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1.	Göransdotter, Maria, 1968- (författare) Transitional design histories 2020 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract Design practices are to a large degree conceptually and methodologically based in ways of designing rooted in the 20th century. Some of the challenges that arise in contemporary design stem from an unawareness of design’s historicity, and the discrepancies between what design methods and concepts once were made to handle, and what we presently try to apply them to. This historicity of design, embedded in its methods, tools, and thinking, shape and limit what is possible to do in design. Unless we actively deal with the historicity of design’s central concepts, we risk inadvertently reproducing and reinforcing past norms and values in outcomes as well as in practices of design. Bringing history more actively into design can reframe the spaces in which to explore possibilities for how to go about designing differently.The program of transitional design histories presented in this thesis is formulated on the proposal that the historicity of designing should be made more present in design to support developing approaches and methods for responding to contemporary issues of complexity and sustainment. Design histories therefore need to work differently, taking an outlook in design practices rather than in design outcomes. I propose a methodology for making design histories as prototypes, combining a programmatic approach from practice-based design research with research methods in history that focus on analysing concepts and ideas. These transitional design histories do not provide solid foundations for, or explanations of, what design is or has been. Instead, they aim to make conceptual moves that support developing design practices capable of engaging with a complex ‘now’ and with uncertain futures. The aim is to support making conceptual moves through using historical perspectives in exploring if it would be possible to see, think, and do design in other ways. By shifting the outlook of design history from product to process – from things to thinking – an ambition is to sketch the contexts in which foundational concepts and central methods in design once came about. This shift of position can provide a provisional and propositional scaffolding that activates an awareness of how – and why – the ways we design have been formed over time.How transitional design histories could be made is here prototyped in three examples that take a starting point in concepts and themes central to Scandinavian user-centred and participatory design. As prototypes, these histories are constructed in slightly different ways, and aim to explore partially different aspects of mechanisms of design history and designing in relation to each other. The first prototype focuses on the concept of ‘participation’ related to turn-of-the century 1900 ideas, in the writings of Ellen Key. The second revolves around the concepts of use and users, more specifically the relationship between designed ideal or intended uses, in investigations of ‘dwelling habits’ in 1940s Sweden. The third prototype works with methods development in user-centered and participatory design, through examples of research into everyday domestic work carried out at the Hemmens forskningsinstitut (Home Research Institute) in the 1940s.
2.	Auricchio, Valentina, et al. (författare) Mapping Design Methods : A Reflection on Design Histories for Contemporary Design Practices 2021 Ingår i: AIS/Design. - Milano. - 2281-7603. ; 8:15, s. 132-146 Tidskriftsartikel (refereegranskat)abstract This article outlines a direction for a research endeavour bringing togetherdesign research and design historical research from a perspective of contem-porary design methods. There is a need to probe and question the historiesand geographies of design’s methods, to explore how they could contribute toexpanding conceptual foundations and develop new ways of designing.We are proposing a programmatic framework that brings design methods tothe attention of design history, and to historicity of design in design prac-tices, by sketching a map, a geography in time, to move toward a deeperunderstanding of the evolution of methods linked to the specific cultures andcontexts from which they emerge. It is a starting point for a wider researchproject, an example bringing design historical and design methodologicalresearch agendas closer to each other. Starting from interviews with Italiandesigners we highlight the need for a deeper and continued investigation intodesign histories of design methods.
3.	Larsen, Henrik Svarrer, 1962- (författare) Tangible participation : engaging designs and design engagements in pedagogical praxes 2015 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract This dissertation contributes to three fields within design research:- Explorations of a design space related to aesthetics of Tangible Interaction, which have led to a set of design imaginations as well as perspectives on salient design qualities.- Views on and a designerly example of knowledge construction related to Research through Design as well as to programmatic approaches to design research.- Rich and reflected examples of how to co-develop design and pedagogy in the field of profound disabilities.Through the programme Tangible Participation the research seeks and expresses alternatives by critical questioning and imaginations of change. Such alternatives are articu¬lated in a set of designs making the possible present.These designs have been part of collaborative question¬ing and imaginations in a long-term engagement with pedagogical praxes. Through this engagement, design and pedagogy have co-developed; and from this, the programme has matured and collaborative ways of criticality has been developed.The matured programme presented in this dissertation entails seven designs built and used in the pedagogical praxes as well as evolved framings able to generatively address a design space: a tangible interaction designer’s palette, a sensuous perspective, a compositional principle and potentials of tangibles for participation.
4.	Dervishaj, Arlind (författare) From Sustainability to Regeneration : a digital framework with BIM and computational design methods 2023 Ingår i: Architecture, Structures and Construction. - : Springer Nature. - 2730-9886 .- 2730-9894. ; 3:3, s. 315-336 Tidskriftsartikel (refereegranskat)abstract Design methods, frameworks, and green building certifications have been developed to create a sustainable built environment. Despite sustainability advancements, urgent action remains necessary due to climate change and the high impact of the built environment. Regenerative Design represents a shift from current practices focused on reducing environmental impacts, as it aims to generate positive effects on both human and natural systems. Although digital design methods are commonly employed in sustainable design practice and research, there is presently no established framework to guide a digital regenerative design process. This study provides an analysis of existing literature on regenerative design and digital design methods and presents a framework based on building information modelling (BIM) methodology and computational design methods, that can be applied to both urban and building design. This framework identifies digital tools and organizes indicators based on the pillars of climate, people, and nature for regenerative design, drawing upon a comprehensive analysis of literature, including standards, sustainability frameworks and research studies. The framework is illustrated through a case study evaluation. The paper also highlights the potential and limitations of digital methods concerning regenerative design and suggests possibilities for future expansion by incorporating additional quantifiable indicators that reflect research developments, to achieve positive outcomes.
