater Studies

MFIS, Kent State University, 2023, College of the Arts / School of Fashion

The study aims to discover how co-creation can inform research through practice and a fashion designer's creative process when reusing 3D printer waste to create more sustainable garments. Co-creation methods can be used to increase the connection between the customers and the products. The researcher first explores prototyping with 3D printer waste through various levels of everyday creativity. Then hosted co-creative workshops for people to engage in their own creative process to help develop more sustainable fashion products while using the 3D printer waste. After the workshops, the researcher returned to exploring new samples and prototypes based on inspiration obtained during the workshops and reflected on how co-creation influenced the designer's creative process. This cycle repeated as many times as needed. The primary outcome of this research is a new Concentric Co-Creative Design Framework for research through practice, also referred to as CCC Design Framework, which evolved from Gray and Malins' (2004) loop of reflection for action. In the new framework, co-creative workshops serve as a tool for understanding the customer and a source of inspiration for the designer's creative process. The research also revealed four significant sub-findings that further support the newly developed framework: (1) involving participants in the design process helps generating more ideas, (2) ideal participants are high scoring in the Change Seeker Index (CSI), (3) working with 3D printer waste in fashion leads to an adaptive process, and (4) co-creation is an enjoyable activity for participants.

Committee: Kendra Lapolla (Advisor); J.R. Campbell (Committee Member); Jasmine Kornel (Committee Member) Subjects: Design

Doctor of Philosophy, Case Western Reserve University, 2022, Management

Though recognized as a popular approach to advancing innovation in organizations, design thinking remains largely marginalized. Paradoxically, it is design that gets in its own way. It is applauded for its ability to make great things, yet fetishizing making limits design's ability to progress beyond product creation in organizations. Underneath the veneer of cosmetic design lies a design cosmology with strong commitment to a making or techne paradigm. Based on the assumption that organizations are products in a sense—bigger and more complicated than artifacts but artifacts nonetheless—prevailing design theories double down on making and production in their efforts to incite systems change. Unfortunately, this only perpetuates the issue of marginalization. I offer an alternative hypothesis—a theory of design for organizational change rooted in institutional theory and inspired by Aristotle and Augustine. From Aristotle, we understand that the design of living social systems is less about technical production (making) and more about creative action (doing). From Augustine, we understand that time is an important source of both constraint and enablement for human action in systems. In a theory of design as action, individuals can shift their temporal orientations within the flow of time so that time's structure is repositioned from something constraining to something enabling. I propose three sources of design agency that correspond to the temporal dimensions of the past, future, and present: action via memory, expectation, and attention. A qualitative autoethnographic account is depicted to demonstrate what this is like or could be like in a complex healthcare environment. In conclusion, I suggest that “design doing,” or doing design, is a domain-relative management practice suitable for the shaping of human systems. It is an argument that challenges the commonplace notion of what management is and what design is not. The ethos of design doing serves as a (open full item for complete abstract)

Committee: Richard Buchanan (Committee Chair); Richard Boland Jr. (Committee Member); John Paul Stephens (Committee Member); Kalle Lyytinen (Committee Member); Fred Collopy (Committee Member) Subjects: Design; Entrepreneurship; Ethics; Health Care; Health Care Management; Information Systems; Management; Organization Theory; Philosophy; Rhetoric; Systems Design

