Slides from our presentation of the paper Toward A Constraint-Oriented Pragmatist Understanding Of Design Creativity at the International Conference on Design Creativity (ICDC) in Glasgow, September 2012. The paper explores the potentials of pragmatist philosophy to enrich the discourse on design creativity in general and the concept of constraints specifically. We argue that pragmatism can inspire and inform the study of constraints in design creativity by offering a coherent and well-developed frame of understanding how designerly inquiry unfolds as a complex interplay between the designer and the resources at hand in the situation, which may continuously alternate between constraining and enabling roles, or even take on both roles simultaneously.
Best Practices for Interdisciplinary Design.Arturo Pelayo
This document discusses the benefits of anchoring interaction design in the best practices of instructional design. It argues that instructional design has a strong theoretical foundation from various fields that can help address challenges in areas like cross-cultural design. The document also discusses trends in outsourcing and how instructional design principles can help with intercultural communication issues that arise. Overall, the document advocates for the use of instructional design methodologies and standards to help advance fields like interaction design.
This paper discusses situated research and design for people with disabilities. It provides examples of how designers can be involved in the daily lives of users through situated action to better understand their experiences and needs. The paper emphasizes the importance of user participation in design processes from the beginning. It also discusses designing for experience and using methods like STEP (Security, ConText, Experience, Precision) to guide the design of assistive technologies. Overall, the paper advocates for situated, user-centered approaches to design that engage with users throughout the entire process.
"A Personal Design Philosophy". Paper for the I604 course "Design Theory" with Erik Stolterman. The presentation can be seen at http://www.slideshare.net/Tzek/my-design-philosophy.
Presentation for the course "Design Theory" about a personal design philosophy. Prof. Erik Stolterman. By Omar Sosa Tzec. PhD in Informatics. School of Informatics and Computing. Indiana University Bloomington. Fall 2012.
The document discusses moving computer science education from a focus on content delivery to contextual learning. It argues that higher education is shifting to focus on what students learn rather than what lecturers teach. Contextual learning involves constructing knowledge through experiences like projects and case studies. Theories like constructivism and communities of practice support contextual learning. Contexts can be designed around learning outcomes and involve control levels, collaboration principles, and assessment strategies. Authentic assessment like portfolios and projects replace decontextualized testing. Challenges remain in assessment and platforms, but contextual learning is the future of technology-supported computer science education.
The document describes design-based research and narrative ecology as a design experiment. It discusses how design-based research is carried out to explore how technological innovations affect learning and interaction. The goal is to engineer innovative learning environments while understanding aspects of human cognition and learning. Characteristics of design experiments are that they are mediated by technology, embedded in social contexts, can test new learning paradigms, and create scientific understanding of learning. Challenges include complexity, large amounts of data, and comparing across designs.
Presentation by Antonio Dias de Figueiredo at the Workshop on Philosophy and Engineering, Royal Academy of Engineering, London, November 10-12, 2008. These slides are complemented by the text with the same title available at SlideShare.
Peter Dalsgaard: Designing Engaging Interactive EnvironmentsPeter Dalsgaard
Slides from Peter Dalsgaard's PhD defense: Designing Engaging Interactive Environments.
The defense took place on June 25th 2009.
For more information, please visit http://www.peterdalsgaard.com
Best Practices for Interdisciplinary Design.Arturo Pelayo
This document discusses the benefits of anchoring interaction design in the best practices of instructional design. It argues that instructional design has a strong theoretical foundation from various fields that can help address challenges in areas like cross-cultural design. The document also discusses trends in outsourcing and how instructional design principles can help with intercultural communication issues that arise. Overall, the document advocates for the use of instructional design methodologies and standards to help advance fields like interaction design.
This paper discusses situated research and design for people with disabilities. It provides examples of how designers can be involved in the daily lives of users through situated action to better understand their experiences and needs. The paper emphasizes the importance of user participation in design processes from the beginning. It also discusses designing for experience and using methods like STEP (Security, ConText, Experience, Precision) to guide the design of assistive technologies. Overall, the paper advocates for situated, user-centered approaches to design that engage with users throughout the entire process.
"A Personal Design Philosophy". Paper for the I604 course "Design Theory" with Erik Stolterman. The presentation can be seen at http://www.slideshare.net/Tzek/my-design-philosophy.