5.	Nygaard Ege, Daniel, et al. (författare) VIRTUALLY HOSTED HACKATHONS FOR DESIGN RESEARCH : LESSONS LEARNED FROM THE INTERNATIONAL DESIGN ENGINEERING ANNUAL (IDEA) CHALLENGE 2022 2023 Ingår i: Proceedings of the Design Society. - : Cambridge University Press. ; , s. 3811-3820 Konferensbidrag (refereegranskat)abstract The International Design Engineering Annual (IDEA) Challenge is a virtually hosted hackathon for Engineering Design researchers with aims of: i) generating open access datasets; ii) fostering community between researchers; and, iii) applying great design minds to develop solutions to real design problems. This paper presents the 2022 IDEA challenge and elements of the captured dataset with the aim of providing insights into prototyping behaviours at virtually hosted hackathons, comparing it with the 2021 challenge dataset and providing reflections and learnings from two years of running the challenge. The dataset is shown to provide valuable insights into how designers spend their time at hackathon events and how, why and when prototypes are used during their design processes. The dataset also corroborates the findings from the 2021 dataset, demonstrating the complementarity of physical and sketch prototypes. With this paper, we also invite the wider community to contribute to the IDEA Challenge in future years, either as participants or in using the platform to run their own design studies. © The Author(s), 2023. Published by Cambridge University Press.
6.	Rosenbak, Søren, 1987- (författare) The science of imagining solutions : design becoming conscious of itself through design 2018 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract This dissertation addresses a paradox in design: we currently live in a day and age that is fundamentally conditioned by artifice on all scales, and principled by a deep sense of contingency and possibility. In this world, anything could always be something else. Design is a discipline uniquely capable of configuring artifice, instantiating it into a stream of different design artefacts that we are able to interact with. Beyond the comfort, joy and meaning these artefacts might bring to our lives, design in this way uniquely captures and shows forth possibility, not only on the scale of individual products, services etc., but also on the level of the artificial, in other words speaking directly to our contemporary human existence, to the sense of possibility as such.We can say that—distinct from other disciplines—design contributes knowledge through this very practice of possibilizing. Strangely, design displays a curious lack of consciousness of itself with respect to this unique capability, preferring to instead put its growing array of design methods and design thinking tool kits to use in the latest problem areas, thereby implicitly affirming the lack of any distinct knowledge contribution at its core. With a commitment to reverse this dynamic by exploring this very capability, this dissertation concerns the prototyping of a pataphysically infused design practice, as a way of making design more conscious of itself.Pataphysics, articulated by the poet Alfred Jarry at the turn of the 20th century Paris, and popularly referred to as ‘the science of imaginary solutions’, is a notoriously slippery substance, successfully eluding academic autopsy, let alone categorisation or definition. While critical design practice has extensively adopted methods and tactics from the avant-garde movements following and drawing on pataphysics—such as dadaism, surrealism and situationism—this dissertation seeks to rectify this incomplete lineage, by bringing out the timeless pataphysical impulse in design. This process of bringing out the pataphysical impulse, is what I discuss as an ‘infusion’ of pataphysics into my research practice.The research practice consists of a series of five different projects, carried out in the methodological tradition of research through design, where I explore pataphysics as a possible conceptual foundation for design. In each of the projects, design’s capability to possibilize, is brought out just beyond the edge of design’s disciplinary domain, making a self-conscious foray into contemporary problem areas: printmaking (Workcentre 7120), global mass surveillance (Meta(data) morphosis), smart cities (Designing for a City of Lies), future making (FutureDomestic Landscape), and design discourse building (Design Research Failures).By playing out across the material and immaterial, fluidly and consciously transgressing the actual and the imaginary in this range of different contexts, the dissertation shows what a pataphysically infused design practice is: a design that not only views its artefacts, experiments, and projects, but also itself, along with the world in which it operates, as imaginary solutions.In addition to the practice itself, one of the imaginary solutions produced through the research practice is the science of imagining solutions. This is a theory describing the way in which a design conscious of itself is uniquely able to show forth possibility to the world and to knowledge as large. It discusses the study of this capability as an ‘epiphenomenology of design’, and offers ‘quantum poetics’ as a nascent vocabulary for describing the aesthetics of this capability. Further, it offers a reconception of criticality in design away from a historical perspective, arguing that a design consciously engaging with the edge of its own domain, understood as the space where it can comfortably possibilize, is a critical design practice.Finally, this dissertation does not only concern design itself as a discipline, but with its focus on design’s unique capability to show forth possibility as such, more broadly speaks to a world that currently sees the sense of possibility being curtailed in numerous ways.
7.	Rosenbak, Søren (författare) A Closer Look at the UrbanIxD Summer School Design Fictions through the Meta-Lens of Agonism and Dissensus 2014 Ingår i: The UrbanIxD Symposium Proceedings. - : UrbanIxD. - 9780956216939 ; , s. 1-6 Konferensbidrag (refereegranskat)abstract By analyzing the collective output of interweaving design fictions from the UrbanIxD summer school, this paper explores the qualities in the creative process as well as the output through the meta-lens of agonism and dissensus. The understanding of these qualities and their interrelations is argued to present an opportunity for advancing urban interaction design as a hybrid discipline and design fiction as a design format.
