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On the Essential Contexts of Artifacts or on the Proposition That "Design Is Making Sense (Of Things)"

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... In order to accommodate the complexity, theories evolve. Semantic features of products have been studied by many researchers (Blaich, 1982;Butter, 2012;Demirbilek & Sener, 2003;Hsiao & Chen, 1997;Krippendorff & Butter, 1984;Krippendorff, 1989;You & Chen, 2007). Krippendorff and Butter (1984) and Monö (1997) apply Shannon's (1948) Basic Model of Communication to design theory and describe meaning attribution process during the design process. ...
... Product Semantics suggest that users' context and cognitive abilities are as significant as the product's physical qualities. However, Krippendorff (1989) defines meaning attribution process as a cognitive effort and a product of the context: "…meaning is a cognitively constructed relationship. It selectively connects features of an object and features of its context into a coherent unity". ...
... Product Semantics consider symbolic qualities of products in diverse contextual conditions. In this case, concept of meaning refers to many connotations depending on the context of use (operationalcontext), user-user interaction (socio-linguistic context), interaction between developers of a product (context of genesis), and technological influence (ecological context) (Krippendorff, 1989). Correspondingly, Monö (1997) mentions four semantic functions of products. ...
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Product meanings may have many connotations depending on which theoretical perspective is hold. A considerable amount of research has been conducted on theories of psychological responses to products. However, less attention has been paid to relate product meanings to theoretical foundations of theories. Current study is an early attempt to classify product meanings according to their theoretical foundations of major theories (Affordance Theory, Product Semantics, Product Emotions) on the topic. Descriptions and definitions of product meanings that are introduced by these theories are explored. These descriptions and concepts are emerged in three broad categories of product meanings. Consequently, the classification based on theoretical perspectives can reduce complex nature and information of the topic and guide methodological strategies for design for meaning.
... Ou seja, essas máquinas são suportes de memória, que transmitem a informação, assim como os objetos, mas nesse caso se materializam virtualmente. Krippendorff (1989) Fonte: adaptado de Krippendorff (1989, p. 14). inclusive com relação a autopoieses, uma tecnológica-cultural que nasce da interação humano-artefato. ...
... Em consonância com isso as teorias propostas por Krippendorff (1989Krippendorff ( , 2006 ...
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The phenomena resulting from the interaction between products and users have been studied in the fields of psychology, philosophy, linguistics, sociology, anthropology, design, art, ergonomics, semiot-ics, and now in neuroscience. Such research help design researchers to scientifically substantiate the functioning of the form–function–meaning triad. In this research, the questions raised refer to the under-standing of the factors that give to determining the shape of the products and how the user's emotional experiences take part in this configuration, and mainly to test processes that enable the designer to share emotions through the shapes. Thus, the goal is to relate emotions to formal aspects for configur-ing products that give the user emotional experiences. The theoretical foundation addresses questions about the form, emotion, and personality of products, and is based on a survey about the theme, but from a perspective that encompassed the relationship between design and emotion. For this purpose, we access the Capes Journal Portal, the Web Of Science, and Scopus databases. The survey detect-ed, through the analysis of citations from documents, that the theme that converges studies on design and emotion is on the rise in the scientific field of design. This document conceptualized the form, emo-tion, and personality of products, linking them to design. The form is defined by its physical and meta-physical relationship with the human being, as it is understood that the shape can be perceived as well as imagined in a personal or collective way. Emotion is defined as the change of state of the organism, but it goes far beyond, and that is why it is approached from an evolutionary perspective to explain from its origin to the different theories that explain how this phenomenon occurs in the mind, its influence on reasoning and how they take part in feelings and give to decision-making. In line with the idea that prod-uct design is a language, the research addresses the socio-cultural aspects that contributed to how the products are made and that goes through the development of graphic expression and technical objects, which are fundamental to figure the nature of their personality. Finally, two experiments were planned. The first aims to collect, through reports, the user's emotional experiences during the interaction with products and discover the source of the influences that would figure their reactions, mainly about form. The second aims to develop a project for products capable of arousing emotions based on the reports of the first experiment. In this experiment, the designer or design team that prepared the project will be asked to understand how the process of transforming emotions in the formal configuration of the user.
... The term design has been used with different perspective in the literature: either pointing at a creative mindset (Dosi et al., 2018;Kelley & Kelley, 2012), a development process for new products/services (Purcell & Gero, 1998), and the output of such creative processes (Suarez & Utterback, 1995). Following the work of Krippendorff (1989), in this article we refer to design as the set of activities that allow to purposively give meaning to something. This is in line with the original etymology of the word: the latin word 'de-signare', which literally means signifying something (signare) in relation to something else (de). ...
... On the contrary, it is a work of balancing new signs pointing towards the new meaning with existing signs keeping the product familiar to users. Adding to Krippendorff's (1989) definition of design, we argue that design is concerned not only with giving meanings to products, but also to keep elements of previous meanings and solve the potential conflicts between the different meanings. Thus, we extend the strategic T A B L E 5 An example of product language redesign. ...
Article
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Innovating product language has been proven to be an effective measure to change what products mean to customers and create new product categories. However, how to embed a new language into a product characterized by an established design has not been addressed in the past. Thus, we discuss a single case study of Videndum, a company producing premium branded tools and accessories for content creation (i.e., photography supports and accessories) that is redefining their product language and seeking to incorporate new narratives into their existing line‐up of products. Our case study is based on 18 interviews across all levels of the organization, analysis of archival data and observations to explore the actions the company is taking to change product language for their established products. Our findings show that designers can work at the level of the design principles to inform how new meanings can be embedded into signs at the product level, to build a new coherent product language. We identify two layers of design principles, value‐principles and solution‐principles, and show their different impact on product language. By doing so, we contribute to understand how companies design new product languages for established products in practice, providing managers with practical knowledge on how to perform the translation from abstract values to product features.
... This implies a semantic reconfiguration, with a paradigm shift that begins with aesthetics and impacts interaction. Reinterpreting the foundational definition of design as the creative attribution of meaning to things [6], the ecological approach to the perception of meaning is challenged [7][8][9], resulting in a misleading design. ...
... It implies a semantic reconfiguration, with a paradigm shift that begins with aesthetics and impacts interaction. Reinterpreting the foundational definition of design as the creative attribution of meaning to things [6], the ecological approach to the perception of meaning is challenged [8,9], resulting in a misleading design. ...
