Conference Agenda

Overview and details of the sessions of this conference. Please select a date or location to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).

Filter by Track or Type of Session 
Only Sessions at Location/Venue 
 
 
Session Overview
Location: LDN.102
1st floor Loughborough University London 60 capacity
Date: Tuesday, 18/Jun/2019
9:30am - 9:50amOpening PhD: ADIM Collective 2019 Research Development Workshop
Session Chair: Cees de Bont
Session Chair: Nusa Fain
LDN.102 
10:00am - 11:00amTraining 1: Preparing for journal publications
Session Chair: Gerda Gemser
LDN.102 
11:00am - 12:00pmTraining 2: How to establish a theoretical framework to guide the PhD research
Session Chair: Nusa Fain
LDN.102 
12:15pm - 12:45pmPoster 1/4: Session Round 1/4
Session Chair: Brian Baldassarre
LDN.102 
12:45pm - 1:15pmPoster 2/4: Session Round 2/4
Session Chair: Brian Baldassarre
LDN.102 
1:15pm - 2:30pmLunch: PhD ADIM Collective 2019 Research Development Workshop
LDN.102 
2:30pm - 3:30pmTraining 3: Mapping your PhD journey
Session Chair: Rachel Cooper
LDN.102 
3:30pm - 4:30pmTraining 4: Life after PhD: designing a meaningful research career
Session Chair: Mieke van der Bijl-Brouwer
LDN.102 
4:00pm - 4:30pmPoster 3/4: Session Round 3/4
Session Chair: Brian Baldassarre
LDN.102 
4:30pm - 5:00pmPoster 4/4: Session Round 4/4
LDN.102 
5:00pm - 5:10pmWrap-up: PhD ADIM Collective 2019 Research Development Workshop
LDN.102 
5:20pm - 6:50pmDebate: PhD ADIM Collective 2019 Research Development Workshop
Session Chair: Federico Vaz
LDN.102 
Date: Wednesday, 19/Jun/2019
10:45am - 12:25pm6.a 1/2: Materiality in the Digital Age
Session Chair: Bo GAO
Session Chair: J. Fiona Peterson
LDN.102 
 
10:45am - 11:10am

Learning to create images with computer code

Peter Haakonsen, Laila Belinda Fauske

OsloMet – Oslo Metropolitan University, Norway

Programming is becoming a part of the school curricula in Norway both in lower and upper secondary education – this includes subjects such as art, design and craft. What can programming contribute to the learning processes of these subjects? ‘Tinkering’ is a creative phase in a learning/working process, emphasising both creation and learning. In this project, visual images are created via computer programming to enhance the main author’s learning. The process is structured into stages. The important phases of the learning process are realised as a result of tinkering with existing codes. An important discovery for the learner, and one key aspect of programming images is that, as a mode, it opens up ways to create repetitions effectively, resulting in various patterns. This turned out to be motivating for the learner. This paper discusses tinkering as a learning process that is relevant to programming within art, design and craft education.

Track 6.a-Learning to create images with computer code-292Haakonsen_a.pdf


11:10am - 11:35am

Learning about Materiality through Tinkering with Micro:bits

Ingvild Digranes, Jon Øivind Hoem, Arnhild Liene Stenersen

Western Norway University of Applied Sciences, Norway

This paper discusses two pilot projects in Art and design education at the teacher training at Western Norway University of Applied Sciences. In the second round of drafts for the new curriculum of Art and design digital knowledge is described as stretching from using simple digital resources to master and shape your own digital products. It is no longer limited to two dimensional visual modelling as previously drafted. This is in our view a new approach in a subject where making, tinkering and designing allows for explorations in both 2D and 3D. Given that we want to encourage the use of the digital together with the use of physical materials, the pilot case studies demonstrate the importance of bringing coding and the material aspects of tinkering, making, and creating into play. The BBC Micro:bit was used to make coding and mechanical control part of projects made with traditional material. Further research and development should be undertaken to bring such practices into classrooms in primary and lower secondary schools.