8.	Herlitz, Alexandra, 1978, et al. (författare) Konsthistoriepodden, avsnitt 20: Gustav Klimt, Adele Bloch-Bauer I 2021 Ingår i: Konsthistoriepodden. - : Acast. ; :20 Annan publikation (övrigt vetenskapligt/konstnärligt)abstract Vi ska prata om Gustav Klimts porträtt ”Adele Bloch-Bauer I” från 1907, som även kallas för “Goldene Adele”, alltså “gyllene Adele” på tyska och “The Lady in Gold” eller “The Woman in Gold” på engelska. Verket fanns länge på Österreichische Galerie Belvedere i Wien, men är nuförtiden en del av samlingarna på Neue Galerie i New York. Porträttet bjuder på en mängd fängslande historier som sträcker sig från den tiden då det skapades fram till vår egen tid. Det är en målning som exproprierades av nazisterna och som inte skulle lämnas tillbaka till den rättmätiga ägaren förrän en kvinna i Los Angeles stämde den österrikiska staten och det blev ett politiskt ärende. Det är ett porträtt som nuförtiden anses vara ett konstverk som symboliserar staden Wien och dess guldålder vid förra sekelskiftet, “Wiener Moderne”, samtidigt som det har blivit ett nationell ikon för den kulturella identiteten av hela landet Österrike. Detta blev uppenbart i och med den mediala uppmärksamheten, när man med en stor affischkampanj tog farväl av verket då det lämnade Österrike. Självklart kommer vi också prata om konstnären bakom verket och vad som kan ha inspirerat honom till den karaktäristiska stilen han utvecklade under sin ”gyllene period”. Vi ska inte heller undanhålla Klimts privatliv och att han skapade sig en persona som ”womanizer” i reformdräkt. Ryktena spred sig att han var naken under sin vida rock och alltid hade modeller i sin ateljé som han strulade med.
9.	Popova, Kristina, et al. (författare) Vulnerability as an ethical stance in soma design processes 2022 Ingår i: CHI '22. - New York : Association for Computing Machinery (ACM). - 9781450391573 ; , s. 1-13 Konferensbidrag (refereegranskat)abstract We articulate vulnerability as an ethical stance in soma design processes and discuss the conditions of its emergence. We argue that purposeful vulnerability - an act of taking risk, exposing oneself, and resigning part of one's autonomy - is a necessary although often neglected part of design, and specifically soma design, which builds on felt experience and stimulates designers to engage with the non-habitual by challenging norms, habitual movements, and social interactions. With the help of ethnography, video analysis, and micro-phenomenological interviews, we document an early design exploration around drones, describing how vulnerability is accomplished in collaboration between members of the design team and the design materials. We (1) define vulnerability as an active ethical stance; (2) make vulnerability visible as a necessary but often neglected part of an exploratory design process; and (3) discuss the conditions of its emergence, demonstrating the importance of deliberating ethics within the design process.
10.	Lindborg, PerMagnus, 1968- (författare) Sound Art Singapore : Conversation with Pete Kellock, Zul Mahmod and Mark Wong 2014 Ingår i: eContact!. - 1910-4650. ; 16:2 Tidskriftsartikel (refereegranskat)abstract This paper is a “constructed multilogue” oriented around a set of questions about sound art in Singapore. I have lived here since 2007 and felt that a “community report” should aim to probe recent history deeper than what I could possibly do on my own, in order to give a rich perspective of what is happening here today. I was very happy when Pete Kellock, Zul Mahmod and Mark Wong agreed to be interviewed. Each has a long-time involvement in the Singapore sound scene, in a different capacity. Pete is an electroacoustic music composer who has worked in research and entrepreneurship, and is a founder of muvee technologies. Zul is a multimedia artist and performer who has developed a rich personal expression, mixing sonic electronics, sculpture and robotics in playful ways. Mark is a writer and sound artist who has followed Singapore’s experimental scenes closely since the 1990s.I sent the three of them a letter containing a range of observations I had made (which may or may not be entirely accurate) and questions (admittedly thorny and intended to provoke), including the following:The geographical location and Singapore’s historic reason-to-be as a trading post has instilled a sense of ephemerality — people come and go, ideas and traditions too — as well as a need to develop contacts with the exterior. The arts scene in general seems to be largely a reflection of whatever the current trading priorities demand. In what way does the current local sound art reflect the larger forces within Singaporean society? Since art is mostly orally traded, how are its traditions nurtured and developed?Around 2010, the Government seems to have indicated a new task for cultural workers, including sound artists and musicians: to define — create or discover, stitch-up or steal — a “Singapore identity”. The Singapore Art Festival shut down two years while the think tanks were brewing. Will this funnel taxpayer money and (more importantly) peoples’ attention towards folkloristic or museal music, rather than to radical and/or intellectual sound art? At the same time, there is considerable commercial pressure to subsume music / sound listening into an experiential, multimodal, game-like and socially mediated lifestyle product. Are commercialization and identity-seeking two sides of the same coin — one side inflation-prone, and the other a possible counterfeit? Is there room for a “pure listening experience”, for example to electroacoustic music? Or is the future of sound art ineluctably intertwined with sculptural and visual elements?Different kinds of creative people involved in sound art are entrepreneurs, programmers, academics, educators, curators and journalists. Which institutions nurture talent and bring audiences to meet new experiences? Where are the hothouses for developing ideas, craft, artistry, innovation and business?The interviews, loosely structured around these themes, were made in January and February 2014. Our conversations often took unexpected turns (mostly for the better). I diligently transcribed the recordings, and each interviewee made corrections and additions, before we gently nudged spoken language a little closer to prose. I then brought out a pair of big scissors and a large pot of coffee, and made a cut-out collage, weaving the texts into the multilogue that follows. The idea has been to create an illusion of four people conversing with each other under the same roof. Deceit or not, at the very least, we all live and work on the same small island, somewhere in the deep southeast. I hope you will enjoy reading Sound Art Singapore.
