Material and Semiotic Dimensions of Instrument Design: How the Classical Harp’s Form Persists
Abstract/Contents
- Abstract
- Why do certain artifacts retain their designs despite compelling reasons to change? What happens when aesthetic, symbolic, and physical needs conflict? In a world where design theory and practice emphasize functionalism, the harp is a technological product whose stubborn anti-functionalism manifests in its enduring reputation of romance, femininity, and high culture. Past research in sociology and STS shows that artifacts are not just practical, but also symbolize status. My research addresses the intersection of the classical harp as a physical musical instrument and as a semiotic artifact laden with cultural meanings, bringing together diverse bodies of Science and Technology Studies (STS), sociology, and design research. More broadly, this interdisciplinary inquiry seeks to understand the complex mechanisms through which cultural meaning and technological development are intertwined, and thus contribute to knowledge about design and innovation processes. Through 28 semi-structured interviews, field observations at two European harp manufacturers, and archival research, I explore how priorities of harpists, along with three other relevant social groups (harp makers, medical professionals, and the audience) influence the design of harps. I develop a diagram which maps, in loose chronology, how the experience of a harpist intersects with the experiences of harp makers, medical professionals, and the public/audience. The diagram is also based upon harpists’ experiences with pain as they develop personal relationships with their harps. Finally, I outline three criteria to define a larger class of objects (beyond musical instruments) in which harps and objects like ballet pointe shoes can be classified. This framework can help illuminate understanding of these objects’ problem areas, their cultural meanings, and the knowledge essential for redesigning them. These artifacts, abbreviated as HEET, fuse elements of High culture, are used Every day, and are Engaging Technologies.
Description
| Type of resource | text |
|---|---|
| Date created | [ca. April 2016 - May 2017] |
Creators/Contributors
| Author | Her, Selina |
|---|---|
| Primary advisor | Mullaney, Thomas S. |
| Degree granting institution | Stanford University, Department of Science, Technology, and Society |
| Advisor | Phukan, Indira |
| Advisor | Sato, Kyoko |
Subjects
| Subject | Science Technology and Society |
|---|---|
| Subject | Stanford University |
| Subject | harp |
| Subject | science and technology studies |
| Subject | design |
| Subject | ergonomics |
| Subject | interview |
| Subject | archival research |
| Subject | high culture |
| Subject | SCOT theory |
| Subject | innovation |
| Subject | instrument |
| Subject | music |
| Subject | sociology |
| Subject | semiotics |
| Subject | European |
| Subject | pain |
| Subject | injury |
| Subject | redesign |
| Subject | ethnography |
| Genre | Thesis |
Bibliographic information
Access conditions
- Use and reproduction
- User agrees that, where applicable, content will not be used to identify or to otherwise infringe the privacy or confidentiality rights of individuals. Content distributed via the Stanford Digital Repository may be subject to additional license and use restrictions applied by the depositor.
- License
- This work is licensed under a Creative Commons Attribution 3.0 Unported license (CC BY).
Preferred citation
- Preferred Citation
- Her, Selina. (2017). Material and Semiotic Dimensions of Instrument Design: How the Classical Harp’s Form Persists. Unpublished Honors Thesis. Stanford University, Stanford CA. Retrieved from https://purl.stanford.edu/vb437xh4737
Collection
Stanford University, Program in Science, Technology and Society, Honors Theses
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- Contact
- selinaher820@gmail.com
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