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What happens when an object is consciously designed not to suggest how to interact with it explicitly? This research theme is controversial and peculiar. It is rooted in the concepts of agency and affordance of objects and their interfaces, proposing a change of perspective. Rather than conceiving functions clearly expressing themselves, embedded technology allows an extension of the possible levels of manipulation on seemingly silent objects. This implies a semantic reconfiguration that begins with aesthetics and impacts interaction. Operating at the level of attribution of meaning, these objects challenge the ecological approach, resulting in a misleading design. The topic is tackled from the point of view of the communication designer and design researcher who look at the design of interaction and interface. The study relies on the lessons learnt and knowledge from a five-year-long research-through-design experimentation, triangulated with evidence emerging from the analysis on five relevant cases.
... Finally, all the discussions concreted into a dedicated issue of the journal Design Issues [26], announcing its academic arrival. Within the special issue, Product Semantics as a strategy [27], ecology of designers mind [28], and linguistic elaboration [29] and categorisation [30] were included. The emergence of liminal research space between product design and visual communication simultaneously in the industry and academia consolidated the product semantics discourse [32]. ...
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The paper sheds light on the historical development of Communication Design and its evolution in the Design Education landscape in India. This paper reviews the emergence and growth of Communication Design, particularly at NID Ahmedabad and IDC IIT Bombay. This study’s central research question is: How did Communication Design evolve within Indian Design Education during the first three decades, and what factors influenced its development? The paper aims to explore the historical context, institutional influences, and shifts in design paradigms that contributed to the evolution of Communication Design. This paper employs a Design History approach, drawing insights from archival records, academic publications, and interviews with key stakeholders. It focuses on pivotal moments, such as visits by luminaries, consultancy work, international exhibition projects, social communication design initiatives, and the initiation and components of Communication Design programmes. The paper unveils distinct but intertwined paths taken by Industrial and Communication Design at the institutions and elaborates on the influence of international agencies, visionary academic articulations, and significant conferences such as ‘Product Symbology’ and ‘Arthaya’ that enriched the discourse. This paper offers valuable insights for academia, practitioners, and policy-makers, shedding light on the historical context underpinning the country’s contemporary design landscape. Furthermore, the study encourages a nuanced understanding of the interdisciplinary dynamics between Industrial and Communication Design, emphasising their mutual influence and contribution to the broader field of Design Education.
... This perspective views products and services as interfaces loaded with meaning, rather than self-standing objects (Kazmierczak, 2003), whose hedonic dimension can be a source of innovation in itself (Candi et al., 2016). This turn in the view of innovation has gained centrality in the discourse by being interpreted as a set of activities that can work through the styling and aesthetics of an artifact to elicit perceptions of meaning from users (Krippendorff, 1989;Verganti, 2008). This approach has also allowed innovation based on meanings to be positioned alongside traditional innovation frameworks, such as technology push and demand pull (Di Stefano et al., 2012), or the conventional view of new product development (Gemser and Leenders, 2001;Kumar and Noble, 2016). ...
Article
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To remain competitive in a shifting sociocultural landscape, firms often introduce new meanings—new reasons why customers use their products or services—that must be embedded into their strategy. However, customers are active participants in value creation processes, rather than passive recipients. This is especially true in services, where value is created in the interaction between provider and consumer. When designing business models, firms must thus consider customers’ meaning-making activities, which are highly subjective and influenced by cultural frames and personal characteristics. Yet, the business model literature has largely overlooked how firms design business models to articulate new meanings and shape customer perceptions. In this study, we explore the role of business model design in determining how firms articulate new meanings that customers subsequently perceive. We present a comparative case study of two store concepts developed by the same entrepreneur, both introducing the same new meanings. Through in-depth interviews with the founder and CEO, in-store observations, and archival data, we analyze their strategy for introducing new meanings. Additionally, we apply topic modeling to online reviews to examine how customers interpreted these new meanings. Our findings suggest that firms can shape customer perceptions of new meanings through business model design, particularly by leveraging value creation mechanisms tied to value delivery. This study enriches the business model design literature and connects it to the innovation of meaning discourse. It also offers practitioners insights into how to use firm strategy to convey intended meanings to customers.
... Hence, Simon generally defined design as a "problem-solving, process-oriented activity, " which can be found in tendencies more targeted to product design 15 while Krippendorff summarized design as the act of "making sense (of things)." 16 Thus, the role of the primary decision-maker in a product design process is critical as this holds the responsibility of investigating the context and ideating/understanding the impact of alternatives before formulating a decision. ...
Article
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The Industrial Revolution (IR) was the most important single development in human history over the past three centuries and since then; it has continued to shape the contemporary world. From its beginning, it has been a global process that resulted from changes happening in global economic relationships that further redefine them, a process that has persisted until today. Industrialization was the primary force in world history in the 19 th and 20 th centuries, and still powerfully continues to share the 21 st century. During the IR, the industrial design (ID) journey began, and today, designers are being called more often to intervene in large and intricate systems of design. This kind of intervention involves the need to understand users and their relationships with each other and their circumstances. At present, the application of a user-centered design process is considered a form of progress because it enables designers to create better products for users by considering the functionality and stylistic characteristics of the products concerning people's physical and emotional needs. This paper summarizes the history of ID and the consequences of the designer's figure, offering a broad overview spanning from the IR to today.
... At the product conceptual design stage, domain knowledge requires tight integration of interdisciplinary facets spanning engineering design, industrial design, human-computer interaction, materials science, etc. [3,4]. On top of modeling physical, functional, and behavioral perspectives [5,6], the design also needs to incorporate extensive cognition-oriented assets beyond tangible scopes, including aesthetics styling, ergonomics psychology, marketing experiences among other humanities and social aspects [7][8][9]. Acquiring and absorbing the application of such extensively distributed knowledge is extremely difficult, placing higher requirements on designers' knowledge literacy and capability [10][11][12]. ...
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Market demands for diversified and personalized customer needs drive the need for continuous high-speed iteration of products. Among them, product conceptual design is the core process for meeting consumer needs and expectations. However, in the product conceptual design stage, data is scattered across three-dimensional models, natural language texts, images, and other files, presenting significant characteristics of fragmented distribution, redundancy, and multimodality, which leads to the problem of insufficient and outdated knowledge for designers. To effectively improve designers' personal proficiency and abilities and break the knowledge isolation phenomenon, we constructed a top-down hierarchical structure of the product conceptual design domain knowledge model, achieving the formal expression of knowledge in the product conceptual design stage. Firstly, a top-down product design domain knowledge graph (DDKG) construction process from the design feature analysis, relationship extraction to the concept definition was proposed, the hierarchical ontology was constructed. Secondly, using techniques such as data analysis, knowledge extraction, and semantic similarity calculation, the automatic instantiation of the graph was realized and the DDKG was constructed. The DDKG provides three application modes: domain knowledge search, knowledge recommendation, and exploratory analysis. Finally, the proposed top-down hierarchical DDKG construction method was applied and verified in the high-end integrated home furnishing enterprise product conceptual design. We formed a unified core concept and terminology for the home furnishing conceptual design domain and constructed a knowledge service model, providing support for the intelligent transformation of the high-end integrated home furnishing design field.