11.	Sahin-Haglund, Semra, Doktorand, 1986-, et al. (författare) Universal Design and Equitable Healthcare for Women – an overview of current literature and prospects 2024 Ingår i: Design for All, India. - New Delhi : Design for All Institute of India. - 2582-8304. ; 19:6, s. 70-90 Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract This paper presents an overview of the literature on universal design for equitable healthcare. The central inquiry in the current paper is a critical design-for-all challenge: how might universal design contribute to providing equitable healthcare for women suffering from pelvic floor injuries during birth? This study delves into some of the explicit and implicit needs of this deprioritized minority patient group and what the literature states in terms of how design might contribute to fostering patient engagement in their healthcare journey from pregnancy to after-birth care. The findings from the literature overview offer an understanding of the domain, elucidating some core concepts, and delineating existing and divergent scholarly perspectives. By exploring the intersection of universal design and healthcare, this paper contributes to the advancement of the design of equitable healthcare solutions for women.
12.	Zetterlund, Christina (författare) Att göra samhällsengagemang 2015 Ingår i: Konsthantverk i Sverige del 1. - Tumba : Mångkulturellt centrum. - 9789186429409 ; , s. 115-121 Bokkapitel (övrigt vetenskapligt/konstnärligt)
13.	Christoforidou, Despina, et al. (författare) Good Taste vs Good Design : A tug of war in the light of Bling 2012 Ingår i: The Design Journal. - : Berg Publishers. - 1460-6925 .- 1756-3062. ; 15:2, s. 185-202 Tidskriftsartikel (refereegranskat)abstract Some products are considered ‘bad taste’ and therefore of less value. However, if we focus on what a product does with and for its users, rather than on what a product is, we can disregard superficial statements based on taste and instead get a better understanding of good design. This reasoning is based on the relationship between ‘good taste’ and ‘good design’, terms which are sometimes confused and treated as synonyms. In this article, we explore the tension between ‘good taste’ and ‘good design’ and how designers can use that tension in the design process. We consider ‘good taste’ to be rooted in a subjective context of inherent values, whereas ‘good design’ arises from competence and is based on professional skill. In this paper, ‘bad taste’ is exemplified by products associated with the lifestyles of rap artists and the subculture of bling. Our experience is that bling products often generate strong feelings and opinions and are dismissed by many as ‘bad taste’ because their appearance is incompatible with what is perceived to be ‘good design’. In the context of a course on trends, industrial design students were given the task of exploring how bling products are perceived in everyday life. Their views on bling were compatible with how bling is presented in the media. The students perceived bling products to be far from what is regarded as ‘good taste’ within their own culture. Consequently, they were unable to regard bling as a source of inspiration in their design work. However, when the students began to consider what the product does rather than what it is, they were able to use bling as a source of creativity. What other design opportunities are overlooked by regarding products as being in ‘bad taste’?
14.	Konsthantverk i Sverige, del 1 2015 Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract Konsthantverk i Sverige del 1 samlar 18 författare. Boken kommer ur ett gemensamt intresse att förändra och vidga en konventionell historieskrivning om konsthantverk, bortom traditionella materialuppdelningar och nationella förståelser. Det vi skriver om kan ha kallats slöjd, konst, design, pyssel, konsthantverk, formgivning, brukskonst, hantverk och hemslöjd. Historia betraktas här som något pågående, något som vi gör. Det är ingen neutral aktivitet utan den är platsspecifik. I Konsthantverk i Sverige del 1 skildrar författarna från sina perspektiv en berättelse om materialitet och görande i Sverige från sent 1800-tal och fram till i dag. Boken skall inte ses som Historien med stort h utan snarare som de första stegen i en diskussion om historia, materialitet och görande.Med texter av Zandra Ahl, Christian Björk, Otto von Busch, Päivi Ernkvist, Kakan Hermansson, Elina Holmgren, Charlotte Hyltén-Cavallius, Frida Hållander, Love Jönsson, Mahmoud Keshavarz, Gunilla Lundahl, Helena Mattsson, Anneli Palmsköld, Johanna Rosenqvist, Miro Sazdic, Rosa Taikon, Jorunn Veiteberg, Christina Zetterlund
15.	Arvidsson, Anna-Karin (författare) Blända Powerplay : Att dela makt och ansvar 2018 Ingår i: Konstkritik och konstpedagogik – hållbara framtidsperspektiv. Konferensbidrag (refereegranskat)abstract Som konstnär och lektor i design vid Linnéuniversitetet är jag initiativtagare till konstprojektet Blända Power Play. I Blända Power utforskade jag, 8 konst-och designstudenter samt en konstpedagog/kurator Växjös ishockeyarena utifrån perspektivet makt och jämställdhet. Vår gemensamma kartläggning ledde till en iscensättning där allmänheten bjöds in att inta arenan den 17 december 2016, efter de nya förutsättningarna gruppen skapat. De runt 200 personer som besökte arenan fick ta på sig röda strumpor och ge sig ut på isen för att interagera med andra besökare och en installation av ljud, ljus och föremål. Metodiken i projektet har haft som ambition att sudda ut och kasta om ursprungliga roller för att bilda en mer jämställd situation. Processen har haft en framskjuten roll och allas kompetens och olika erfarenhethar varit viktig. Situationen skiljer sig på flera plan från den man befinner sig i som undervisande lärare på ett universitet. På universitetet är man hänvisad till olika incitament så som kursplaner och betygsättning vilket i sig skapar en struktur som styr process och resultat. Projektet har i sin form genererat många frågeställningar och intressanta aspekter som diskuteras och härleds till tendensen; The educational turn. Blända Power Play är också en del av ett större projekt som haft ett tydligt fokus på hur olika konstnärliga processer kan påverka och förändra frågor kring jämställdhet nu och framöver.