Keywords: Art and design education, materiality, programming, Micro:bits, citizenship

Track 6.a-Learning about Materiality through Tinkering with Micro-306Digranes_a.pdf


11:35am - 12:00pm

Designing an intuitive interface to enhance trigonometry learning

Francisco Zamorano, Catalina Cortés, Mauricio Herrera, María Elena Errázuriz

Universidad del Desarrollo, Chile

In the last three decades, the application of TUIs (tangible user interfaces) in education has demonstrated its positive influence on performance and learning of students. At Universidad del Desarrollo in Chile, monitoring of diagnostic tests over time evidences difficulties and challenges in the teaching-learning of trigonometry in first-year Engineering education. This study consisted in designing and validating a tangible interface to learn trigonometry in the classroom setting. The methodology used was a quasi-experiment with first-year students from the Schools of Design and Engineering at Universidad del Desarrollo in Chile. Principles of the theory of Embodied Cognition and Blended Interaction were applied to model an intuitive, collaborative and meaningful learning experience. During the design process, three Intermediate Models were tested with several types of users, and two Prototypes were tested with an experimental group. User-testing highly contributed to the design of the interaction experience and the interface, progressively defining the functional and pedagogical aspects. Comparative analysis of Pre and Post-Test results, demonstrate that students’ performance increased by 37.1% after two sessions using the interface.

Track 6.a-Designing an intuitive interface to enhance trigonometry learning-216Zamorano_a.pdf


12:00pm - 12:25pm

Engaging in Materiality: Issues in Art and Design Education

Delane Ingalls Vanada

University of Florida, United States of America

In the training of art and design educators, we must not overlook modes of engagement that can build capacities for connecting theory to practice through creative research and connections to the physical materiality of art. Whether online or on-the-ground learning, artist-teachers must not disconnect from the power of engagement with and the materiality of art. This paper places a focus on ways that teacher training programs can anticipate and activate attitudes of new materialism, providing a much-needed anchor in the digital age against disembodiment. With a contemplative view of art practice as research, projects in an art and design education program elevate opportunities for exchanging understanding, promoting dialogue, and approaching learning and research as relationship. Intentionality in the ways that the practice of teaching itself is also materiality, as a living practice, along with the training teachers as designers and facilitators of cultures of making, thinking, and learning are discussed.

Track 6.a-Engaging in Materiality-406Ingalls Vanada_a.pdf
 
2:00pm - 3:40pm6.a 2/2 & 3.b 1/2: Materiality in the Digital Age & Measuring and communicating the value of design
Session Chair: Bo GAO
Session Chair: Jo'Anne Langham
LDN.102 
 
2:00pm - 2:25pm

Experiencing (from) the inside – Mediated perspectives in kindergartens

Ingvard Bråten, Jon Hoem

Western Norway University of Applied Sciences, Norway

This paper presents a case study of preservice kindergarten teachers’ use of new form of digital imagery. The paper introduces spherical cameras and digital microscopes and discusses their affordances when introduced in practical use in in teacher education and in kindergartens. The use in kindergartens was introduced through a class of 34 teacher students in kindergarten education. The students were specializing in Arts and design at Western Norway University of Applied Sciences. The use of images from spherical cameras and digital microscopes is discussed and analysed, based on data from student responses through two questionnaires, group presentations and discussions in class, and an analysis of various media material produced by students.

Track 6.a-Experiencing (from) the inside – Mediated perspectives-254Bråten_a.pdf


2:25pm - 2:50pm

Aarup 1960 and the poetics of materials

Liv Mildrid Gjernes

Western Norway University of Applied Sciences, Norway

All design has its own conditional modes of expression; however, these are realised through the maker’s sense of the possibilities of materiality. This essay was inspired by a reclaimed piece of 1960s furniture designed in the modernist idiom, and is based upon autobiographical experiences, original works from own and contemporary aesthetic practices, and associated thoughts in the present. A completely new artistic expression was developed, which questioned the strict, use-defined style ideals and let shape reveal other values and statements than function.

The intention of this essay is to put into words some of the cognitive processes in which creativity, critical reflection and the senses’ experience-based insights may bring up something new. In creative work, the goal is not to reach a single result; every little discovery made by examining something specific could open up new worlds.

Track 6.a-Aarup 1960 and the poetics of materials-267Gjernes_a.pdf


2:50pm - 3:15pm
Research in Progress

Design as a Catalyst for Change – Towards Strategically Embedded Design in SMEs

Dorota Biniecka1, Erik Bohemia2

1Mitchell & Cooper, UK; 2Oslo Metropolitan University, Norway

Effective application of design brings benefits across corporate, business and operational levels within an organisation, from contributing to development of competitive advantage to opportunity identification and innovation project execution. Nevertheless, transition to strategic design requires transformation of culture, structures and processes in a manner tailored to organisation’s unique competitive realities. As such, this paper reviews interview-based findings of the latter of a two-part Design and Innovation Capability Audit of a family-owned SME, to provide insight into the state of the design use in this context. Design Management Europe Staircase is used as an evaluative framework. The interviews illustrate diverse perspectives of design across organisational hierarchy and demonstrate struggles many SMEs experience in evolving design’s application. Additionally, audit’s immediate to-date benefits are discussed. Finally, the paper concludes discussing the contribution qualitative interviews can offer in measuring Design Capability, thus contributing to expansion of the DME Staircase as an audit tool.