Doctor of Philosophy, Case Western Reserve University, 2020, Management

Either as a mode of cognition (Boland Jr, Collopy, Lyytinen, and Yoo, 2008), process of inquiry (Boland Jr and Tenkasi, 1995), method of creation (Krippendorff and Butter, 1984), or argument of persuasion (Buchanan, 1985), the practice of design presents a unique opportunity for understanding the extent, complexity and full potential of design within organizations. This study focuses on design in practice within New Product Development (NPD). By operating at the intersection of design and organizational practices, NPD brings multidisciplinary and multifunctional teams together within a project setting. Although projects are employed frequently, they do not always work as expected, and occasionally projects stall. Getting stuck is a shared concern that most product developers experience from time to time and carries a connotation of being unproductive - since revisiting actions or decisions represents the opposite of moving forward productively. This study provides an actionable framework that generates insight regarding design in practice where it is needed: within the project space when a project stalls. By conducting a participatory ethnographic study of NPD in healthcare, as well as in-depth interviews with experts in design and product development, my research reveals that: a) by re-conceptualizing design from a single process into a series of acts that are intertwined, getting stuck and overcoming that problematic situation can be re-interpreted as a normal occurrence and considered as turning points in the moving trajectory of an NPD project; and, b) design practice mediates the before and the after of such turning points by drawing upon a set of fundamental actions and processes that enable the project to regain momentum and continue moving forward. The study interprets design in practice functioning in two distinct modes: the productive mode, creating solutions for a stated design challenge, and a restorative mode, oriented to creating the necessary cond (open full item for complete abstract)

Committee: Richard J. Boland Ph.D. (Committee Chair); Fred Collopy Ph.D. (Committee Member); Kalle Lyytinen Ph.D. (Committee Member); John Paul Stephens Ph.D. (Committee Member); Youngjin Yoo Ph.D. (Committee Member) Subjects: Design; Management

Doctor of Philosophy, The Ohio State University, 2019, Arts Administration, Education and Policy

This research explores CrossFit as a community of practice through a case study research which involves a series of interviews and observational research conducted at a CrossFit box (gym). The findings are analyzed, synthesized and used towards the ends of enhancing the learning experiences of students in practice-based fields, in this case, visual communication design. The study explored how CoPs form and function, the benefits of CoP towards enhancing the learning experience, the implementation of CoPs inside classrooms, and how teaching and learning are enhanced by incorporating CoPs in classrooms. Co-design was used to explore how the findings can be applied inside a variety of classrooms to build an intentional Community of Practice in University level education settings. The co-design takes shape as a workshop that brings educators, students, and practitioners together to explore the possibilities of applying CoP inside classrooms.

Committee: Candace Stout (Advisor); Jennifer Richardson (Committee Member); Peter Chan (Committee Member) Subjects: Art Education; Design; Education

Doctor of Philosophy, The Ohio State University, 2019, Arts Administration, Education and Policy

This study explores the phenomenon of gender-bending cosplay (GBC) through its material culture using costuming (the acts of making and wearing artifacts and the artifacts themselves) to examine the motivations/interests/expectations of women who participate. GBC embraces the shifting, or bending, of the identified gender and/or biological sex of a fictional character to match the gender identity and/or biological sex of the player. This study concentrates on self-identified women adapting male characters to female versions of the same characters. The principal approach of the research design is Practice as Research (PaR) from an Art-Based Research (ABR) paradigm. Research methods include costuming, performance, ethnography, narrative inquiry, interviewing, participant observation, and discourse analysis. The worlds of text and image are melded in the amphibious, mixed-methods design and presentations of this study. GBC involves creating and using material culture, the artifacts of a culture/community. It becomes a creative outlet for many who may not otherwise be making art. When material culture can be worn, an interactive embodied performance can be experienced between the maker and the player, the player and the artifacts, the player and the audience, the player and fellow players, the player and cultural texts. This performance simultaneously emphasizes and challenges gender binaries, gender roles, and expectations. It is a performance of culture. The communities of play collaborate to interpret and reinterpret the performance and the material culture. They tell and share stories that uncover insights into the phenomenon, society, and culture.

Committee: Shari Savage PhD (Committee Chair); Jennifer Schlueter PhD (Committee Member); Christine Morris PhD (Committee Member) Subjects: Art Education

MDES, University of Cincinnati, 2017, Design, Architecture, Art and Planning: Design

As humans' information processing abilities has become more and more disconnected from their senses due to an increasing quantity of abstract information, so have design processes. There is a demand for designers to include human sensation as part of engaging product forms and experiences. This qualitative case study explores the role of the senses and their potential use in design ideation. A literature review of related theoretical and pragmatic perspectives and a survey of 15-20 product examples that provide unique sensory experiences are analyzed and sorted through four sensory design strategies: Sensory Augmentation, Conversion, Transition and Isolation. Using the four strategies as core concepts, a Sensory Reflective Framework with a mindful focus on sensory appreciation and translation is proposed to support designers' ideation in creating unique product forms and experiences. The paper reports the process and findings of a sensory ideation workshop which was conducted based on the framework, and further discusses the development and implications of the framework in supporting designers' sensory ideation.