16.	Auricchio, Valentina, et al. (författare) Experiential ways of mapping : revisiting the Desktop Walkthrough 2022 Ingår i: Engaging spaces. - Milano : FrancoAngeli. - 9788835141747 ; , s. 131-158 Bokkapitel (refereegranskat)abstract Design has formed as a professional field, over time, in relation to social, political, cultural, and industrial transformations. In this process, the ways that designing itself is carried out have responded to these changes as well. There is not one singular way of doing design. The varieties of tools, methods, materials, and situations that design now engages with spans from practices that are well-established since more than a century, to emerging and experimental endeavours that contribute with new approaches and methods. However, attention to the historical origins of design methods is seldom present in contemporary design practice. Instead, methods and tools seem almost timeless, if not neutral. Design’s ways of working are generally not framed in relation to the diverse historical contexts, constellations, and cultures in which they once were formed and introduced. Embedded in the methods applied in design today, however, we can still find traces of the historical situations, concerns, and ideas that they once were made to respond to. An awareness of these embedded historical aspects of designing can bring forth perspectives that support developing what we do in design, and how we relate to the methods that we use. The point of attempting to map a certain design method in relation to its history, therefore, is here not intended as simply a matter of tracing a linear historical genealogy of from where and how this method has come to enter design practice. Through an attention to the historicity of designing, we wish to point to a complex cartography of multi-level relationships between different design practices, diverse conceptual understandings of design, and various trajectories that designing could take towards the future.In this chapter we revisit a specific method used within design projects that deal with integrating spatial and service design solutions, the desktop walkthrough. Through exploring its possible connections to and relationships with previous experiential ways of mapping spatial and environmental interactions, we wish to move beyond discussing what such a method instrumentally “does” and highlight some of the embedded historical and conceptual understandings it brings into designing.
17.	Halldórsson, Halldór, 1971-, et al. (författare) How did you do that? The value of externalising knowledge in graphic design 2021 Ingår i: Journal of Design Research. - : InderScience Publishers. - 1748-3050 .- 1569-1551. ; 19:1/2/3, s. 31-45 Tidskriftsartikel (refereegranskat)abstract This paper aims to study graphic designers' views on knowledge, considering the challenges faced by the field today. Expressing thoughts about what is needed for a graphic designer to build professional confidence, interview respondents mentioned topics like historical knowledge as well as feedback and presentation skills. To facilitate the navigation of the ever-changing graphic design landscape and to build a solid professional identity, externalising tacit knowledge is a key issue. The study finds that graphic designers mainly talk about their design work when presenting to clients, primarily with the aim of convincing them to accept new proposals. A case can therefore be made for the necessity of developing graphic designers' skills when it comes to explicating design processes with the aim of making it clear to non-designers what it actually is that a graphic designer knows and does, as well as building a stronger theoretical foundation for the profession.
18.	Jung, Heekyoung, et al. (författare) Metaphors, materialities, and affordances : hybrid morphologies in the design of interactive artifacts 2017 Ingår i: Design Studies. - Oxford : Elsevier. - 0142-694X .- 1872-6909. ; 53, s. 24-46 Tidskriftsartikel (refereegranskat)abstract As materiality of interactive artifacts is diversified with integrated physical and digital materials, metaphoric design approaches in Human–Computer Interaction (HCI) go beyond resembling the appearance of physical objects, exploring novel materials and forms of interactive artifacts. The hybrid materialities and forms of artifacts influence how interactivity is perceived, reframing the concept of affordances according to its evolving relationship to metaphors and materialities. By conceptualizing interactive forms in their surface, behavioral and systemic aspects, we examine multifaceted roles of metaphors in HCI from concealing and revealing a formal system to expanding and reifying its meaning; and propose a morphologic perspective on affordances as an invitation for making variations of interactive forms by compositing multiple design resources.