Research in Progress-Design as a Catalyst for Change – Towards Strategically Embedded Design-383Biniecka.pdf


3:15pm - 3:40pm

Mapping strategies for distributed, social and collaborative design systems of makers, designers and social entrepreneurs

Massimo Menichinelli1,2, Alessandra Gerson Saltiel Schmidt2,3, Priscilla Ferronato4,2

1RMIT University; 2IAAC | Fab City Research Lab; 3AGS Invest; 4University of Illinois Urbana Champaign - Illinois Informatics Institute

The practice of designers has recently evolved from a relatively closed ecosystem of professional actors to an ecosystem with less clear boundaries and roles. Makers can be considered (and often are) designers or a new kind of designers working with open, peer-to-peer, distributed and DIY approaches. And both makers and designers increasingly work with social innovation initiatives, becoming thus social entrepreneurs or collaborating with them. Where are makers, designers and social entrepreneurs, how many are there, how do we reach them and network them? This article presents a first exploration of literature, cases and datasets that represent direct or indirect approaches for mapping where they can be found. These formal or informal approaches are clustered in three groups: work, place and community. Each dimension generates a different perspective with different approaches and datasets, which influences our view and definition of makers, designers and social entrepreneurs.

Track 3.b-Mapping strategies for distributed, social and collaborative design systems-378Menichinelli_a.pdf
 
4:00pm - 5:40pmw2.464: Workshop
LDN.102 
 
4:00pm - 5:40pm

A Semiotic Rosetta Stone Workshop: Enhancing visual communication through design semiotics.

Dave Wood

Northumbria University, United Kingdom

Workshop purpose and primary aims

In this 90-minute design semiotics workshop, ADIM delegates will learn how the quality of user-participation can be enhanced by improving the visual communication within designed outputs. The workshop’s aim is to provide a direct, hands–on experience, to explore how iconic, indexical and symbolic semiotic representation can improve design’s message, concept or affordance. It will complement the conference sub-track 5.e Seeking signification in transformational times: design semiotics and the negotiation of meaning.

Theoretical relationship

Over 90-minutes through two exercises and a plenary, the workshop will explore how C.S. Peirce’s pragmatic semiotic theory of Semiosis can be synthesised into design practice. The triadic nature of Semiosis focuses on the inter-relationship between the design concept, how this is visually represented, and how this representation affects how the intended meaning is finally interpreted. The workshop exercises take a Constructivist approach to facilitate participants’ own revelation as to how design outputs can be improved through applying the triadic relationship of Semiosis.

Workshop approach

The approach for the 90-minute workshop would follow this structure:

00:00 Welcome, workshop aims, semiotic audit (@ 20 mins)

• Welcome message

• Projection of a semiotic audit form and explanation:

o Participants will have a paper copy of a semiotic audit form

o They will complete first section before workshop begins

o This captures the initial level of pre-existing understanding of semiotic theory

• Then an overview of rudimentary Semiosis and its triadic relationship between concept, its representation, and the role of interpretation in the context of designed artefacts.

00:20 Exercise 1: Symbolic representation in designing effective visual communication (@20 mins)

• Using print outs of existing design campaigns, products, etc. participants will discuss in small group the principle of the symbolic representation of the concept present in the design example.

• Using scissors/markers/etc. participants will indicate what they believe is the symbolic representation visually communicating the intended message in the design example.

• Participants will then be asked to connect the designed connotation to the basics of Peirce’s semiotics using their own design terms.

00:40 Exercise 2: Indexical and Iconic representation in designing effective visual communication (@20 mins)

• Again*, using print outs of design campaigns, products, etc. participants will discuss in small group the principle of the indexical, and then the nested iconic representations of the object present in the design example.

*each table will have several versions of the design examples so that multiple passes at analysis can be made by the designers

• Using scissors/markers/etc. participants will indicate what they believe is the indexical representation in the design, and then break the design down further into its iconic elements that help visually communicate the intended message or affordance.