Presentation for the course "Design Theory" about a personal design philosophy. Prof. Erik Stolterman. By Omar Sosa Tzec. PhD in Informatics. School of Informatics and Computing. Indiana University Bloomington. Fall 2012.
The document discusses moving computer science education from a focus on content delivery to contextual learning. It argues that higher education is shifting to focus on what students learn rather than what lecturers teach. Contextual learning involves constructing knowledge through experiences like projects and case studies. Theories like constructivism and communities of practice support contextual learning. Contexts can be designed around learning outcomes and involve control levels, collaboration principles, and assessment strategies. Authentic assessment like portfolios and projects replace decontextualized testing. Challenges remain in assessment and platforms, but contextual learning is the future of technology-supported computer science education.
The document describes design-based research and narrative ecology as a design experiment. It discusses how design-based research is carried out to explore how technological innovations affect learning and interaction. The goal is to engineer innovative learning environments while understanding aspects of human cognition and learning. Characteristics of design experiments are that they are mediated by technology, embedded in social contexts, can test new learning paradigms, and create scientific understanding of learning. Challenges include complexity, large amounts of data, and comparing across designs.
Presentation by Antonio Dias de Figueiredo at the Workshop on Philosophy and Engineering, Royal Academy of Engineering, London, November 10-12, 2008. These slides are complemented by the text with the same title available at SlideShare.
Peter Dalsgaard: Designing Engaging Interactive EnvironmentsPeter Dalsgaard
Slides from Peter Dalsgaard's PhD defense: Designing Engaging Interactive Environments.
The defense took place on June 25th 2009.
For more information, please visit http://www.peterdalsgaard.com
A presentation I gave on design thinking for technology, business, and entrepreneurship students at NYU.
These slides were accompanied by a lot of group participation, Q&A, and a design challenge, so some slides may feel a little sparse.
These slides are adapted from a design thinking presentation co-authored with Melanie Kahl in 2011. Thanks for viewing!
These three interdisciplinary creative projects show how value is created:
1) Sensory Threads explored biosensors and soundscapes through playful experimentation.
2) Gesture workshops captured motion data to connect technology and art.
3) MUPPITS is developing a new business model for film post-production using a systemic approach.
Ongoing research examines identifying, articulating, and stabilizing emergent business models and anticipating value creation through constant novelty and experimentation. Theories of emergence may help understand innovation and value.
User-centered design is an approach that grounds the design process in information about how users will actually use a product. It is a multi-stage problem-solving process that involves learning about users through observation and participation to better empathize with them. User insights are then used to identify patterns and evaluate potential design solutions before selecting ideas to develop further through creative expression like scenario development and behavioral prototypes.
The document discusses the potential benefits of forging an inter-discipline between design, technology, and art. It proposes that this could create new hybrid disciplines by allowing ideas and practices to flow across boundaries, providing fresh perspectives on challenges. Additionally, privileged knowledge becomes commodified over time and spreads, weakening the economic and political power of certain regions. A new inter-discipline could also help educational institutions respond to the independent learning habits of digital students.
(2014) The Rhetoric of Design for Debate: triggering conversation with an “un...Max Mollon
Mollon, M., & Gentes, A. (2014). The Rhetoric of Design for Debate: triggering conversation with an “uncanny enough” artefact (pp. 1–13). In the proceedings of the Design Research Society International Consortium (DRS), Umeå, Sweden. (June 18th)
DOI: 10.13140/RG.2.2.27693.49123
–
Retrieved from: http://bit.ly/DRS14-mollon
This document discusses different types and definitions of research, particularly as they relate to design. It defines research as a systematic activity aimed at gaining knowledge. Design research is categorized as research for design, research on/about design, or research by design. Research for design involves collecting information to aid the design process. Research on design describes and analyzes existing designs. Research by design explores possibilities through actively varying design solutions and their contexts. A doctoral research contribution must be original, significant, and communicable with traceable sources. Professional doctorates differ from PhDs in contributing significantly to practice rather than knowledge. The document provides examples of applying different types of design research to a scenario involving a proposed tall building development.
1) The document discusses Mihaly Csikszentmihalyi's systems theory of creativity, which views creativity as emerging from the interaction between individuals, domains of knowledge, and fields of experts and influencers.