... Paths, roads, ways, tracks, highways, and freeways, which are all replaceable, designed entities that have specific affordances are thus considered artifacts, cf. Krippendorff (1989). On the Essential Contexts of Artifacts or on the Proposition That "Design Is Making Sense (Of Things)."Design ...
Chapter
Metaphor theories have traditionally focused on the level of language, or on the level of thought. However, more recently it is commonly argued that multiple interacting constraints shape metaphorical meaning (Gibbs and Santa Cruz, 2012; Ruiz de Mendoza Ibáñez and Pérez Hérnandez, 2011). Accordingly, my psychological and corpus linguistic surveys suggest that linguistic metaphors are neither merely lexical, nor merely a reflection of more schematic metaphorical mappings between cognitive domains. They are conceptual mappings that involve speakers’ embodied experiences of the specific concepts represented by the lexical items that they use. They are “lexico-encyclopedic conceptual (LEC) metaphors” (Johansson Falck, 2018). By investigating patterns at the level of LEC metaphors, we may gain insights into how speakers’ embodied understandings of the world around them, through affordances (Gibson, 2015), help them structure, re-experience, and fine-tune the system of more schematic metaphorical mappings (Lakoff and Johnson, 1980/2008, 1999).
... 'Tasarım' kelimesi, bir şeyi yapma, işaretle ayırt etme, anlam kazandırma gibi anlamlara gelen Latince 'de + signare' kökenine dayanmaktadır (Krippendorff, 1989). Buchanan (2001) kentleşme ve mimari kitabında ortaya çıkmıştır. ...
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Teknolojinin hızla gelişmesi ve insan yaşamına sorunsuz bir şekilde entegre edilmesi ihtiyacı, tasarım odaklı düşünmenin hem akademik hem de pratik düzeyde geniş bir ilgi görmesine yol açmıştır. Yoğun ilgi, alanın yönetim bağlamında teorik temelleri ve kavramsal yapısına ilişkin eleştirileri gündeme getirmiştir. Bu nedenle, yönetim alanında tasarım odaklı düşünmenin teorik perspektiflerini netleştirmek ve birikmiş bilgi temelinde bütünleştirici bir çerçeve geliştirmek önemlidir. Bu bağlamda, Web of Science (WoS) veri tabanından ulaşılan 88 makale üzerinde, PRISMA standartlarına uygun bir şekilde ve Teori Konsept Karakter Metodoloji (TKKM) analitik çerçevesini kullanarak sistematik bir literatür taraması gerçekleştirilmiştir. Sistematik literatür taraması kapsamında, TKKM çerçevesi benimsenerek, (i) literatürün sistemli bir şekilde gözden geçirilmesi, (ii) alanın yönetim teorileri içindeki konumunun belirlenmesi, (iii) teorik kapsamının genişlemesine katkı sağlanması ve (iv) gelecekteki araştırmalar için kapsamlı bir gündem oluşturulması amacıyla ileriye yönelik bir katkı sağlanmıştır. Araştırma, üç teorik perspektifi (inovasyon teorileri, örgüt kuramları ve yeni trendler) ve aynı zamanda araştırma boşluklarını ortaya koymaktadır. Bu çalışma, Türk literatüründe ilk defa uygulanan TKKM analitik çerçevesi, akademisyenlere sistematik literatür araştırmalarını titiz, geçerli ve güvenilir bir şekilde yürütmeleri için yeni bir perspektif sunmaktadır. Araştırmanın, uygulayıcılara derin bir farkındalık kazandırarak, alanın gelecekteki eğilimlerini değerlendirmelerine yardımcı olması beklenmektedir.
... Tasarım sürecinde bağlam kavramı, ürün semantiğinden (Krippendorff, 1989), kentsel ölçekte mekânın bütüncül anlamına kadar (Lynch, 1960;Norberg-Schulz, 1971;Rossi, 1984); fiziksel, sosyal, ekonomik ve ekolojik tüm katmanların bir arada okunmasıyla tanımlanabilir. ...
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Tasarım sürecinde kısa dönemde bugünün ihtiyacına ce vap aramak kadar, yakın, orta ve uzun dönemde yarının değişen bağlamını bilimsel veriye dayanarak öngörmeye ve farklı gelecek senaryolarına göre çözüm üretmeye duyulan ihtiyaç artmaktadır. Özellikle iklim kriziyle birlikte, çözülmesi güç “geleceğin kötücül problemleri” karşısında tasarım düşüncesini harekete geçirme fikri önem kazanmıştır. Buradan yola çıkarak, günümüzün şartlarını iyileştirmenin yanı sıra, yarının şartlarına göre çok yönlü düşünme pratiğini geliştirebilmek ve farklı senaryolara göre geleceği tartışmaya açmak önemli bir adım olarak değerlendirilebilir. Bu tespit ve ihtiyaçlardan yola çıkarak, makalede geleceğin kentsel mekânlarının kurgulanmasını destekleyecek yöntem ve araçlar tartışılmaktadır. Modern dönemden başlayarak günümüze kadar, kentsel sistem, bağlam ve mekân algısı tartışmaya açılarak, mevcut örnekler üzerinden senaryolaştırma yönteminin tasarım sürecine nasıl eklenebileceği incelenmiştir.
... The crux of the issue lies in resolving disparities, and choosing negotiation tactics, contingent upon their actions as well as the cognitive and behavioral responses of the counterpart. Through a design lens, we recognize the intentional and adaptive nature of entrepreneurial actions in shaping the dynamics of interactions and influencing the negotiation outcome (Krippendorff, 1989). As such, we conceptualize negotiation as a design issue that occurs when entrepreneurs convert a given situation into a desired one (Simon, 1969). ...
... It presents ideas embedded overtly or covertly in objects and the aesthetic aims to achieve a purpose whether wanting to be purely functional or experimental (Folkmann, 2010). With that there is a relation to the wider context which it is introduced in, its symbolism, or product semantics (Krippendorff, 1989). As well as 'higher' spiritual meaning and understanding. ...
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Robots are becoming increasingly prevalent in the workplace. As Industry 5.0 pursues human-centric technologies, a greater understanding of what effects aesthetics has on those interacting with robots is needed. This paper sets out robot morphology as a way to characterise key form types, and proposes seven classifications: anthropomorphism, zoomorphism, phytomorphism, artemorphism, functiomorphism, amorphism, and neomorphism. Through an assessment of the current robot aesthetic landscape, design dimensions are identified with examples that can inform future robot design.