Committee: Heekyoung Jung Ph.D. (Committee Chair); Vittoria Daiello Ph.D. (Committee Member) Subjects: Design

Doctor of Philosophy, Case Western Reserve University, 2015, Management

Today, in a world context defined by increasing complexity, deepening disparities and rising uncertainty, the imperative of connecting knowledge with action to create systemic social change and achieve more equitable futures for all human beings is greater than ever. The task is ongoing and necessitates both the adaptation of known solutions and the discovery of new possibilities. This dissertation investigates the subject matter of design as a deeply humanistic knowledge domain that is drawing mounting attention and praise for its ability to open up new possibilities for action oriented toward social innovation and human progress. Paradoxically, despite unequivocal signs of such forms of design gaining prominence in our institutions and organizations, the unique value that professional designers impart to the class of systemic challenges and innovation opportunities at stake is an understudied pursuit that lacks articulation and merits elucidation. This dissertation contributes to filling that critical gap. Integrating theories of social innovation, organizational culture, institutional logics and design, and building on the construct of “design attitude” (a set of unique capabilities, abilities and dispositions espoused by professional designers and that are related to organizational learning and innovation), the dissertation relies on the interpretation and analyses of three independent field studies organized in a multiphase mixed methods exploratory design sequence. The dissertation is organized in a dialectical progression that presents the following overarching research question: How might we elucidate the value designers bring to the field of social innovation? The first study combines a grounded theory approach with a comparative semantic analysis of four case studies of design for social innovation projects (conducted with design teams from IDEO.org, Frog Design, Mind Lab and the former Helsinki Design Lab). The insights culled from semi-struct (open full item for complete abstract)

Committee: Richard Buchanan PhD (Committee Chair); Richard Boland Jr. PhD (Committee Member); Kalle Lyytinen PhD (Committee Member); John Paul Stephens PhD (Committee Member) Subjects: Design; Entrepreneurship; Management

Master of Fine Arts, The Ohio State University, 2010, Industrial, Interior Visual Communication Design

In the 1950's, Henry Dreyfuss encouraged studying people's behaviors and attitudes as a first step in designing successful products. Since then, the discipline of design research has steadily grown and experienced a “burst” of popularity in the last 20 years (Arnold 2005, 2006, Rothstein 2001). Today, questions concerning the context of design research in undergraduate product design education have surfaced, particularly with regard to integration into today's changing design curricula. As academia strives to understand and build upon what is done in professional practice, designers must be prepared to conduct credible and effective design research through their coursework while in school. Currently, the majority of (domestic) design programs expect students to experiment and innovate their own methods and approaches without equipping those students with fundamental knowledge about research (Tornello 2003). An international survey was conducted to ascertain the current state of design research education in the context of undergraduate product design programs in the United States. An open ended survey was distributed among international groups of design researchers, design educators and designers that maps out an informed perspective on the state of design research in the United States. The survey also provided an indication as to how the field is evolving. Data in the form of student responses to journal questions were also collected and analyzed in an effort to understand how design students learn best. This research will be used to develop a theoretical course/thread that would reflect the findings of the study. The course would serve as a resource for other design curricula and be one they could incorporate into their own curriculum as they see fit.