• Participants will then be asked to connect these to the basics of Peirce’s semiotics.

Figure 1: Example of plenary session with displayed worksheets

01:00 Plenary and Completion of semiotic audit (@30 mins)

• The results of exercise 1 & 2 can be displayed by group on a wall (see Figure 1), and feedback their assumptions which can then be discussed. Through this plenary phase participants can begin to understand how much of their tacit knowledge can be mapped to pragmatic semiotic theory, and how they can seek more theory to increase the effectiveness of their visual communication within designed artefacts.

• Participants will also complete the 2nd section of the designer semiotic audit form.

o This captures their level of desire to understand more Peircean semiotic theory, and to ask how they would like that to happen.

01:30 Workshop Ends

Takeaways for the participants

The workshop participants will work together in small groups using handouts and an A3 worksheet. On this worksheet, they will annotate their emergent understanding of the inter-relationship between the design concept, how it is visually represented and interpreted. Then in the final plenary part of the workshop, the participants will discuss in their own words how they understand how the manipulation of iconic, indexical and symbolic representation affords different levels of meaning.

Strategy to capture content and results

The final plenary session is important to the Constructivist approach we take, as from a pragmatic position the participants’ understanding emerges from the acts of engaging in the process of unlocking theory within existing design practice. Participants can opt into supplying their emails to be kept informed of the ongoing research.

Results and final reflections for consideration

The completed worksheets (or photographs of them), plus completed semiotic audits, will provide the workshop team with valuable sensory data to be further analysed as part of continuing Semiotic Rosetta Stone research. This ultimately is to define more designer-centric methods of disseminating Peircean theory into design practice.

Space requirements

A digital projector for our Mac laptop, in a room with flat tables and wall space for display will suffice.

Maximum number of participants

A maximum of 20 participants (5x groups of 4) will be ideal.

Workshops-A Semiotic Rosetta Stone Workshop-464Wood_a.pdf
 
Date: Thursday, 20/Jun/2019
9:00am - 10:40am6.b 1/4: Design Literacy enabling Critical Innovation Practices
Session Chair: Liv Merete Nielsen
Session Chair: Catalina Cortés
LDN.102 
 
9:00am - 9:25am

Framing the concept design literacy for a general public

Eva Lutnæs

OsloMet - Oslo Metropolitan University, Norway

Educating the general public to be design literate can be a catalyst for both environmental protection and degradation, human aid and human-made disasters depending on how the scope of design is framed – and how ‘design literacy’ is defined. This paper explores how design literacy can support critical innovation and sustainable issues by sketching a conceptual framework on how to cultivate ‘design literacy’. The research approach is a literature review of key texts on the topic of design literacy for a general public. Four narratives are identified: ‘Awareness through making’, ‘Empower for change and citizen participation’, ‘Address complexity of real-world problems’, and ‘Participate in design processes’. Moving towards more sustainable modes of consumption and production, a design literate general public provides a critical mass of users empowered to question how a new innovation supports the well-being of people and the planet and to voice their own ideas.

Track 6.b-Framing the concept design literacy for a general public-224Lutnæs_a.pdf


9:25am - 9:50am

Developing design literacy for social agency

Miikka J. Lehtonen1,2, Jia Ying Chew2

1Aalto University School of Arts, Design and Business, Finland; 2Aalto University School of Business

Preparing a workforce that is well-equipped with the skills and knowledge to navigate the complexities of our global human society is a key responsibility of design and higher education. Extant research has advocated design as one of the essential skills to master in the future, and this design literacy has been claimed to be a critical factor in creating innovations and new solutions towards transforming our societies. To explore how non-designers become more design literate, in this paper we present findings from a study looking at how multidisciplinary student teams develop their design literacy in an action-oriented course setting. Based on our initial analysis, blending the boundaries between universities and the surrounding society positively contributes towards developing design literacy. This, in turn, has pedagogical implications as well as increases our understanding on how design travels to other disciplinary domains.