... Engineering design, including AM and sensor technologies, offers rapid prototyping techniques and in-situ evaluation (Berg et al., 2023;Sletten et al., 2021). Industrial Design expertise develops forms that delight people in their lives (Krippendorff, 1989). Similarly, Human-centred Design practices explore the physiological and psychological, such as needs, perception, behaviour, and experience in, e.g., human-product interaction. ...
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This article introduces a Human-centred Engineering Design (HcED) practice, which values human aspects. This practice engages deeply into (1) human geometry and motion for specific tasks, (2) product and manufacturing complexities through rapid prototyping, and (3) the broader human task context. This cross-disciplinary method combines ergonomics, AM, sensor applications, and multiple design practices. The framework provides concrete tasks to drive innovative designs in engineering. The study, grounded in design research case studies, led to five new Paralympic Rowing world records.
... Design on the other hand not only deals with this increasing complexity but also makes it understandable or meaningful to someone. Products semantics focus on the distinction between what an object is and what that object means in the cognitive and social contexts of their use (Krippendorff, 1989). The role of language on the other hand plays a crucial role in design in shaping this meaning. ...
Article
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With the swift entry of artificial intelligence (AI) into everyday life, human-product interactions are becoming increasingly complex. We suggest an ecosystem-minded, humanity-centered design approach to better understand this complexity. Simultaneously with the development of interaction types, discussions and developments on theories of mental models are crucial to understanding and improving the nature of these interactions. In this paper, we address the gap in mental model theories and extend Norman's conceptual model at three dialogue levels: dialogue in language, mind, and use.
... Şekillerin ve değerlerin bir tasarıma dahil edilmesi, tasarım alanındaki çalışma ve öğretimin temel bileşenlerini oluşturmaktadır. Dilsel yaklaşım aynı zamanda formların ve anlamların bütünleştirilmesinde yer alan süreç ve metodolojileri açıklamak için de kullanılabilmektedir (Krippendorff, 1989). Metafor, biçim ve anlamı sentezlemeye yönelik stratejik bir yaklaşım olarak görülebilmektedir. ...
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I am investigating the notion of affect as elaborated by Baruch Spinoza (17th century Dutch philosopher – 1632-1677) and, drawing from Spinoza, also by Gilles Deleuze (20h century French philosopher – 1925-1995) who has written extensively about this subject in relation to the constitution of subjectivities. The general framework I am following is given by the critique of current forms of the unelaborated concept of ‘emotion’ in user experience design studies, which I am inclined to replace by ‘affect’. This term underlines the coagulation of different levels of production, reproduction and control concerning regimes of signs, circulation of knowledge and affectus/(affectatio), language and desire, the chemical and neurological composition of subjectivities and so on. I also will address these different levels of production and reproduction through what is elaborated by early twentieth-century French Philosopher Gilbert Simondon as ‘transindividuality’ or ‘transindividuation’. What we describe as ‘the individual’ in the works of economists and philosophers in 19th century is eclipsed by a social imaginary. Such a social imaginary is not only collectivity, but more importantly the point of intersection between collectivity, or social relations, and the individual. In today’s world, the two have become a strict binary: either we think in terms of the individual, making it both an analytic and evaluative center of our thought, or we affirm an all-encompassing collective, which washes the individual away. Today’s masses are connected by new forms of media, and are engaged in different relations of economic dependence and domination from those that haunted the nineteenth century. Similarly, our isolation and fragmentation have been transformed as well. Technology and economic relations have made it more and more possible to be alone, to work and live without intersecting with others. The problem is not just that we lack any understanding of collectivity, but also that we lack any understanding of how individuality and collectivity affect and transform each other. The terms transindividuation or transindividuality are drawn most directly from the work of Gilbert Simondon, most notably his massive L’individuation à la lumière des notions de forme et d’information which encompasses both L’individuation et sa genese physic-biologique and L’individuation psychique et collective. Simondon’s concept of transindividuality is framed by two general theses. The first is a radical break with the centrality of the individual in philosophical thought. Rather than assume that everything that exists must be an individual, that individuality is a principle that encompasses everything, Simondon argues that individuation must be thought of as process. Individuation is a process through which a pre-individual state, a state that is necessarily in tension or conflict, resolves itself, or is resolved into a process of individuation. Simondon understands this general relation to define physical, biological, psychic, and collective individuation, all of which individuate or are individuated differently. This problematic, or incomplete, nature of individuation explains Simondon’s second general thesis, one that is just as striking with respect to conventional wisdom. Simondon argues that psychic individuation, the individuation that constitutes a character, personality, or psyche, is not opposed to collective individuation, but rather is integral to it, and vice versa. It is because individuation is never complete, that the pre-individual sensations and affects which form the basis of our individuation never cohere, that psychic individuation must attempt to resolve itself in collective structures and relations. Transindividuation is the process by which the individual and collective are constituted. Simondon’s concept of transindividuation thus breaks with a longstanding binary that sees the relationship between individual and collective as a zero-sum game – seeking instead their mutual points of intersection and transformation. I see here a progression from Betti Marenko’s work on how the production of subjectivities within a biopolitical /affective framework is mediated by psycho-pharmaceutical technologies (Marenko 2009a) and on the emotional entanglement that characterizes our relationship with objects, which she has reframed within a neo-animist paradigm (Marenko 2009b). I argue that we cannot look at design without first addressing how emotion itself is being designed as labor within the current new spirit of sociality that is created through the binary of collectivity or individuality described in the 19th century. In this sense the increasing emphasis on emotion in design reflects and reinforces what is currently at the core of late capitalism, that is, the shift to affect, knowledge, information and experience. Against this backdrop I refer to Bernard Stiegler’s ideas of psycho-power and the capture of attention. My intention is first to map the territory of what we mean by affect, as distinct from emotion (Spinoza and Deleuze). Finally, I will position these ideas in relation to designed objects and the process and practice of design, specifically in relation to what is known as emotion-driven design and offer a new paradigm by conceptualizing digital form and materiality as two reciprocal aspects of digital artifacts based on the perspectives from relevant disciplines including design, material culture and philosophy of technology. The conceptualization will emphasize the process of making, personal meanings, and socio-cultural values of digital artifacts, constructing a new theoretical framework for exploratory and critical research approaches. In the end I will discuss a proposal for form-driven interaction design research as a new approach to HCI with its focus on form and materiality aspects of digital artifacts based on the reflection of my theoretical propositions.