Committee: James Arnold MFA (Committee Chair); Elizabeth Sanders Dr. (Committee Member); Paul Nini MFA (Committee Member) Subjects: Design

Doctor of Philosophy, The Ohio State University, 2023, Comparative Studies

This dissertation theorizes the concept of enchantment, articulating it as an orientation towards affects, embodied experiences, and material cultures. The experience of enchantment is amplified by confusing space and time, calling forth social fantasies, and attuning oneself to the natural world. Enchantment is also a potent energizing force, capable of transforming the world around it, whether by arranging subjects and relationships in ways that produce and maintain antiblackness, orientalism, and misogyny, or offering life-giving possibilities that resist the harm of hegemonic forces. Enchantment informs grotesque and fantastical representations of racialized subjects and encourages sustained investment in consumer practices that are never satisfied. Yet enchantment also resides in moments of respite, wonder, and nostalgia for subaltern people. This dissertation aligns the life-giving possibilities of enchantment with creative practice and expression, demonstrating how imagination and fantasy allow the formation of new and more expansive worlds where marginalized peoples can thrive. Yet even while engaging in liberative artistic praxis, subjects must often negotiate dominant capitalist and colonial logics that inform the materials and practices of their world-making.

Committee: Maurice Stevens (Advisor); Dorothy Noyes (Committee Member); Ashley Pérez (Advisor) Subjects: Aesthetics; African American Studies; African Americans; African History; Art Criticism; Arts Management; Asian American Studies; Asian Studies; Black Studies; Comparative; Comparative Literature; Cultural Anthropology; Design; Ethics; Ethnic Studies; Fine Arts; Gender; Gender Studies; Mass Media; Social Structure; Sociology; Spirituality; Technology; Theater; Theology; Therapy; Womens Studies

PHD, Kent State University, 2019, College of Education, Health and Human Services / School of Lifespan Development and Educational Sciences

The primary purpose of the study was to determine whether the block randomization of deliberately-practiced nursing skills results in an increase in long-term retention. The study utilized a pre-test post-test, within-subjects design. Student performance was assessed prior to and immediately after training. Sterile dressing change and venipuncture skills were practiced, with each subject practicing one of the skills procedurally and the other skill in block-random fashion. A practical measure of long-term retention was administered three weeks after training. A total of 46 subjects began the study. However, absences on training days and attrition from second to third quarter of the program depressed participation. Thirty adult education LPN students at a small, midwestern vocational school, ranging in ages from 20 to 58 and averaging 30 years of age completed all components of the study. Thirteen of the 30 subjects had completed varying degrees of post-secondary coursework. Results failed to demonstrate significant differences for practice condition and the interaction of time and practice condition. A main effect for time was realized for both skills. The pre-announced nature of the measure of long-term retention may have obscured additional effects. A more tightly controlled study, utilizing applied pre- and post-assessments, in addition to an unannounced measure of long-term retention could answer these questions more definitively. A lab of programmable, high fidelity simulators would allow for the automation and precise control of such a study.

Committee: Bradley Morris Ph.D. (Committee Chair); Albert Ingram Ph.D. (Committee Member); Chris Was Ph.D. (Committee Member) Subjects: Adult Education; Educational Psychology; Educational Theory; Nursing

Master of Science, The Ohio State University, 2019, Industrial and Systems Engineering

Despite growing pressure for organizations to implement more science-based solutions into practice, efforts to successfully achieve this task have been known to fail due to the tensions that exist between science and application. While there has been a great push in the implementation science, translational science, evidence-based practice, and human factors literature, a void still remains regarding a framework that details the necessary requirements for bridging this known gap. In order to fill this void, I propose The IMPActS Framework, which is founded on the existing literature but acts as a new frame of reference for those trying to translate science into implementations. IMPActS proposes a new standard of what it means to make organizational “impact”, which is now defined as science-based solutions that maintain the maximum appropriate levels of scientific integrity while also being implementable and sustainable in real world practice. IMPActS also acts as an acronym for the five necessary factors each necessary but only jointly sufficient in making this successful definition of impact. These factors are Ideas, Model alignment, Pragmatics, Actors, and Sustainment, and can be thought of as the barriers to making impact that need to be overcome. In this paper, I will describe the IMPActS Framework in more detail and through the lens of three clinical cases, all of which deal with implementing clinical alarm interventions over the last 30 years. The purpose of introducing this framework and comparing it against real-world case studies is to highlight the barriers to making successful impact in hopes that the pathways to successful impact will become more salient, navigable, and tangible for all of those involved. Solution designers should use IMPActS as a means of assessing where to invest their future resources and efforts in order to overcome these barriers in practice.