Track 6.b-Developing design literacy for social agency-223Lehtonen_a.pdf


9:50am - 10:15am

A Framework to Accelerate Universal Design Literacy

Chris Pacione

LUMA Institute, United States of America

Design has historically been a specialty, something practiced exclusively by engineers, architects and all manner of design professionals. This is changing. Just as arithmetic was once a peripheral skill until the industrial age brought about the need for math literacy, the socioeconomic conditions of our current age are heralding the need for millions of people to level up in design. The expanding role innovation and collaboration play in our daily work, combined with the ever-increasing complexity and rate of change of today’s products, services, and systems are making the case for design literacy. This paper: 1.) makes the case that design is poised to become the next universal literacy; 2.) argues that in order for such a literacy to arise, there must first exist a framework of agreed-upon skills that are taught and practiced by the masses; and 3.) proposes such a set of skills along with the research and reasoning that supports this proposed framework.

Track 6.b-A Framework to Accelerate Universal Design Literacy-479Pacione_a.pdf


10:15am - 10:40am

Developing design literacy through brand-based artefacts

Catarina Lelis1, Oscar Mealha2

1University of West London, United Kingdom; 2Universidade de Aveiro, Portugal

The brand is a powerful representational and identification-led asset that can be used to engage staff in creative, sustainable and developmental activities. Being a brand the result of, foremost, a design exercise, it is fair to suppose that it can be a relevant resource for the advancement of design literacy within organisational contexts. The main objective of this paper was to test and validate an interaction structure for an informed co-design process on visual brand artefacts. To carry on the empirical study, a university was chosen as case study as these contexts are generally rich in employee diversity. A non-functional prototype was designed, and walkthroughs were performed in five focus groups held with staff. The latter evidenced a need/wish to engage with basic design principles and high willingness to participate in the creation of brand design artefacts, mostly with the purpose of increasing its consistent use and innovate in its representation possibilities, whilst augmenting the brand’s socially responsible values.

Track 6.b-Developing design literacy through brand-based artefacts-358Lelis_a.pdf
 
11:00am - 12:40pm6.b 2/4: Design Literacy enabling Critical Innovation Practices
Session Chair: Eva Lutnæs
Session Chair: Janne Beate Reitan
LDN.102 
 
11:00am - 11:25am

Representations of Design Process

Úrsula Bravo1, Erik Bohemia2

1Universidad del Desarrollo, Pontificia Universidad Católica de Chile; 2Oslo Metropolitan University, Norway

We argue that visual representations of design processes contribute toward social and material practices of design(ing). They are used as didactic devices. We will discuss them using metaphors to illustrate that they are active material devices of which circulation, production and consumption are informed and informing perceived complexities, ambiguities and paradoxes associated with design. We propose a follow-up study to investigate how teachers and designers use and interpret visual design process models. The reason is to identify how these models are informing what design is as we are interested to understand how these models are contributing to the development of Design Literacies.

Track 6.b-Representations of Design Process-295Bravo_a.pdf


11:25am - 11:50am

Working Together - Cooperation or Collaboration?

Randi Veiteberg Kvellestad1, Ingeborg Stana2, Gunhild Vatn3

1Oslo Metropolitan University, Norway; 2Oslo Metropolitan University, Norway; 3Oslo Metropolitan University, Norway

Teamwork involves different types of interactions and is necessary in education and a number of other professions. ‘Working Together’ was an action-research project in design education for specialised teacher training in design, arts, and crafts at the … University. The project included three student groups in the material areas of drawing, ceramics, and textiles. The differences between cooperation and collaboration underline the role of the teacher in influencing group dynamics. These dynamics represent both a foundation for professional design education and a prequalification for students’ competences as teachers and for critical evaluation. The project developed the participants’ patience, manual skills, creativity, and abilities; these personal qualities are important for design education and innovation and represent cornerstones of almost every design literacy and business environment. The hope is that students will also be able to transform this competence to teaching pupils of all ages.

Track 6.b-Working Together-259Kvellestad_a.pdf


11:50am - 12:15pm

Social innovation for modified consumption by means of the school subject Art and craft

Anita Neuberg

Oslo Metropolitan University, Norway

In this paper I will take a look at how one can facilitate the change in consumption through social innovation, based on the subject of art and design in Norwegian general education. This paper will give a presentation of books, featured relevant articles and formal documents put into context to identify different causal mechanisms around our consumption. The discussion will be anchored around the resources and condition that must be provided to achieve and identify opportunities for action under the subject of Art and craft, a subject in Norwegian general education with designing at the core of the subject, ages 6–16. The question that this paper points toward is:

"How can we, based on the subject of Art and craft in primary schools, facilitate the change in consumption through social innovation?”

