Figure 7 - uploaded by Luis Vega
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An example of sociomaterial engagement: making individual models allowed the designers to understand one another's skills (moment 12); this understanding was integral to the collaborative generation of feasible design ideas (moment 16)
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Current discussions in practice-led design research concentrate on the thoughtful dimension of working with materials and the problem of analyzing acts of making at the scale of individual practice. Informed by the theoretical tenets of sociomateriality, this paper encloses a practice-led study addressing both issues. We followed the making of a co...
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... after experimenting with the clay and the tools (moment 11), getting acquainted with everyone else's skills (moment 12), and recognizing their emerging expectations (moment 15) could they start generating design ideas that seemed intelligible to all (moment 16). Such a course of action is an example of attentive sociomaterial engagement (Figure 7). In this example, the generation of ideas depicts a process of distributed thinking through making (i.e., more-than-individual design reasoning informed by ongoing processes of materialization) rather than a cumulative externalization of individually pre-formulated thoughts. ...
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... Some scholars argue that collaborative making demands a process of sociomaterial negotiation (Vega et al. 2023). Research has highlighted that all design activity is embodied-performed through situated, physical, social, and bodily interactions that themselves constitute the meaning and consequences of those actions (Matthews et al. 2021). ...
... We assert that the intra-actions between people and materials co-create sociomaterial movements that impact VIC's engagement and learning opportunities, as well as the co-design process itself. From this perspective, actors such as VIC, materials, and workshop supplies -which might otherwise be considered solely social or material -cannot exist a priori nor be examined independently of their interactions with one another (Jones 2013;Vega et al. 2023). ...
This research explores the factors that both facilitate and constrain the process of co-designing alongside visually impaired children (VIC). Understanding the facilitators and constraints is crucial, as it reveals how actors within a co-design project manage their mutual differences, thereby influencing the effectiveness and quality of the co-design process. The research involved 12 VIC aged 6 to 12 years who actively participated in co-designing a Year of the Dragon calendar. Utilising a sociomateriality lens, we analysed qualitative data to identify 16 new facilitators and constraints emerging from the interplay among six sociomaterial actors: children, organisation, guardians, designer, materials, and sociality. The research underscores the complexity of the co-design process with VIC, as some of the constraints also act as facilitators. This research contributes to a broader theoretical understanding of co-design practices and provides actionable strategies for practitioners and researchers working with VIC in various cultural settings.
... More-than-human community of practice Vega et al., 2023). Table 1 synthesizes the research outputs examined in this work, outlining the changing thing that was made in each example, the main elements involved in its making, and the type of fluid assemblage that emerged as a result of the analytical procedure described above. ...
... With a similar focus on relationships, designer and educator Luis Vega investigates how practice-led design research can account for the thoughtful dimension of making beyond the scale of individual practice. Assuming the roles of facilitator and participant in a collaborative workshop entitled Transcultural Pottery ( Figure 5), he makes pots with people to contest individualized modes of thinking through making (Vega et al., 2023). The workshop shifts focus from the mere making of pots to the making of a new, unorthodox, and pluralized pottery practice, in which traditional culture-specific boundaries (e.g., master-apprentice, facilitator-participant, designer-maker, and researcher-practitioner) are not assumed in advance but continually negotiated in practice. ...
Creative productions are integral to research conducted through practices of art, design, and craft. While their significance to the generation of knowledge is increasingly recognized, productions of this kind remain deemed discretized research components. This paper illustrates how they can be better understood as fluid assemblages that enact and are enacted by change. Through a diffractive reading of nine examples of research conducted by ourselves, the paper shifts from a perspective of neatly defined outputs to one of systemic affect. We conclude by interrogating the continuity of these productions beyond academia and urging a reassessment of their broader societal value.
... Sociomaterial approaches, as taken on by Mehto et al., (2020a, b), intertwine social and material aspects in the analysis of an interactive design process, in which materials become co-inventors in the design process. This adds to findings from Lahti et al. (2016) and Tan et al. (2017) that illustrate the contributions of materials to design outcomes and knowledge creation through design (see also Vega et al., 2023). Mehto et al. (2020a, b) add to the prior work insights into how collaborative design and the production of shared projects emanates from the active coming together of human and material actors in the context of shared maker-centered activities. ...
... Additionally, the contribution of human-material collaboration as a unit of analysis aligns with recent work in CSCL that considers an expanded role of materials in collaborative settings and as part of how youth create technological projects (Kumpulainen & Kajamaa, 2019). Further, human-material collaboration contributes to work by Mehto et al. (2020a, b), Vega et al. (2023), and Lahti et al. (2016) that illuminate understanding of materials as co-inventors in design processes through sociomaterial lenses. The present study expands these conversations by empirically tracing the physical character of how an algorithmic production is coming about as youth and materials come together in routine ways. ...
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... To avoid those pitfalls, Perspectival Kinaesthetic Imaging is grounded on the principles of Material Engagement Theory (MET) (Malafouris, 2004(Malafouris, , 2013Malafouris and Renfrew, 2010) (Figure 2). The distinctive feature of this theoretical framework is that it proposes a radical continuity between thinking and making: Thinking is in the making, or else, making is thinking (Malafouris, 2008a(Malafouris, , 2008b(Malafouris, , 2014(Malafouris, , 2020(Malafouris, , 2021a(Malafouris, , 2021b(Malafouris, , 2021cMarch, 2019; see also Ingold, 2012Ingold, , 2013Vega et al., 2023). From the perspective of MET, the clay at the potter's hand is not a passive material substance for the imposition of form, but an active part of the potter's hylonoetic field (from Greek hyl e for matter and noêsis for intelligence). ...
Perspectival Kinaesthetic Imaging is being proposed as a method designed to facilitate the heightened sensitivity needed for the anthropological study of the relationship between making and thinking, during the creative engagement with form-generating materials. Technically, this objective is achieved through the juxtaposition of perspectival view points on the process of making. We follow the ways of the hand using a combination of multimodal visual captures (i.e., photography, video, observational drawing and mobile eye-tracking). Each of these multimodal visual captures affords a specific spatio-temporal perspective from which to identify and observe morphogenetic events of interest (e.g. creative gestures and modes of enactive signification). The basic idea is that the juxtaposition of different media affects how we observe and what can be observed by enabling the discovery of connections and material relations that are often obscured when seen from a single perspectival point.
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