Committee: Michael Rayo (Advisor); David Woods (Committee Member) Subjects: Industrial Engineering

MDES, University of Cincinnati, 2019, Design, Architecture, Art and Planning: Design

Ranging from a few seconds to a few minutes, short videos have become a popular form of learning and sharing creative skills such as drawing, photography, and crafting. Short videos in social media platforms are reshaping the experience of learning creative skills by providing visually rich instructional materials and communication features to question and comment on those materials. These functions and features of a video platform can impact a user's learning experience, and this aspect has been under-investigated. This study is motivated to investigate user behaviors in short video sharing platforms and identify any gap between user expectations and behaviors afforded by those platforms for creative practice. This study focused on analyzing TikTok (i.e., a short video platform) and Bilibili (i.e., a video sharing platform), specifically 1) their information architecture and user interfaces, 2) viewers' comments on selected drawing skill sharing videos in both platforms (which resulted in four themes of viewer activities and three types of viewer attitudes in practicing and learning creative skills), and 3) selected TikTok users' online activities and expectations for creative practice based on profiles and in-depth interview. The multi-dimensional data about user behaviors and expectations are synthesized into five different personas, leading to the discussion of design recommendations to support creative practice in short video sharing platforms.

Committee: Heekyoung Jung Ph.D. (Committee Chair); Matthew Wizinsky M.F.A. (Committee Member) Subjects: Design

MDES, University of Cincinnati, 2017, Design, Architecture, Art and Planning: Design

In an age where we can avoid hand-drawing and hand-making for the sake of convenience and timesaving, it seems we might prematurely be abandoning them. The benefits of drawing and writing by hand on cognitive development and concentration are numerous, and research supports that developing a reflective practice is rewarding for personal and professional development. Students in traditional design schools, specifically the field of graphic design, are educated with high emphasis on technical production skills—yet what is absent is instruction for developing a reflective practice that links design projects, lived experience, tacit knowledge, and generative ideation toward the robust development of successful design outcomes. More specifically—and the focus of this thesis—is the opportunity for the inclusion of a haptic reflective practice in graphic design education. Such a haptic reflective practice, which includes drawing and writing by hand, has the potential to support students in bridging implicit awarenesses with tangible knowledge outcomes in the design development process. Through an examination of literature from the fields of qualitative research, education, and art and design, and the author's own haptic reflective practice involving drawing and writing as inquiry methods, this thesis explores an under-championed haptic reflective practice in graphic design education. As the initial step in building a rationale for a future case study, this project exemplifies practice-led reflection-on-action to demonstrate a graphic design student's journey from tacit understanding to informed intuition in the design development process.

Committee: Vittoria Daiello Ph.D. (Committee Chair); Meera Rastogi Ph.D. (Committee Member); Brian Schumacher (Committee Member) Subjects: Design

Master of Fine Arts, The Ohio State University, 2015, Design

The potential for artistic practice-led research opening up new “realms of possibility” has been embraced by the academy, and it is the time now for animators to reveal how their practice is a method for the generation of new knowledge, exploration, and connection of ideas as well as for communication (as it is most commonly conceived of). Traditional views of research writing do not serve the wealth of knowledge to be found in the making process of animation. My goal is to illuminate the notion that the self-reflective creative practice of digital animation used as a method of inquiry contributes to both the field as well as the academy overall. Animation as a method of inquiry can be seen at the heart of many experimental and independent creations throughout the art form's history, as well as in the present. I frame my discussion by highlighting inquiry in the works of animators both historical and contemporary to bring to light how these methodologies are functioning in the medium. Inspired by the concept of `practice as research' in arts education discourse - I present a case-study analysis of my digital animation practice and reflections on my experience as an animator, a designer, and a researcher in animation. I claim that animation as inquiry requires the artist-researcher to engage in a reflection throughout their making process. From retrospection and contemplation of my own creative practices, I describe how writing has become an integral part of my animation process – but I also argue that writing is not a requirement for animation as a method of inquiry. The process of making animation captures our ways of knowing in a way that is unique but just as valuable as writing, as long as the researcher can articulate it. Valuing the `messy texts' that are generated as by-products of the creative process is one of several practices I suggest to highlight the discovery process involved in the making of animation. I expand upon the anthropological term `messy tex (open full item for complete abstract)