19.	Kuenen, Stoffel, 1975- (författare) Aesthetics of being together 2018 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract Design deals with matters of aesthetics. Historically, aesthetics in industrial design refers to the designed artifact: aesthetics of objects. When designed artifacts include digital technologies, aesthetics in design refers to what happens between people and artifacts as well: aesthetics of interaction. Now that these artifacts increasingly mediate our social lives, what aesthetics in design quite obviously also refers to, is what happens between people.This dissertation proposes an aesthetic of being together, as a necessary addition to current notions of aesthetics in interaction design practice, when it engages with digital systems that are part of people’s social life. It does not answer the question what Aesthetics is in general, instead it examines the work that particular notions of aesthetics do in interaction design practice.The practice based design research assembled in this dissertation starts from current notions of aesthetics in interaction design to explore the social experiences that mediated interactions between groups of people offer. What I found, through designing digital systems, is that current notions of aesthetics in interaction design are not conducive to addressing the kind of social experience people have with such systems. On the contrary, current notions actually inhibit interaction design to approach any experiences that cannot in the first place be conceived of as useful in terms of instrumental task performance. Yet, being social is hardly like performing a task or using other people in that sense.An aesthetic of being together is a proposition of a different fundament for interaction design practice. In addition to referring to properties of things and qualities of interacting with things, it refers to the kind of relations that come to expression between people interacting with each other with these things. Consequently, interaction design needs to resolve basic issues in what it considers and brings to expression, i.e. people’s relations with things and people at the same time. This requires (re-) considering what the designed thing is, what interaction is about and what the role of design is in bringing those to expression.My work contributes to the field of interaction design research an example of how, through practice, fundamental issues can be addressed. By orienting one set of concepts, ways of working and objectives into a different design situation, tensions built up that exposed foundational issues with that frame of reference, while pointing to the different fundaments needed to enable design practice to engage such situations.The results of the practical experimentation led to the articulation of a series of structural mechanisms of mediating systems. These mechanisms provide material handles for interaction designers on how experiences of being present with others take shape. They configure the relations of artifacts and people in different ways than current notions of aesthetics afford. This theoretical investigation is then synthesised in the form of a new logic of expression for interaction design practice: an aesthetic of being together.
20.	Kular, Onkar, et al. (författare) Bass Cultures: How Low Can You Go! 2023 Ingår i: Falkenbergs teater, Smedjan & Art Inside Out, Halland. Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this two day sonic festival we were supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event hosted film screenings, workshops, talks, commissioned essays and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The festival was organised by Right to design which is a practice-based platform run by Onkar Kular and Henric Benesch and through their artist-in-residency with Art Inside Out, Halland, Sweden.
21.	Kular, Onkar, et al. (författare) Bass cultures: How Low Can You Go! 2023 Ingår i: Art Inside Out Journal: Den allmänna designbyrån. ; :16, s. 16-29 Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract Through the making of sound systems, bass cultures have been important in the development of underground musical genres from Reggae, Dub and Ska to Hip-Hop, Techno, Jungle and many more. For this event we are supported by musicians, DJs, and makers that in their own way have contributed and played an important role in the development of bass culture, through the making of sound systems, the organising of underground music and club culture in Sweden and beyond. Over two days the event will host film screenings, workshops, talks and DJ sets to showcase bass and sound system cultures, their creativity, history, and relevance today. The following text provides and overview of the programme and complimentary texts introduce and frame the individual events.
22.	lambert, matt (författare) Settings & Findings N.14 with Melissa Cameron 2023 Ingår i: Lost In Jewellery Magazine. Tidskriftsartikel (populärvet., debatt m.m.)
23.	Perers, Maria, 1965- (författare) Inside the Ideal Home : The Changing Values of Apartment Living and the Promotion of Consumption in Sweden, 1950-1970 2020 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract This dissertation explores the image of the ideal home in Sweden, an idea closely bound to the spatial dynamics of building norms and the outfitting of the domestic household, from the 1950s through the 1960s. By examining official, commercial, and consumer-cooperative ideals of housing and home, I attempt to understand and analyze correlations between various visions of the ideal apartment home and the social, political, economic, and cultural contexts in which they were conceived during the heyday of the Swedish welfare state. This subject has been extensively researched for the first years of the phenomenon, the 1930s and 1940s, but is relatively ignored for the years following World War II, when the new housing policy was formulated and the Record Years began. The study ends in 1970, when the construction of apartments and the standard of living peaked, followed by a focus on building single-family houses and the questioning of building norms. I argue that the values and visions of an ideal home were expressed in the rhetoric and representations of state, consumer-cooperative, and commercial publications. While scholars have studied individual aspects of this context, I maintain that the interrelationship between them produced a widely circulated vision of domesticity between 1950 and 1970. I highlight how commercial actors—primarily Ikea and the interior design magazine Allt i Hemmet (Everything in the Home)—interacted with state institutions in creating and promoting a discourse of the ideal home.
24.	The Right to design 2024 Ingår i: Urgent Pedagogies Issue #9. Annan publikation (övrigt vetenskapligt/konstnärligt)abstract In this issue of Urgent Pedagogies, The Right to design, a practice-based research platform run by Onkar Kular and Henric Benesch, is presented. The platform has the dual aim of understanding the entangled historic and present relationship between design and rights and to claim ‘design’ itself as a special kind of right that is accessible beyond class background, gender, ethnicity, age, and disability. The platform currently serves as the base for activities such as assemblies, (mis)readings, broadcasting and educational initiatives with partners inside and outside academia. Contributors include Onkar Kular, Henric Benesch, Arjun Appadurai, Arturo Escobar and Caleb Femi.