2) Csikszentmihalyi outlines how creative ideas arise from individuals but must be validated and selected for inclusion by the relevant cultural and social fields.
3) Key aspects of Csikszentmihalyi's systems model include the cultural domain which transmits existing knowledge, the individual practitioner who produces innovations, and the field of gatekeepers who evaluate and select innovations to retain and transmit through the domain.
The document summarizes the What Design Can Do conference that took place in Amsterdam in 2011. The two-day conference discussed the theme of "Access" and how design can impact society. It featured international speakers and case studies showing design's role as a catalyst for change. Over 750 people attended each day to hear designers, students, companies and governments discuss these issues. The event had a cohesive visual identity and "activist" character. It also lived on through an updated website, publication of speeches and partnership with another conference.
This document discusses authorship and control in generative design. It provides context on generative design as a method that uses algorithms or rules to create outputs. Control can come from variables within the system that users can manipulate. Interaction design has combined with generative design, involving users in the authorship process. The document examines how generative design can give audiences more control over the design, challenging the designer's sole authority. It references theorists like Roland Barthes who argued that meaning comes from an artwork's interpreters, not just its creator. The document also outlines the author's interest in understanding the relationship between designers and users, and how two exhibitions influenced their interest in generative and interactive design.
Peter Dalsgaard's presentation discusses designing engaging mixed reality environments. It provides a framework for understanding situated engagement through social, temporal, technological, and spatial aspects. Examples are given of large-scale interactive installations that foster exploration, participation, and appropriation by users to spark reflection and connect experiences. Ethnomethodology, which studies how people make sense of their world, is discussed as important for intervention and adaptation designs that evolve with user behaviors over time.
Peter Dalsgaard's presentation discusses designing engaging mixed reality environments. It provides a framework for understanding situated engagement through social, temporal, technological, and spatial aspects. Examples are given of large-scale interactive installations that promote exploration, participation, and appropriation through embodied experiences. Ethnomethodology is discussed as a way to study how intervention and design experiments can reveal people's methods for making sense of and interacting with the world. The goal is to design experiences and environments that spark reflection on one's unique situation and connect to social and cultural experiences.
DRIVE 2017 | 25 October - CURATING & DISSEMINATING DESIGN RESEARCH - Jan Ijze...CLICKNL
Creative forms of expression
“Research is a process of investigation leading to new insights, effectively shared”. Jan Ijzermans is convinced that we need to explore new relationships between makers and researchers, and especially explore new ways of sharing and expressing meaningful knowledge in an artistic way.
The document discusses value creation in creative industries and collaborative projects between artists and technologists. It proposes that value emerges through interactions between agents and structures over time. Three types of value creation models are identified: 1) creating conditions for creativity and reputation, 2) stabilizing emergent properties into codified knowledge, and 3) enabling monetary exchange for this knowledge. The role of higher education institutions and government in anticipating and stabilizing value emerging from creative projects is discussed.
The document discusses key principles of visual art and design such as subject matter, form, content, and context. It explains that subject matter is the central topic or idea, form is how it is structured, content includes themes and meanings, and context considers the circumstances of its creation and viewing. Design combines subject matter and intent with materials and media to create meaningful artifacts. Form is the physical manifestation of an idea that can identify, inform, or persuade depending on its visualization and the viewer's interpretation within a given context.
Disseny de futurs i Disseny ficció / Design fiction and Design Futureslaidealista
This tutorial introduces design project as a tension balanced between present and future of society issues. The first session of M3 at Master of Research in Design and Art, at EINA, Barcelona.
1. The document discusses the relationship between engineering and science, arguing that they differ in important ways rooted in divisions within Western culture. While science is universal and value-free, engineering involves contingent value judgments and trade-offs.
2. Engineering design incorporates subjective decision-making from managers that shape what problems engineers solve and what solutions are acceptable. Trade-offs are integral to engineering reasoning in a way that they are not for science.
3. Efforts to "rationalize" engineering by making the design process objective overlook the essential role of values, willfulness, and pragmatism in engineering knowledge and practice. Understanding engineering's distinctive rationality is important for effective technology policy.
The document summarizes services offered by ProtoLab, Innowiz, and other design centers at HOWEST university including prototyping, lighting, creativity and innovation workshops, sustainability research, design for accessibility, and design projects and assignments. It also provides examples of techniques that can be used at different stages of the creative process like problem definition, idea generation, selection, and communication.