Committee: Maria Palazzi (Advisor); Candace Stout (Committee Member); Janet Parrott (Committee Member) Subjects: Art Education; Design

MS, Kent State University, 2015, College of Education, Health and Human Services / School of Health Sciences

The purpose of this study is to determine the perceptions of athletic training students, both with and without self-disclosed hidden disabilities, regarding the educational practices within their Athletic Training program (ATP) as measured by the Seven Principles for Good Practice in Undergraduate Education. It was our intent to determine how athletic training students perceive their educational experiences in their overall ATP and do perceptions differ between AT students with self-disclosed hidden disabilities and those without hidden disabilities. Data was collected from students (N = 129) who represented 30 of the 77 CAATE accredited undergraduate athletic training education programs in the US District 4 (GLATA). Five percent of participants (n = 7) self-identified with having a hidden disability, involving a diagnosis that affects their learning experience, including ADHD (n = 5), LD (n = 2), and some form of psychological (n = 1) or medical (n = 1) condition. Significant differences were found between groups when comparing students with a self-disclosed hidden disability and those without on the total instrument score (p= .001), and 4 out of the 7 subscales: Active Learning (p= .000), Prompt Feedback (p= .006), Time On Task (p= .002), and High Expectations (p= .011). AT educators could utilize the Seven Principles for Good Practice in Undergraduate Education to gather information regarding student perceptions of their educational experiences and use that as a basis to implement more UDL inspired approaches grounded in good practice in the didactic and clinical aspects of the program.

Committee: Kimberly Peer Ed.D (Advisor); Amy Quillin Ph.D (Committee Member); Jeffery Huston (Committee Member); Lisa Chinn Ph.D (Committee Member) Subjects: Adult Education; Curricula; Curriculum Development; Education; Educational Evaluation; Educational Theory; Health Sciences; Sports Medicine; Teacher Education; Teaching

Doctor of Philosophy, The Ohio State University, 2014, Art Education

This study examines how select aspects of art and practice are apprehended in Singapore, in terms of how they come into being, how they are known, lived and responded to. Situated within the broader context of postcolonial globalization, the study considers how art and practice can be understood within situated conditions in Singapore as a means towards decolonizing the pre-constitution of subjectivity of Singapore art in the curriculum. This qualitative research uses grounded theory, Adele Clark's situational analysis (2005) and case study to examine the interviews and works of six art/design practitioners. The work draws on concepts from Karen Barad's theory on the materialization of entities in human and non-human actions and relations (2007), Michel Foucault's grid of intelligibility (1971; 1978), and Appadurai's disjuncture and difference in the global cultural economy (1990). Using these concepts, the study considers how subjectivities are made intelligible or constituted within physical-discursive conditions in phenomena. The research investigates how practitioners come to know aspects of art and practice; how they experience, enact, and act against pre-existing subjectivities embedded in structures of practice; and how they respond to these structures in and through their work. The study examines how art/design practitioners traverse and transgress pre-existing subjectivities, and reconfigured these dynamically through splicing strategies in their ongoing becoming in the global cultural economy.