Track 6.b-Social innovation for modified consumption by means-326Neuberg_a.pdf
 
2:00pm - 3:40pm6.b 3/4: Design Literacy enabling Critical Innovation Practices
Session Chair: Liv Merete Nielsen
Session Chair: Catalina Cortés
LDN.102 
 
2:00pm - 2:25pm

Adaptive digital capability development: Professional learning for educators across disciplines

J. Fiona Peterson1, Cathy Lockhart2, Catherine Raffaele2

1Auckland University of Technology, New Zealand; 2University of Technology Sydney, Australia

In a cross-university project, a mixed methods approach was adopted to design a learning model for digital work practices in line with evolving industry needs. Drawing upon industry input (n=50), developmental learning and technology affordance theory, a model was trialled with Design, Journalism and Engineering students (n=78). Workshops were held at five universities with educators (n=66) and this paper discusses their perspectives on the model. Their responses indicated a predominantly functional digital capability focus in their current learning and teaching practice; rather than integrating functional, perceptual and adaptive digital capabilities, in high demand but short supply in industry. The educators highlighted a need for their own professional learning. We offer practical suggestions for moving beyond a functional digital focus and argue that it is vital for students and educators to learn and use the vocabulary of technology affordances, to strengthen professional learning for digital work futures.

Track 6.b-Adaptive digital capability development-237Peterson_a.pdf


2:25pm - 2:50pm

Democratizing Design: Can Higher Education Survive?

Rebecca Kelly

Syracuse University: VPA, School of Design, United States of America

The tools and techniques of graphic design have become accessible to the public at large to such a degree that the profession itself may be threatened with extinction. At the same time, design literacy — the knowledge and reasoning beyond the use of those techniques — does not seem to be experiencing the same widespread dissemination. In order to re-establish its value, the design profession must introduce a higher level of insight beyond the mere the decoration of artefacts – an ability to understand “big picture” concepts and to work across disciplines to become involved in every step of a project, from concept to completion. Thus, U.S. undergraduate design education must change as well. Educators must be innovative in order to prepare a new generation to evolve quickly and continuously. Programs must be fluid and adaptable, which requires educators to treat their curricula as design problems, to be solved with radical thinking and creativity.

Track 6.b-Democratizing Design-402Kelly_a.pdf


2:50pm - 3:15pm

Design Thinking Mindset: Developing Creative Confidence

Lars Groeger1,2, Jochen Schweitzer3, Leanne Sobel3, Bridget Malcolm3

1MGSM, Macquarie University, Australia; 2RWTH Aachen University, Germany; 3University of Technology Sydney, Australia

While knowledge of design thinking (DT) processes and familiarity with its tools can be achieved relatively quickly, few educational programs foster a DT mindset. This study examines the effect of an experiential DT learning environment on the development of a DT mindset. We analyse the extent to which key attributes of a DT mindset are understood, evaluated and assessed. We show that the general value and related challenges of learning a DT mindset are well understood. However, students perceive the importance and value of particular mindset attributes differently; in particular, postgraduate student reflections provide a nuanced and interlinked view of different mindset attributes. We provide a framework for learning objectives and exemplary activities to teach and encourage designerly ways of thinking and doing in business education. We argue that a mindset that embodies DT can address deficits in business school education, better preparing students for future work.

Track 6.b-Design Thinking Mindset-288Groeger_a.pdf


3:15pm - 3:40pm

Stressors and creativity in Industrial Design practice

John Richard McCardle, Samuel Dempsey, Max Humberstone

Loughborough Design School, United Kingdom

Current literature suggests that stress influences creativity, however further research is required concerning this relationship with a focus on education. Current views are clearly divided on whether any negative effects on creativity are more dictated by environmental stressors or the reactions of individuals whilst under stress. For this study, participants completed a questionnaire comprising of a perceived stress scale and thematic questions, to give an indication of whether they were more influenced by environmental stressors or their individual reactions to stress. Two Torrance tests of creativity were conducted to assess creativity over a two-week period as time pressures increased. The results suggested that participants who identified as being more affected by their own negative reactions to stress displayed a lower calibre of creativity when time-pressure increased, whereas the participants who were suggested to be more influenced by their environment remained at a relatively constant perceived level of creativity.

