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The purpose of this paper is to derive the relationship between color schemes and emotion to serve for designers and consumers.

The three attributes of hue, brightness and saturation of the selected sample color are analyzed, and the Semantic Differential (SD) method is used for the emotional evaluation of color schemes, and data obtained from the emotional evaluation of color schemes is analyzed by using Excel software for mean statistics and SPSS software for factor analysis and cluster analysis.

From the results of the factor analysis, three main factors that affect the feeling of the color scheme can be extracted: “personality”, “gender” and “fashion”. Color emotions can be achieved by changing the level of color saturation and brightness, the cold and warmth of the hue and the way of color combination.

Since it takes a long time to fill out the questionnaire, the number of valid questionnaires collected is a little less and the research data is limited. In addition, some problems are not taken into account such as geography and so on, so the results of the statistical analysis are not very precise and further research is needed.

It can provide information of emotional color schemes for designers and consumers, and based on the SD method, an emotional color matching questionnaire is designed and statistical analysis is conducted to establish the relationship between emotion and color schemes.

Based on the fashion color sample and color harmony theory, the color matching rules and color matching schemes are designed independently.

This paper aims to consider the visual literacy mobilized by consumers in their use of brand aesthetics to construct and communicate a curated self.

The research surveyed a range of visual material from Instagram. Specifically, the goal was to use “compositional interpretation”, an approach to visual analysis that is not methodologically explicit but which, in itself, draws upon the visual literacy of the researcher to provide a descriptive analysis of the formal visual quality of images as distinct from their symbolic resonances. The research also incorporates 10 phenomenological-type interviews with consumers. Consistent with a phenomenological approach, informants were selected because they have “lived” the experience under investigation, in this case requiring them to be keen consumers of the Orla Kiely brand.

Findings indicate that consumers deploy their visual literacy in strategic visualization (imaginatively planning and coordinating artifacts with other objects in their collection, positioning and using them as part of an overall visual repertoire), composition (becoming active producers of images) and emergent design (turning design objects into display pieces, repurposing design objects or simply borrowing brand aesthetics to create designed objects of their own).

This research has implications for the understanding of visual literacy within consumer culture. Engaging comprehensively with the visual compositions of consumers, this research moves beyond brand symbolism, semiotics or concepts of social status to examine the self-conscious creation of a curated self. The achievement of such a curated self depends on visual literacy and the deployment of abstract design language by consumers in the pursuit of both aesthetic satisfaction and social communication.

This research has implications for brand designers and managers in terms of how they might control or manage the use of brand aesthetics by consumers.

To date, there has been very little consumer research that explores the nature of visual literacy and even less that offers an empirical investigation of this concept within the context of brand aesthetics. The research moves beyond brand symbolism, semiotics and social status to consider the deployment of abstract visual language in communicating the curated self.

New circus explores a wide range of contemporary global and existential questions. From the dystopian performances of pioneering French new circus Archaos, and the ongoing social justice agenda of Circus Oz, to the themes of social decay and environmental degradation in Oozing Future’s 2019 production Autocannibal, new circus has sought innovative ways to challenge and confront audiences mediated by the human body. With a focus on emotive narrative representations of risk and death, this qualitative research examines the interaction of embodied movement and music in Zebastian Hunter’s Lacanian-inspired Empty Bodies and the author’s development of a circus opera, The Blood Vote. The immediate and embodied artforms of music and circus combine to engender a non-literal, yet powerful, form of speech surrogacy that communicates meaning and emotion, so we are reminded that anything is possible, not least of which is the illusion of the victory of life over death that circus performance itself embodies. Death is ever present in life, a fact we try to repress; circus confronts the audience with the undoing of this repression: we are going to die. This is what captivates us. In this way, contemporary new circus functions as an important signifier of meaning in contemporary performing arts.

The three case studies reported in this paper are drawn from a wider project in which schools in Canterbury, New Zealand, were invited to tell the stories of their experiences of the 2010/2011 earthquakes. The purpose of this paper is to capture the stories for the schools, their communities and for New Zealand's historical record.

The approach taken was qualitative and participatory. Each school had control over their project design and implementation. The researchers were partners and facilitators in assisting each school to reach its goal. In these three case studies approximately 100 participants including principals, teachers, students and families were engaged in generating data to create tangible and long-lasting end products.

The two themes from the data highlighted in this paper are: first, the importance of providing emotional processing opportunities for children without severe post-trauma symptoms to support their recovery and second, the ways in which children can be engaged and given a voice in research that concerns them.

The paper contributes to the wider collection of research on and about the Canterbury earthquakes by giving voice to children and highlighting the role of schools in post-disaster response and recovery. The “continuum of engagement” described here is a new and original model.

The colors of change is an overview of change paradigms, created about two decades ago, that has been intensively used, tested, refined, shared, and elaborated by practitioners and academics alike. Here, the “color theory” is presented as it is now, and is situated within the literature. Its four main applications are described as well as rules of thumb that have been derived from reflective practice. This chapter illustrates that the color theory is clearly not one thing to all people, as it is understood in very different ways, both in terms of its theoretical foundations as well as the complexity of its applications. This probably adds to the versatility of the theory. Bringing together key insights about the color theory for academics and practitioners, this chapter strives both to give a concise overview and to explore its richness.

The purpose of this paper is to explore how peer coaching in action learning meetings stimulates teachers to experience transformational learning through critically reflecting on the perceptions that shape their beliefs about student bullying.

The authors used interpretative phenomenological analysis to understand how participating teachers were using peer coaching in the action learning meetings to make sense of their subjective experiences with student bullying.

The authors report three themes (power, categories/labels and diversity/differences) explaining the perceptions that guided participants’ understanding of student bullying, and for each theme, describe how peer coaching enabled the participants to re-shape their interpretation of experiences with student bullying.

This study showed how peer coaching has the potential to empower teachers to devise meaningful action plans to address bullying. Future research using longitudinal quantitative research design could shed more light on the sustainability of those action plans.

Knowledge of teacher perceptions identified in the study can enrich anti-bullying interventions in schools. Furthermore, building a peer coaching action learning community can provide a form of systemic support to help teachers gain resilience in acting against student bullying in schools.

The study reveals the potential of peer coaching as a transformational learning tool to support teachers when dealing with student bullying.

The purpose of this paper is to review Olympic mascots in the electronic and traditional communications environments.

Olympic mascots from 2006 to 2012 are analyzed using a descriptive semiotic analysis technique.

Results found that none of the 2006-2012 mascots clearly represented the two most recognizable icons of the Olympic movement, the Olympic Rings and the Olympic Flame. The association of the London 2012 mascots with the Olympic Games are found to be limited.

This research sets the stage for a number of future studies to further assess the management issues, social benefits, and potential missteps regarding mascots at the Olympic Games and other mega-events.

The practitioner of today working for a mega-event like the Olympic Games needs to be aware of the potential benefits and inherent risks of developing and implementing a mascot.

This research is the first to look specifically at Olympic mascots in the electronic age and contrast their use to traditional communications.