25.	Abdipour, Morteza, 1977- (författare) Arrangement Design Studies : the introduction of the digital wall in domestic environments 2021 Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract This research focuses on the emergence of 'digital walls' that can project images onto almost all or even the entirety of interior (and perhaps exterior) walls, and what implications this might have for how we arrange our rooms. It demonstrates the arrangement, i.e., the way that domestic products are arranged physically, of rooms changes in the domestic environment in a complex scenario when using large screens. Due to the fast-growing demand for large screens, this product could potentially be available to be used by people in their home environments; however, it does not yet exist in reality at this scale. Constructing large screens can be carried out using different production methods. Here, this concept is called the digital wall, a very thin wall-sized interactive screen. The characteristics of the digital wall will vary to be able to create different scenarios. One such scenario is a space in the home where the surface of the wall is covered with screens, which allows multiple possibilities to experience and interact with digital content. In this research, the social gathering space of homes, nowadays called the living room, is considered as a highly relevant space for installing the digital wall. In this space, the conceptual framework outlines the basic elements of the research and demonstrates the relationships between people’s interactions with the digital wall and domestic products in the domestic environment. I show two examples from design history to understand how arrangement changes impact the home environment: the transformation of the parlor to the living room, and entry of the television into the living room. These two examples are focused on the place in the home where people gather for socializing. The discussion of these examples led to the elaboration of the relationships between the elements in the conceptual framework.I explored relevant design research methodologies to bring this future scenario into the present to understand the relationships between people and the digital wall. I applied research through design and the constructive design research approaches to frame the design research methodology. In this thesis, I set up seven series of design studies in two cluster groups: Supportive studies and Main studies. All of the design studies were conducted in the Design Research Lab, the actual space for carrying out the design experiments, prototyping the digital wall, and the setting of the experiments for user participation. The Lab was fully equipped with relevant technology and allowed me to use multiple methods to collect data while people were experiencing the design study sessions. The Lab was useful as a platform to understand user experiences, barriers for interactions as well as people's experiences in a simulated space of a domestic environment. The main contribution of this research is to understand the forms of arrangement changes when people use the digital wall in homes. The research demonstrates two significant implications that are seen in two forms of arrangements: tangible arrangement and imperceptible arrangement. These findings are useful for both designers and users of the elements of domestic contexts and the relations that can be shaped by the presence of a digital wall in home environments. This understanding may provide design guidelines in future scenarios in which the digital wall is used in homes. The findings are also beneficial for designing the domestic environment, improving the arrangement of space, and raising the requirements for designing domestic products.
26.	Göransdotter, Maria, et al. (författare) Design Methods and Critical Historiography : An Example from Swedish User-Centered Design 2018 Ingår i: Design Issues. - : MIT Press. - 0747-9360 .- 1531-4790. ; 34:2, s. 20-30 Tidskriftsartikel (refereegranskat)abstract Design history tends to focus on designers and design outcomes, primarily objects. In contrast, historical accounts and analyses of designing are rare. This paper argues for the need of design histories that also address the origins of our design methods with respect to contexts, values and ideas in order to understand what these actually bring to the contemporary design situation. To illustrate what such a historical approach to design methods might bring, we present a study on the origins of Scandinavian user-centered design. In particular, we discuss the Home Research Institute's (HFI) development of methods for investigating and reforming everyday life and domestic work in mid-1940s Sweden.
27.	Göransdotter, Maria, 1968- (författare) Designing together : on histories of Scandinavian user-centred design 2022 Ingår i: Nordic design cultures in transformation, 1960–1980. - New York : Routledge. - 9781032290423 - 9781032313511 - 9781003309321 ; , s. 157-177 Bokkapitel (refereegranskat)abstract This chapter focuses on the emergence of user-centred and participatory Scandinavian design ideas and practices in 1970s Sweden. Many of the concepts and methods still highly present – supported as well as contested – in contemporary design stem from the turn towards collaborative designing through the late 1960s and early 1990s. However, in Nordic design history, these radical changes in design practice have been more or less invisible. This chapter argues that a shift in perspective is needed in design history in order to address this design historical gap, while also highlighting the historicity embedded in contemporary practices of design. Shifting the design historical outlook from products to practices calls other Scandinavian design histories than the usual to the fore, suggesting narratives attentive to how and why designing itself has been re-designed. The two examples of transitional design histories given here aim to open up conceptual spaces necessary for re-thinking what design’s histories could be, also in relation to what designing may be becoming. The first example highlights how ergonomic user-centred design methods expanded the role of designers and designing in relation to ideas of use and users, linked to Swedish disability legislation and research funding. The second example discusses how participatory design was called into being as challenges of designers’ and users’ co-development of computer-based work tools expanded ideas of what design was, how and with whom designing took place, and with what kinds of materials. These transitional design histories aim to expand the views of what is discerned as relevant histories of design, while simultaneously calling attention to the historicity embedded in contemporary and emerging design methods and ideas. Following the traces and trajectories of changing design practices, histories of designing contribute to unpacking concepts central to expanding understandings of what design has been, as well as of what it could become.