... investigamos o modo como o mesmo surge, como se mostra no mundo, assumindo-o enquanto artifício humano (ao invés de o contemplarmos enquanto objeto natural presente no mundo, como que de um processo químico se tratasse, e passível de ser observado e analisado, descurando-se, para isso, a dimensão poética e artística do design). 12 Em linha com a análise de Krippendorff (1989) à etimologia da palavra design, com origem latina em 'dar sentido a': "a etimologia de design remete-se ao latim de + signare e significa fazer algo distinguindo-o através de um signo, dando-lhe significado, designando a sua relação com as outras coisas, proprietários, utilizadores ou deuses. [Isto é,] design é fazer sentido (das coisas).", ...
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The contemporary design paradigm is marked partly by a problem of social affirmation. If, on the one hand, it is possible to recognise that the present is broadly designed and programmed by an intimate relationship between society and technology through design; on the other hand, there is a challenging agreement between a disciplinary view of design (by academics and professionals), and the outlook of civil society. Furthermore, the very disciplinary scope of design has come to be characterised by an elusive definition with multiple perspectives on itself, often ending up discussing this characteristic as an obstacle to the disciplinary affirmation of design. Therefore, the search for design clarification becomes inevitable but problematic, governed by the standard attempt to define what design is, which is inconvenient given its human, spiritual, and artistic scope. Moreover, the most recent investigations tend to focus on the disciplinary structure of design, which becomes a problem from a broad point of view. Thus, this article proposes a way of investigating design, starting with the design hypothesis as a large territory (beyond discipline). The rupture occurs in the due question: it is not sought for the definition of design, but rather how design works and exists in the world. From the expansive idea in design, its proposed a theoretical scheme about the rhetorical and poetic functioning of design, formulated around an understanding of what a Design Ecosystem could be: an open, complex and decentralised system as a space of potentialities, convergences, and synergies between creative, expressive and transformative flows of the social and mundane environment, in which the human being acts in, through and with design.
... In the same vein, Norman [26], echoing the "wicked problem", refers to a social or cultural problem that is difficult or impossible to solve due to its complex socio-technical nature. In the variety of interdisciplinary contributions that experts can make to help in the development of tools and processes to support this new knowledge, design is understood in its "sensemaker" characteristic [22,25], its multifaceted naivety and its multiverse applications [3,15]. As such, design can play a crucial role in facilitating the process of data literacy as a qualitative driver of knowledge communication, where the focus lies not in the final communicative artefact -technical or aesthetic -but in the underlying process of transforming input data into a communication product or experience. ...
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In the context of our evolving data-driven society, controlling the current abundance of data and the resulting flow of information does not circumscribe actions from disciplinary boundaries. Many recent theories factually underline this fact contributing significantly to the definition of valuable tools, methodologies, and processes. Numerous cross-disciplinary contributions support an ever-expanding field of knowledge in its many applications, the benefits of which are evident from an economic, social and cultural perspective. Furthermore, they seem to reveal the potential of a material transformation of data: re-materialising data, giving it physical shape and staging it in public spaces to create more emphatic relationships. This plastic experience would make people feel the data, not just watch and observe it. The paper proposes an analytical framework, helpful in exploring the opportunities offered by data design: what technological innovations make the development of new data communication languages possible? What spatial dimension does the experience provide? What value, what meaning do they bring? The framework offered here intends to be a thinking tool and inspire renewed data interaction design practices. A better understanding of what interaction in data design is, and how it can enrich the quality of interaction in data-informed product-service systems which empower those who use them. The goal is to open up the dialogue amongst parties interested in making the human explicit in the data ecosystem.
... Farklı duyuları birleştirip harekete geçirebilen ürünler, kullanıcılar tarafından daha insancıl olarak algılanır ve ürün ile kullanıcı arasında daha güçlü bir duygusal bağ kurulur. Bu da kullanım esnasında kullanıcıların ürün aracılığıyla hafızalarını etkinleştirip deneyimlerini ve duygularını yeniden üreterek duygusal rezonans oluşturmasına yarar (Krippendorff, 1989). Bu anlamda sinestetik düşünme tasarım sürecinde tasarımcılar için süreci yönlendiren ve ürün fikirlerini, sunacağı kullanıcı deneyimini vb. ...
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Sinestetik düşünme, insan düşünce ve algısına farklı bir biçimde yaklaşarak, tasarım araştırması ve pratiğine yeni bir alan ve düşünme biçimi sunar. Bu çalışmada, sinestetik düşünmenin çoklu duyusal ürün tasarımında bir fikir geliştirme yöntemi olarak potansiyeli değerlendirilmiş ve sinestezinin ürün tasarımı alanındaki uygulamaları ile ilgilenen tasarımcılara ve araştırmacılara bir içgörü sunulması amaçlanmıştır. Sinestezi-tasarım kesişimi, yeni etkileşim modelleri, metaforlar ve tasarım düşünce biçimleri oluşturma ve ürün tasarımı sürecinde yaratıcılığı ve çoklu duyusal deneyimleri arttıracak yeni araştırma ve uygulama alanları ile yeni metodolojiler ortaya çıkarma potansiyeline sahiptir. Sinestezinin algısal, metaforik ve temsili yönleri göz önünde bulundurulduğunda, sinestetik düşünme, tasarım sürecinin özellikle fikir geliştirme aşamasında güçlü bir yöntem olma niteliği taşır. Bu yöntem, estetik, işlevsel, duyusal, duygusal vb. ürün özelliklerinin belirlenmesi, tasarım fikrinin somutlaşması vb. konusunda duyu odaklı ve insan odaklı bir yaklaşım ile, kullanıcıların duyusal, davranışsal ve duygusal deneyimlerinin zenginleştirilmesini sağlar. Sinestetik düşünme, farklı duyusal modaliteler arasındaki ilişkiler, metaforik bağlantılar, duyusal kombinasyonlar ile duyguların eşleştirilmesi, olağan/olağandışı duyusal etkileşimler vb. ile yeni ürün özellikleri ve kullanıcı deneyimlerine ilham olabilecek duyusal bağlantılar sunar. Aynı zamanda, sinestetik deneyim ve unsunların hedeflenen ürün-kullanıcı etkileşimi ve deneyimi ile ilişkisini keşfetmeye yardımcı olacak senaryolar sunar. Bu bağlamda, ürün tasarımı süreçlerinde sinestetik yaklaşımın benimsenmesi, hem tasarımcılara geleneksel tasarım yöntemlerinin ötesine geçen daha yaratıcı, sistematik yöntemler sunar hem de kullanıcıların duyusal algı sistemlerini harekete geçiren daha özgün ve yenilikçi ürünlerin tasarlanmasına olanak tanır.