Track 6.b-Stressors and creativity in Industrial Design practice-392McCardle_a.pdf
 
4:00pm - 5:40pm6.b 4/4: Design Literacy enabling Critical Innovation Practices
Session Chair: Eva Lutnæs
Session Chair: Ursula Bravo
LDN.102 
 
4:00pm - 4:25pm

Complexity, interdisciplinarity and design literacy

Tore Andre Ringvold, Liv Merete Nielsen

OsloMet University, Norway

In today’s complex world, a variety of perspectives are needed to better understand and solve challenges. For decades, global organisations and researchers have pointed to interdisciplinarity as a way forward for educational systems. Educational research offers great possibilities and gains for students involved in interdisciplinary teaching and learning processes, and the interdisciplinary nature of design thinking and practice can play a vital role in interdisciplinary general education. This paper explores how future scenario-building, as part of general design education, can serve as a framework for inter-disciplinarity in general education and contribute to a better understanding of complex problems, challenges and design literacy.

Track 6.b-Complexity, interdisciplinarity and design literacy-244Ringvold_a.pdf


4:25pm - 4:50pm

Networking for strengthening design literacy

Irene Brodshaug, Janne Beate Reitan

Oslo Metropolitan University, Norway

This article focuses on design education for the general public and the ways in which students and teachers can become more design literate through the development of networks, such as professional groups for teachers. The aim of professional groups is to create a structure that focuses on design competency among Design, Art and Crafts teachers as well as design education in Norway’s primary and secondary schools. Etienne Wenger's theories of community of practice and Unn Stålsett's theory about the development of networking through professional groups are highlighted in this study through the comparison of two municipalities in conjunction with informant interviews. The emphasis of this study is on how each municipality gives time and space for the development of design competence through professional groups. A well-organized professional group will hopefully contribute to a deeper level of expertise in schools and an increased ability for the general public to recognize design education.

Track 6.b-Networking for strengthening design literacy-384Brodshaug_a.pdf
 
Date: Friday, 21/Jun/2019
11:10am - 12:50pm2.b 1/1: Design & Democracy
Session Chair: John Richard McCardle
Session Chair: Brian Baldassarre
LDN.102 
 
11:10am - 11:35am

Redesign democratic debates

Danielle Arets, Bas Raijmakers

Design Academy Eindhoven, Netherlands, The

For the revitalisation of democracy, healthy public debates are key as many scholars have stressed throughout history. There is currently a genuine cry out to get rid of polarized debates and work towards consensus. However, over time, philosophers as Aristotle (384-322 BC), Arendt (1958), Mouffe (2000, 2005), have convincingly argued that struggle, agony and conflict are part of a healthy democracy and that we need to design rules to retain these conflicts. How can design offer us the means, tools and spaces to better articulate differences and to deal with current polarized debates? To answer this rather ambitious question, we will first sketch how public debates have evolved over time, mapping out the rules that were designed to prevent conflicts to go out of hand. After that we will dive into a specific case study that we explored during a DESIS philosophy workshop during (October 2018). Based on the generated insights, we will demonstrate how design can offer us meaningful tools for constructive debates.

Track 2.b-Redesign democratic debates-274Arets_a.pdf


11:35am - 12:00pm

An Immanent Criticism of Urban Design in Montevideo

Washington Morales Maciel

Universidad de la República (Uruguay), Uruguay

The debate about the so called “excluding design” has been a focus for applied philosophy for several years. The structure of this debate is constituted by deontological and consequentialist’s applied ethics and as well as agonistic democratic approaches. This paper asks for the applicability of these points of view to the particular socio-political reality of Montevideo. Examining this reality closer, I hold that we cannot comprehend the recent aestheticization of the excluding design there through these contemporary philosophical frameworks. As an alternative philosophical procedure, I analyze the aestheticization of excluding design in Montevideo from Rahel Jaeggi’s immanent criticism. I hold that this process of aestheticization implies an ideological regressive “form of life”. And I also argue that the Uruguayan democracy is affected by this ideological regression. Nevertheless, because this aestheticization is not an exclusive Uruguayan phenomenon, this paper intends to open one direction in applied philosophy of urban design.

Track 2.b-An Immanent Criticism of Urban Design in Montevideo-399Morales Maciel_a.pdf


12:00pm - 12:25pm

A Framework for Civic Conversation

Michael Arnold Mages

Northeastern University, United States of America

Systemic changes in people’s relation to democratic government and governance have been widely noted over the last 40 years. Concurrently, participation in civic life has declined. Drawing from approaches in service design, this article proposes a design-led structure for democratic engagement that serves two goals: the provisioning of people’s expertise on policy decisions for governmental use, and scaffolding of civic life. The paper details a structure that has been tested and refined in over 30 community meetings, and suggestions for effectively evaluating meeting outcomes.