The Industrial Design Center at Howest University College is a knowledge center that connects industry with education programs in industrial product design and industrial design engineering. It has expertise in areas like prototyping, lighting technology, design methodology, sustainable design, and user-centered design. The center provides its advanced equipment and facilities to external users, organizes training, and assists companies with multi-disciplinary projects through student work, internships, and research collaborations. The synergy between industry and education leads to practical applications of academic research and services for companies and non-profits.
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These slides were accompanied by a lot of group participation, Q&A, and a design challenge, so some slides may feel a little sparse.
These slides are adapted from a design thinking presentation co-authored with Melanie Kahl in 2011. Thanks for viewing!
These three interdisciplinary creative projects show how value is created:
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The document discusses the potential benefits of forging an inter-discipline between design, technology, and art. It proposes that this could create new hybrid disciplines by allowing ideas and practices to flow across boundaries, providing fresh perspectives on challenges. Additionally, privileged knowledge becomes commodified over time and spreads, weakening the economic and political power of certain regions. A new inter-discipline could also help educational institutions respond to the independent learning habits of digital students.
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This document discusses different types and definitions of research, particularly as they relate to design. It defines research as a systematic activity aimed at gaining knowledge. Design research is categorized as research for design, research on/about design, or research by design. Research for design involves collecting information to aid the design process. Research on design describes and analyzes existing designs. Research by design explores possibilities through actively varying design solutions and their contexts. A doctoral research contribution must be original, significant, and communicable with traceable sources. Professional doctorates differ from PhDs in contributing significantly to practice rather than knowledge. The document provides examples of applying different types of design research to a scenario involving a proposed tall building development.
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The document summarizes the What Design Can Do conference that took place in Amsterdam in 2011. The two-day conference discussed the theme of "Access" and how design can impact society. It featured international speakers and case studies showing design's role as a catalyst for change. Over 750 people attended each day to hear designers, students, companies and governments discuss these issues. The event had a cohesive visual identity and "activist" character. It also lived on through an updated website, publication of speeches and partnership with another conference.
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Toward A Constraint-Oriented Pragmatist Understanding Of Design Creativity
1. TOWARD A CONSTRAINT-ORIENTED PRAGMATIST
UNDERSTANDING OF DESIGN CREATIVITY
MICHAEL MOSE BISKJAER & PETER DALSGAARD
CENTRE FOR ADVANCED VISUALISATION AND INTERACTION (CAVI)
PARTICIPATORY INFORMATION TECHNOLOGY CENTRE (PIT)
AARHUS UNIVERSITY
DENMARK
10. PRAGMATISM AND DESIGN CREATIVITY
Situation A situated and emergent process,
which is explorative and characterised by
Inquiry reciprocal interplay between the designer and
the environment ...
Transformation ... with the aim of transforming the situation
through new insights and/or interventions
Technology ... and in which the designer employs a range
of tools and techniques; these resources are
often an essential part of the process.
12. CONSTRAINTS
featured in all creativity-related domains and disciplines - AT A GLANCE
from philosophy, art, management, political and social
sciences to psychology, sports, medicine, and engineering
design. Thus, no transparent cross-disciplinary terminology.
Latin: ‘constringere‘ meaning ‘to restrain, compress, bind or ETYMOLOGY
press together’ (the freedictionary.com/constrain)
‘Constraints are limitations on action. They set boundaries on BASIC DEFINITION
solutions’ (Vandenbosch Gallagher 2004: 198)
‘Constraints on thinking do not merely constrain, but also DUAL NATURE:
make certain thoughts - certain mental structures - possible’ RESTRAINING AND
ENABLING…
(Boden 2004: 46; Onarheim Wiltschnig 2010)
13. LACK OF COMMON TERMINOLOGY RESEARCH IN GENERAL
‘Constraints’ encompass creative choices, preferences,
obstructions, hindrances, requirements, demands, desires,,
conventions, expectations, limitations, rules, inabilities, etc.
CONSTRAINTS AS INTEGRAL TO DESIGN DESIGN RESEARCH
A growing interest in constraints, from engineering design to
more art-oriented practices: ‘Formally, all design can be
thought of as constraint satisfaction, and one might be
tempted to propose global constraint satisfaction as a
universal solution for design.’ (Chandrasekaran 1990: 65).