... HCD activities with people should offer those people possibilities to realise their desires and harmonise their actions toward something meaningful, reflecting a humble acknowledgement of human agency and its culture (Krippendorff, 2004(Krippendorff, , 2005. HCD practitioners and researchers should not portray themselves as "problem solvers" or "saviors" while working with their project in the community; rather, they should address themselves as active agents: "those who could bring design to fruition" on account of this sensitive role (Krippendorff, 1989(Krippendorff, , 2005. Buchanan (2001) also echoed this reflection upon human sensitivity: ...
Conference Paper
This paper engages in design research within the Indigenous Dayak community in East Kalimantan, focusing on addressing local health discourse. It focuses on methodological questions to adopt more sensitive and ethical research methods when working with local people. In doing so, this paper encompasses three key aspects: (1) examining transdisciplinary approaches from an Indigenous standpoint and human-centred design, exploring their intersections; (2) contextualizing the research within the local Indonesian community; and (3) proposing a set of methods to examine Indigenous Dayak health within the chosen approaches and context. This paper suggests adapting ethnographic sensibility to blend local and design vocabularies, attempting to create a space for discourse for setting up the design research and practice within this inquiry.
... As once he put it, "design is making sense (of things)." (Krippendorff 1989, 1) This is still a reliable common denominator of different attitudes of design semiotics as the famous Italian designer Michele De Lucchi so perceptibly expressed it when he referred to his beard as his first design that differentiated him from his twin brother. (Szentpéteri 2013). ...
Article
Although Vitruvius’ De architectura libri decem is generally regarded as the most ancient remaining piece of some sort of architectural theory, it is better to think of it as a book devoted to ancient design culture mutatis mutandis. We can do this retrofitting or intended retrospective anachronism with good conscience since a book on architectura written more than two thousand years ago can hardly be described as an example of the theory of architecture, since the concept did not exist at the time. A quick look at Vitruvius’ masterpiece brings to attention, for example, that its tenth book is on architectura organica, which has naturally nothing to do with the mod-ern style and phenomena of organic architecture, but with the design and building of machines, tools, and instruments (that is, organa). Etymologically speaking, architectus (or its Greek equivalent, architektōn) means someone who designs and creates the principal structures of any designed environment. In order to do so, one applies fabrica and ratiocinatio at the very same time. On the one hand, therefore, the architectus is well versed in craf ting basic structures, but he is equally capable of inventing, imagining, or designing these environments, objects, tools, and instruments, as well as clearly explaining and instructively interpreting their structure and executing process. Hence, according to Vitruvius, a designer who strives only to manual prac-tice without written culture (sine litteris) cannot be successful at all.
... There is an ongoing discussion on design as communication [8,17,24,38] and there is a body of work [8,17,24] that gives credence to viewing visual design as communication. In this work, we engage with this ongoing discussion and identify the implications and research directions that emerge from viewing visualization design as a language. ...
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Data visualization can be defined as the visual communication of information. One important barometer for the success of a visualization is whether the intents of the communicator(s) are faithfully conveyed. The processes of constructing and displaying visualizations have been widely studied by our community. However, due to the lack of consistency in this literature, there is a growing acknowledgment of a need for frameworks and methodologies for classifying and formalizing the communicative component of visualization. This work focuses on intent and introduces how this concept in communicative visualization mirrors concepts in linguistics. We construct a mapping between the two spaces that enables us to leverage relevant frameworks to apply to visualization. We describe this translation as using the philosophy of language as a base for explaining communication in visualization. Furthermore, we illustrate the benefits and point out several prospective research directions.
... In order to influence consumers and attract their attention through the visual appearance of products, it is also necessary to understand the consumers and users. In this regard, identifying user needs and preferences and examining the relationships between the designers' intended design strategies and the consumers' perceived experience in terms of product semantics are crucial (Hsu, Chuang, and Chang 2000;Krippendorf 1995). By conducting consumer research, businesses and designers are able to determine how consumers interpret the visual appearance of a product, define the conceptual models that elicit the desired response, comprehend what is perceived as attractive and pleasurable by the consumer, and thus develop their future designs (Chang and Wu 2007;Crilly, Moultrie, and Clarkson 2009;Jagtap 2018). ...
... While traditional fashion companies are dramatically lagging behind in the process of digital transition at operational and managerial levels, the request by consumers for transparency relates not only to the concept of environmental and economic Keywords: Fashion Design, Creative Processes, New European Bauhaus, Digitalization Sustainability sustainability but it refers also to an emerging social and civic consciousness under the increasing demand for responsible practices and products. The social dimension of innovation (Penati, 1999;Pinch, 2005;Bucchi, 2010), embedded into a sustainable development, moves from a simplistic technology-driven concept in favour of designdriven approach, focusing on the construction of meanings (Krippendorff, 1989(Krippendorff, , 1990(Krippendorff, , 2006Norman & Verganti, 2014;Bertola et al., 2018) in processes and products and on the centrality of the role of human beings. This reflects in the consideration that the fashion industry does not simply correspond to its supply chain, but it refers to a creative and cultural industry where tangible and intangible products and specific modes of production concur to covey cultural and symbolic meanings that are significant for consumers and that correlate with the value of a company (Bertola et al., 2016). ...
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The current article focuses on emerging transformations in fashion creative processes in regard of the enhancement of digitalization processes, the opportunities offered by new sustainable business models, and a new relation between user, production, and consumption. In particular, this article discusses the case of the Italian manufacturing districts where digitalization strongly pervades the production, integrating the local craftsmanship savoir-faire with up-to-date technologies. Within the strategic duo“fashion and technology”, we highlight emerging opportunities for the integration of creative processes and manufacturing skills. Moreover, the need for sustainable practices offers new significant insights into the integration of the roles of the designer and manufacturing processes. Moving from this discussion, the article presents an overview of ongoing transformations of fashion design practices in relation to the technological and social issues, offering a framework to read the articles included in this issue.
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Design‐driven innovation (DDI) is an approach to innovation that focuses on creating new meanings for the products and services a company offers. DDI differs from other forms of innovation, which are typically more so driven by the development of breakthrough technologies or on addressing current market needs. It is argued that DDI is an effective approach to creating value and promoting the growth of a company. Research regarding DDI has largely focused on the outcomes for end‐users or overall company growth. While these outcomes are important, a lot goes on behind the scenes to successfully deliver them. Internal stakeholders such as managers and employees are responsible for delivering these outcomes, and research regarding value creation for them is currently limited. This paper serves as a starting point for further research by presenting a critical literature review that investigates how DDI could be a catalyst for innovation and growth through the creation of new meanings for internal stakeholders involved in the development of products and services. The result of this literature review is the identification of possible areas for intervention and a proposal for further primary research.
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This is a visual paper, please see the original abstract on page 1. This paper explores the potential use of AI in support of analyzing rich qualitative visual data.