Committee: Christine Ballengee-Morris Dr (Committee Co-Chair); Deborah Smith-Shank Dr (Committee Co-Chair); Sydney Walker Dr (Committee Member); Amy Shuman Dr (Committee Member) Subjects: Art Education; Curriculum Development; Education; Education Philosophy; Education Policy; Educational Tests and Measurements; Epistemology; Ethics

Ph.D., Antioch University, 2014, Leadership and Change

A wiser socio-economic system, by design and not by chance, may well benefit from a series of design principles drawn from the well of wisdom. This dissertation focused on a refined set of eight components of wisdom through research designed to explore if, how, and when they are invoked by a group of experts participating in a futures discussion about organizations in their field of practice, American higher education. The aim was to explore a set of wisdom-centered design principles (denoted as Wise By Design [WBD]) for social innovation, specifically in the design of organizations that would thrive in the future. After four rounds of engagement with a panel of experts with approximately 500 years of accumulated experience in the field, six conclusions were reached: a) an organization could be seen as wise; if leadership, management, and innovation practices are augmented by wisdom; b) the use of design principles based on wisdom and futures inquiry could help organizations develop wise processes; c) wise people develop the ability to take an objectivized balanced perspective when confronted with situations, decisions, or requests for advice; d) wisdom could be described as a multi-channel sense-and-respond adaptive system with the higher purpose of flourishing of self and others; e) interoperability and dual hybridity, both administrative and academic, could enable institutions of higher education to thrive in the future; and f) this field of research could lead into a discussion on the value of exploring artificial wisdom. The electronic version of this Dissertation is at Ohiolink ETD Center, http://etd.ohiolink.edu and AURA http://aura.antioch.edu/

Committee: Alan Guskin Ph.D. (Committee Chair); Jon Wergin Ph.D. (Committee Member); Laurien Alexandre Ph.D. (Committee Member); R. Eugene Rice Ph.D. (Other) Subjects: Higher Education; Higher Education Administration; Management; Organization Theory; Organizational Behavior

MS ARCH, University of Cincinnati, 2008, Design, Architecture, Art and Planning : Architecture (Master of)

Architecture and interior design both involve designing buildings or spaces and have adopted titles to differentiate themselves from each other as professions. The relationship between these professions has attracted much critical interest in recent years. There are many tensions and misunderstandings between the two professions. This thesis will investigate the “contest” sphere of the two disciplines by raising the following comparative questions; is this tension created by professionals themselves or by social context involving the public, academic identities, political people, or the economy of a country? How do factors such as professional authorities, attitudes, and working methods under the heading of ‘Professionalism' influence the sphere of professional relationship? How does this relationship change from time to time, people to people, and place to place? Can the professions get beyond a stereotypical imbalance that situates one profession, architecture, superior and being mostly worthy for men, and the other profession, interior design, inferior and as mostly being worthy of women? How do architects and interior designers relate to one another as a different and independent profession? This proposed thesis looks for the origins of the above questions by investigating how these professions emerged to their present states. This thesis will focus on the history of the professions, their education standards, professional organizations, and their cultures of practice, thereby leading me to attempt to develop and understand these major issues in the culture of practice-architecture and interior design.

Committee: David G. Saile PhD (Committee Chair); Patrick Snadon (Committee Member); Elleh Nnamdi (Committee Member) Subjects: Architecture; Interior Design

Doctor of Philosophy, The Ohio State University, 2010, EDU Physical Activity and Educational Services

Despite increasing investment in building, supporting, and managing communities of practice (CoPs) that meet the strategic business needs of the organization, the literature indicates that little is known about strategic CoPs in organizational work settings. The purpose of this study was to investigate the relationships among participants' characteristics, perceptions, nature of involvement, and outcomes in CoPs which are highly structured for strategic purposes. Two strategic CoPs in an electric utility company that provides services in the United States were selected for this study. Multiple regression analyses of an online survey showed that participants' perceptions were related to the nature of involvement in CoP. Level of involvement in CoP was shown to be related to participant outcomes, and time of involvement was shown to be related to learning from the CoP. Results of a qualitative content analysis of interviews with CoP leaders, coaches, and members assisted in interpreting the results of the quantitative data analysis and identified four CoP outcomes: gaining job-related information, solving problems at work, experiencing changes in affect, and communicating across the organization. Implications for future research and practice of CoPs in the HRD field were provided.

Committee: Ronald Jacobs (Advisor); David Stein (Committee Member); Raymond Noe (Committee Member) Subjects: Education