CONSTRAINTS IN CREATIVITY RESEARCH CREATIVITY RESEARCH
Necessary that coming creativity research looks much closer
toward the entwinement of constraints and creative agency –
and from several angles (Kaufman and Sternberg 2010)
14. MAIN CURRENT CONTRIBUTIONS
TO CONSTRAINT TYPOLOGIES
Bryan Lawson: How Designers Think (2006)
DESIGN and ARCHITECTURE
Patricia D. Stokes: Creativity from Constraints (2006)
PSYCHOLOGY and ART
Jon Elster: Ulysses Unbound (2000)
PHILOPSOPHY and ‘AESTHETICS’
‘CREATIVITY CONSTRAINTS’
Our proposal for an arts and humanities-based, domain-general unifying descriptor to
address how constraints are inherent in and both restrain and enable creative processes.
15. A BASIC FORMALIZED CONSTRAINT TYPOLOGY
FOR ANALYZING CREATIVE PROCESSES
Intrinsic Hard soft
Incidental
Beneficial constraints Imposed Hard soft
Essential Self-imposed Hard Soft
Adapted from Elster 2000.
16. AESTHETIC STRATEGIES OF ENABLING CREATIVITY CONSTRAINTS
CREATIVITY CONSTRAINTS
IN AVANT-GARDE ART
17. A CROSS-DOMAIN CONTINUUM OF
CREATIVITY CONSTRAINTS
UNDER-CONSTRAINED OVER-CONSTRAINED
PROBLEMS PROBLEMS
Poetry Filmmaking Engineering
SELF-IMPOSED CREATIVITY CONSTRAINTS
LEVERAGE THE
POTENTIAL FOR
Adapted from Stacey Eckert 2000.
CREATIVITY
21. CREATIVITY IN DESIGN CREATIVITY IN DESIGN?
OR A topic understood in very diverse ways by several individual
conceptualizations. Addressed analytically and descriptively.
DESIGN CREATIVITY? (Askland, Ostwald Williams 2010)
or
DESIGN CREATIVITY?
We understand ‘design’ as pertaining to a unique human
faculty for promoting intentional change and innovation
through exploration and reflection (Löwgren and Stolterman 2004).
Design is always culturally embedded. Thus, we argue that it is
profitably to inform design research proper by looking toward
the arts and humanities – both back and forward…
23. CONCLUSIONS
PRAGMATISM AND DESIGN CREATIVITY
- A well-established school of thought that has already inspired and informed studies of
the design process and design thinking
- A nuanced and consistent conceptual framework that posits design creativity as an
emergent, distributed, and technological phenomenon
CREATIVITY CONSTRAINTS AND DESIGN CREATIVITY
- A pragmatist framework for cross-disciplinary analyses of design processes,
emphasizing the potential of proficient and innovative constraint management
- Analytical insights into ways to scaffold concrete case-tested methods for optimization
of design processes based on enabling self-imposed creativity constraints
- A conceptual bridge for informing design studies with key cross-disciplinary findings
from the arts and humanities; findings based on pragmatist, exploratory case studies.
24. THANK YOU
CONTACT
Michael Mose Biskjaer
imvmmb@hum.au.dk
Peter Dalsgaard
dalsgaard@cavi.dk
Aarhus University, Denmark
Centre for Participatory IT (PIT)
www.cavi.dk
Centre for Advanced Visualization and Interaction (CAVI)
www.pit.au.dk For references, please see proceedings
25. REFERENCES: REFERENCES
Askland, H.H., Ostwald, M., Williams, A. 2010. Changing
Conceptualisations of Creativity in Design, in Desire '10: Proceedings
of the first conference on Creativity and Innovation in Design, Aarhus,
Denmark, 4-11
Löwgren, J., Stolterman, E. 2004. Thoughtful Interaction Design: A
Design Perspective on Information Technology. The MIT Press,
Massachusetts, USA
Boden, M.A. 2004. The Creative Mind: Myths and Mechanisms. 2
Routledge, London; New York
Onarheim, B., Wiltschnig, S. 2010. Opening and Constraining:
Constraints and Their Role in Creative Processes, in Desire '10:
Proceedings of the first conference on Creativity and Innovation in
Design, Aarhus, Denmark, 83-89