Chapter
This chapter covers with broad brushstrokes the background in two fields of knowledge: organization design and design theory as applicable to organization design. In a nutshell, the field of organization design has been dominated by the contingency approach, a trend that treats organization design as being nothing more than structure and division of labour, with people not considered as part of the problem. Organization designs are “things” whose operation can be manipulated by predetermined rules. Over the years, there have been many voices against this, the most notable being that of Karl Weick, with the suggestion that organization design is all about improvisation. Building on that scholar’s ideas, the notion of organizational form/design shifts from something monolithic and imposed from the outside, to a more endogenous, generative, socially constructed, holistic, virtual and circular view of the organization, not directly dependent upon environmental forces, but with an in-built capacity to initiate changes in the environment. The second part of the chapter explores key writings in design theory, with a focus on human-centred design, as a school of thought that opposes design as problem-solving, a trend originally launched by the writings of Simon (The Sciences of the Artificial. MIT Press, Cambridge, MA, 1996). Human-centred design, strongly influenced by the writings of Krippendorff (The Semantic Turn: A New Foundation for Design. Taylor and Francis, Boca Raton, FL, 2006), defines design as the creation of meaning and places humanism and ethics at the centre of its concerns.
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This chapter explores the implications derived from including embedded technology and interfaces on object design. Particularly, it dives into how this approach leads to a semantic reconfiguration of the meaning attributed to such objects, hence influencing the communication of functionalities and challenges traditional design paradigms. It critically examines the effects on agency and affordance in the context of objects that do not explicitly reveal their interaction modes. Anchored in a postphenomenological discourse, the chapter ultimately unfolds the complexities of designing objects with hidden or misleading interfaces.
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The chapter investigates the development of hidden and variable interfaces that are responsive to user’s interaction and surrounding ecosystems. It presents Think’s experimental work in designing interfaces capable of altering an object’s functionality, highlighting the adaptability and user-environment interaction. The discourse unfolds through the exploration of Drawing User Interfaces as a concept and Knob! as its application to a smart controller that changes its interface depending on its position, inclination, or spatial location. The chapter concludes discussing the implications of such variable interfaces for design practices and user experience.
Article
While data is the cornerstone of modern design strategies, design researchers frequently struggle when performing data work. This creates a need to design tools that enable design researchers to actively engage with data. However, this presupposes understanding how design researchers create meaning from data representations, as the way of visualizing the data, along with other factors, can significantly impact the extracted insights, increasing uncertainty about the quality of the outcome. As a response to this problem, we explore how design researchers make sense of data in a case study: making sense of paired subjective and objective sleep and stress data visualizations. By synthesizing our findings from two user studies, we construct a sensemaking model which highlights how uncertainty related to data qualities, visualization parameters, and the viewer’s background, affects the insight-generation process. Our findings have implications for the future development of tools and techniques for visual data sensemaking for designers.
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The interactions between those who produce, design, and use objects is complex, and centres on the understanding that objects are designed and used for an intended function. There is still much to learn about the consumer-to-object relationship, and the multifaceted dynamics between the key stakeholders involved. What requires more consideration and where this thesis contributes is the central, and until now, neglected focus on how the designed function of an object performs a key role in this regard. What is investigated through this research is how consumers go against this assumed understanding, seemingly not abiding to the designed systems in place. This thesis contributes to debates within non-representational theory and the affective capabilities of material objects (Thrift, 2008). Furthermore, it expands on learnings of object affordances and the signifiers present in the consumer-to-object dynamic (Gibson, 1979). The aim of this study is to examine the relationship between consumers and the designed functionality of material objects. To achieve this, the focus is on comprehending factors that impact intended and unintended object use. This thesis is positioned as a consumer research study carried out through the lens of a design researcher, the intention being, to offer novel insights to the field of consumer studies. The contribution of this thesis is three-fold. There is a practical contribution through the identification of factors that impact a consumer’s perspective of the designed functionality of material objects. There is a theoretical contribution through the development of key research concepts ‘Re-appropriation’, ‘De-consumption’, and the notions of ‘Doer’ and ‘Receiver’ objects. These concepts offer a new way in which to frame the consumer-to-object relationship. Finally, there is a methodological contribution in the creation of a ‘Re-appropriation Primer’, a textual and visual tool designed to provoke industry debate around the designed functionality of material objects. Keywords: Consumer-to-Object Relationships, De-consumption, Doer and Receiver Objects, Designed Function, Re-appropriation, Re-appropriation Primer, Unintended Object Use.
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This paper is part of a master’s in design research that aims to identify whether potential fashion consumers’ interpretation of the colors of clothing collections was aligned with the intention of their designers/coders. Fashion designers face the task of making conceptual and thematic choices to convey a message effectively. Within the various elements of visual language employed for this purpose, color plays a crucial role due to its symbolic significance in visual communication. Hence, this paper aims to delve into the interpretive possibilities associated with the semantic dimension of a color chart. This exploration involves assessing the extent to which the designers’ intentions are realized in the visual message conveyed by the colors within a clothing collection, as perceived by potential Generation Z consumers. To achieve this, we employed the Semantic Differential (SD) and Free Word Association (FWA) methods in our research. We interviewed eight designers responsible for coding the two fashion collections under investigation and gathered responses from 108 potential Generation Z fashion consumers to gain insight into their interpretations. According to the results, the effectiveness in delivering color messages varied between medium and high. It was concluded that fashion designers employ two strategies for coding the color chart: maintaining chromatic symbologies already widespread in society and subversion of color codes. Meanwhile, potential consumers interpret colors according to their propagated sociocultural meanings.
Article
This study aims to clarify the differences in processes, outcomes, and post-launch ripple effects in design-driven innovation (DDI), starting from industrial designers (IDs) and developmental technologists (DTs), and how they differ from the model proposed by Verganti. We examine two instances of DDI in cases within the mature Japanese electrical fan (E-fan) market. In the first case, the originator is an ID, and in the second, the originator is a DT. Our results show that both DDIs created new meanings and established a high-end E-fan market, de-maturing it. By contrast, the processes, outcomes, and post-launch ripple effects of the two DDIs differed significantly. These differences in DDIs can be attributed to the differences in the initiators of each DDI. Additionally, the DDI process in the first case differs from that advocated by Verganti. This difference can be attributed to the use of the Japanese design approach.
Article
A recent trend is for companies to innovate by focusing on the meaning of product. Meaning is the emotional and symbolic reason that people understand a product. This study is an examination of requirements for innovation of meaning and focuses on the interaction of first-order and second-order meanings through product appearance. This study analyzed successful cases of innovation meaning. The implications of this study are as follows. Meaning, which is the emotional and symbolic aspect of product, and the uniqueness of product appearance create fixed idea among people. When this fixed idea is destroyed which positive emotion by the transformation of product appearance, and a new relationship of uniqueness is created, innovation of meaning is established. The discovery of the original conditions and transformative elements of product appearance that make innovation of meaning show the effectiveness of companies in actively utilizing the symbolic aspect of product appearance.