Track 2.b-A Framework for Civic Conversation-412Arnold Mages_a.pdf


12:25pm - 12:50pm

‘Democrazy’, designing for democracy in Eastern Europe

Noémi Zajzon, Sharon Prendeville, Burçe Celik

Loughborough University London, United Kingdom

For design to attend to democratic endeavours it is not enough to rest on the claim that design is implicitly political, but to understand how democratisation — often in the name of political modernisation — has designed different social realities. Focusing on the ‘how to’ of infrastructuring for democracy has advanced a designerly politics-in-practice, and exploring political concepts in design experiments have made design more aware of the democratic conflict. Theoretical work-in-progress, this paper asks whether the concepts internalised within design literature are valid enough to think about infrastructuring for democracy in the context of Eastern Europe. We depart from the theoretical and practical difference between design for politics and political design to 1) understand how each of these concepts enable a democracy to come in Eastern Europe’s Romania, and 2) what are the entry points for design research to understand the democratic experience. We explore this through a participatory intervention in Bucharest.

Track 2.b-‘Democrazy’, designing for democracy in Eastern Europe-391Zajzon_a.pdf
 
2:00pm - 3:40pmw11.435: Workshop

This workshop is limited to 20 participants. To book your place to participate please email to Liv on livmerete.nielsen@oslomet.no The places will be allocated on a first-come, first-served basis.

LDN.102 
 
2:00pm - 3:40pm

Design Literacy

Liv Merete Nielsen1, Erik Bohemia1, Karen Brænne2

1Oslo Metropolitan University, Norway; 2Volda University College, Norway

The aim of the workshop is to establish a Design Literacy International Network. For this purpose, we will bring together a group of international scholars who are interested in exploring an emerging area of the Design Literacy. As production and consumption are very much tight around human designed and made systems, we argue that it is increasingly imperative that citizens develop understanding of how these products and services are produced and consumed. We hope that this will then provide citizens with a wider degree of perspectives on how they can play a vital role in shaping the word.

For example, we propose to explore the uptake of Design Literacies within education (both universities and K12), or how they are used informing policy development or within commercial organisations. The overall aim is to support critical knowledge development related to Design Literacies.

The Design Literacy workshop will draw on ideas presented in the paper Track 6.b ‘Design Literacy enabling Critical Innovation Practices’. The authors of the papers will be invited to take part in the workshop with several of the places opened for other interested conference delegates to take part.

Prior to the workshop, each of the intended participants will be asked to submit a ‘poster’ which will be made accessible to all other workshop participants via online. The goal for the posters is to act as a ‘calling card’ in terms of:

(a) Who will be attending?

(b) What it is they would like to get from being a member of the Design Literacy International Network?

(c) How do they envisage this will fit with their plans?

Production of the poster will enable the Design Literacy Workshop participants to articulate how the Network membership might support their personal goals. This is an important aspect as we envisage to develop proactive network which will support its international colleagues with diverse career paths and visions. Thus, recognising that members’ context will play an important part of how the Design Literacies might be taken up. The posters will also be used to explore the key topics which will be discussed within allocated groups during the workshop.

The proposed format and schedule for the dedicated 90 minutes of running the workshop:

10” – The workshop will start with a short introduction about the aims of the workshops

05” – participants moving into allocated work groups

20” – round table seminar (1)

05” – participants moving into re-allocated work groups

20” – round table seminar (2)

20” – with short presentations from the participating researchers

10” – summing up of the key ideas

– The outcomes of the workshop

The outcome of the workshop will be a web-page and the planning of funding for the network.

– The minimum and maximum number of participants

Maximum participants will be 20 persons. We envisage that 10 places will be allocated to invited participants, and 10 places will be open to other delegates.

– How the workshop might benefit the participants

The specific workshop aim is to give researchers the opportunity to articulate their Research on Design Literacy and formulate how their interests can be incorporate to inform development of international network of scholars exploring filed of the Design Literacy. The long-term aim is to develop rich resources which can be adopted by the Design Literacy International Network members to develop specific research funding applications.

Workshops-Design Literacy-435Nielsen_a.pdf
 

 
Contact and Legal Notice · Contact Address:
Privacy Statement · Conference: ADIM 2019
Conference Software - ConfTool Pro 2.6.129+TC+CC
© 2001 - 2019 by Dr. H. Weinreich, Hamburg, Germany