Article
This paper considers the experience of developing an online, blendedlearning approach for use within university education. It explores the learning design process for the delivery of learning and teaching across three academic ‘worlds’, each of which has a human factors component. These are management, medicine, and psychology, where the common teaching elements across those three disciplines include: risk and uncertainty, human error, systems failure, and the role of information and expertise in decision-making. The approach to learning design reported here is based on a systems approach which integrates the use of visualisation, bespoke academic comics, and animations in addition to more traditional academic publications. The affordances associated with each of those technologies provides students with the opportunity to support their learning in ways that suit their preferences and, because of the synergistic nature of the materials in a student-centred approach, allows them to develop a deeper understanding of the issues.
Chapter
Our world has always been changing, sometimes rather gradually, at other times more radically. In today’s world, we see both tremendous challenges and potential to shape it in a new and desirable direction. In almost every domain of our lives we are challenged by high levels of volatility, uncertainty, complexity, and ambiguousness (“VUCA world”). In this context of profound technological, digital, social, and political changes and transformations, we have to ask ourselves: what is it that makes us humans human? What does a meaningful and joyful relationship between humans, technology, and the future look like? How do we meet the challenges of increasingly blurred borders between humans and technology in a more human(e) manner? Which skills and mindsets do we need to deal with our uncertain and unpredictable future in order to co-shape it in a purposeful and thriving manner? In this chapter, we will explore the challenges of a VUCA world and take a closer look at what their implications are for our educational systems. We will develop a future-oriented perspective on learning that is based on the concept of learning as co-becoming with the world. We will discuss that this requires futures literacies, such as sense-making capabilities, a constructivist epistemology, systems thinking, designerly ways of thinking and making, and most importantly, a capacity to identify and make use of future potentials. We will both discuss theoretical foundations (e.g., from cognitive science/enactive cognition approaches, systems thinking, etc.) and practical implications, skills, mindsets, and a concrete case study illustrating these concepts.
Conference Paper
As society progresses and people’s quality of life improves, China is transforming and upgrading from product manufacturing to product creation. The two aspects that have a great impact on modern life are science and design. They play an important role in the transformation and upgrading of product creation. In this paper, the definitions of science and design are summarized. An overview is given about the development and application of science and design in China and globally. Through the analysis of the interrelationship between science and design, the impact of modern science and technology on design is identified – the application of modern science and technology can improve human-computer interaction and enhance the user experience of product design. By combining the six design dimensions of “5W1H”, we propose the idea of product innovation based on science and design. Through the innovation of product design from the perspective of science and technology, it not only improves the quality and value of the product, but also provides new inspirations for designers. In addition, the design methodology proposed in this study is applied to express and embody the theories through design cases. The research results show that science and design as a special element of human-computer interaction design. It has a positive value to the breakthrough of product creation and can further promote the mutual integration and common progress of science and design.
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In this chapter, a proposal is made for framework aimed at bringing about a convergence between the concepts of organizational self-awareness (OSA) and organizational identity, as part of a much needed integration effort between enterprise engineering and a situated interpretation of organizational design. Such a proposal is presented with human-centered design as the intellectual background. As aforementioned, one aim of the proposal is to identify potential research topics. The integrated framework fosters multidisciplinary studies that take into account both identity and organizational awareness issues. In particular, the framework is intended at promoting studies aimed at assessing the effect that OSA tools, methodologies, or models have on organizational identity. Conversely, it also aims at informing studies that develop forms of organizational self-awareness, based on theories of organizational identity.
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Zusammenfassung Dieser Beitrag in der Zeitschrift „Gruppe. Interaktion. Organisation. (GIO)“ leitet die Bedeutung unterschiedlichster Formen von kollektiven Reflektions- und Bewusstseinsprozessen für Lernfähigkeit und Agilität ab aus Wissensmanagement und Kognitionswissenschaft und gibt Beispiele für deren Umsetzung. Über unterschiedlichste Ansätze hinweg liegt dem Begriff der Agilität meist die Idee zugrunde, sich durch Beweglichkeit, d. h. durch die Fähigkeit und Bereitschaft zur kontinuierlichen Selbsterneuerung, an volatile, dynamische Umfelder anzupassen und handlungsfähig zu bleiben. Der Artikel stellt die Bedeutung von sozialen Bewusstseins- und Reflektionsprozessen für die Fähigkeit zur kollektiven Selbsterneuerungsfähigkeit heraus, indem es diese aus Theorien des Kollektiven Wissens, Lernens und Kollektiver Kognition ableitet. Es wird verdeutlicht, welche Qualitäten von Kognition und welche Ebenen von Lernen permanente Selbsterneuerungsfähigkeit von Teams und Organisationen ermöglichen. Neben der Integration von Multiperspektivität im Hinblick auf Inhalte von Zusammenarbeit kommt insbesondere der permanenten Reflektion und ggf. Anpassung der Strukturen und Qualitäten von Zusammenarbeit, d. h. der sozialen Interaktion, eine zentrale Rolle und Bedeutung zu. Dieses kollektive Lernen auf 2. oder 3. Ebene ist Ausdruck (zwischen-)menschlicher Lern- und Reifeprozesse. Anhand von Beispielen wird abschließend aufgezeigt, wo und wie entsprechende Interventionselemente in bestehenden agilen Frameworks bereits integriert sind.
Chapter
This chapter outlines and discusses different perspectives on design thinking. It provides a schema that illustrates three different understandings of design thinking: (1) methodology, (2) thinking of designers, and (3) practice-based design thinking (embodied thinking). We seek to clarify some of the substantial differences and nuances of alternative understandings of design thinking. Specifically, this chapter discusses significant nuances between structuralism (i.e., information-processing), formal logic (i.e., abductive reasoning), and Gestalt psychology (i.e., humanistic psychology). These differences are based on schools of thought that emerged in early experimental psychology and that then informed numerous design scholars. These perspectives have also informed various practice-based aspects of design thinking, such as variation-selection, meaning-making, and comprehensive design. By outlining these alternative understandings, this chapter presents answers to the question “What is design thinking?” from different perspectives. This discussion and outlined schema encourage researchers and practitioners to articulate their perspective when referring to “design thinking.”
Balaram's analysis of Mahatma Gandhi's use of artifacts in this issue
  • S See
See S. Balaram's analysis of Mahatma Gandhi's use of artifacts in this issue,