28.	Lorentzen, Lena, 1962-, et al. (författare) Bringing human diversity into design processes through empathic modelling 2018 Ingår i: Transforming our World Through Design, Diversity and Education - Proceedings of Universal Design and Higher Education in Transformation Congress 2018. - Dublin : IOS Press. - 0926-9630 .- 1879-8365. - 9781614999225 - 9781614999232 ; 256, s. 128-136 Konferensbidrag (refereegranskat)abstract Most products are developed while adapting to requirements from industrial production and logistics. To break that trend and design for people, we suggest focusing on those who put the strongest demands on the final solution. They cannot compensate for bad design solutions and are thereby, like sniffing dogs, guiding designers to meet peoples’ needs. We always use a combination of empathic modelling and involvement of people with reduced functions to find new solutions to the problems a product is supposed to solve. We have used this method in the teaching of Universal design at different universities for more than ten years. The students find the exercises to be a very entertaining eye-opener leading to development of empathy for human diversity all while the level of innovation in their design work increase. To constantly make design students understand barriers that can occur due to bad design solutions we utilize a toolbox simulating different kinds of functional ability. It also includes a handbook that describes workshops, evaluation methods and design processes that can be performed using the tools. The goal is to guide efficient, innovative and inclusive design processes. By simulating diversity among people, the designer can interpret the needs of different users and use that as a starting point and for evaluating design solutions during the creative process.
29.	Torretta, Nicholas B., 1988- (författare) Moving decolonially in design for sustainabilities : spaces, rhythms, rituals, celebrations, conflicts 2022 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract As design attempts to tackle environmental and social issues, it has found itself intertwined with and bound to an oppressive global paradigm that has created the problems in the first place. Consequently, the effort of disentangling design from its current paradigm has been gaining attention under the emerging focus of decolonising design (Mareis and Paim, 2020; Tlostanova, 2017) and design for pluriversality (Escobar, 2018; Noel, 2020). These efforts have argued for allowing various ways of defining and doing design to coexist as a way forward. However, if on one side we have design intertwined with oppressive global structures, and on the other side we have the desire to allow the co-existence of pluriverses of designing, we are left with a gap in between. What are possible openings to move from contemporary design to pluriverses of designing? This dissertation tackles this question to explore openings to move towards pluriverses of designing. Building on work done by scholars such as Escobar (2018a, 2018b, 2015), Noel (2020) and Vázquez (2017), this design research program seeks to contribute to decolonising design by providing examples and orientation points to move towards pluriversality. To do so, it uses a practice-based design research approach where practice and moving are framed by the Afro-Brazilian decolonial martial art of Capoeira, which focuses on finding openings to escape from colonial oppression. Capoeira allows us to look at how contemporary design moves in order to identify its flaws and use these as openings towards other ways of designing.This dissertation moves through several levels of abstraction, taking an up-close look at the entanglement of design and oppressive global structures as a starting point and then moving down in scale through the efforts of Design for Sustainability, decolonising design and design for pluriversality. Reaching the level of focus on situated design action, this work presents a collection of six collaborative movements in the form of academic publications. Drawing on these movements, the work outlines possible aspects for fomenting decolonial design stances to move towards pluriversality and traces the possible implications for doing, writing, teaching and understanding design. The concepts of awarenessing, pluriversal directionality and bringing personal stances into defining designing are proposed as orientation points to move towards pluriverses of design.
30.	Westerlund, Bo, 1951- (författare) Design Space Exploration : co-operative creation of proposals for desired interactions with future artefacts 2009 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract This thesis critically reflects on co-operative design workshops that I have conducted. The basic method used in these workshops draws on the participants’ embodied knowing. In the over twenty workshops that are analysed here a wide range of participants have been involved: family members, employees, persons with disabilities, and other stakeholders like manufacturers, service providers and civil servants. The topics have varied, but they have mostly been related to ICT products and services. Most of the workshops were conducted within various research projects. In order to analyse this diverse range of workshops I use several different theories and concepts. I articulate and analyse the design aspects of the activities by using established design theories and concepts. The conceptual tool design space, meaning all possible design proposals, is used for understanding the design process. I also use theories from other fields in order to analyse three different aspects of the workshops: the participants’ activities, the designers’ responsibility, and the process. To analyse the way that the participants co-operatively create knowledge, theories of interpersonal actions are used; to analyse the work done by the designer/conductor, theories of frames are used; and to analyse the process, the theory of actualisation and realisation is used. During the workshops the participants co-operatively make scenarios, props and video prototypes in order to create proposals for desired interactions with future artefacts. Contributions include accounts of critical situations during the workshops and suggested strategies for dealing with them. Some implications are relevant to the design field in general, for example the importance of a process where the participants trust each other, learn from each other and work effectively with difficult issues by creating multiple proposals that facilitate understanding of the design space. I also offer arguments about why it is better to see activities, props and prototypes as mainly constitutive rather than as only representative. Video prototypes on DVD and seven publications are included in the thesis.
31.	Crafting Cultural Heritage 2014 Proceedings (redaktörskap) (refereegranskat)abstract The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research within humanities. In this publication we discuss theories and methods of crafting that might benefit cultural heritage studies approach to making, from the artistic, historical, or aesthetical point of view. We deal with discussions on questions such as: What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making?
32.	Keshavarz, Mahmoud, 1985- (författare) Design-Politics : An Inquiry into Passports, Camps and Borders 2016 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract This thesis is an interrogation of the contemporary politics of movement and more specifically, migration politics from the perspective of the agency of design and designing. At the core of this thesis lies a series of arguments which invite design researchers and migration scholars to rethink the ways they work with their practices: that states, in order to make effective their abstract notions of borders, nations, citizenship, legal protection and rights are in dire need of what this thesis coins as material articulations. The way these notions are presented to us is seldom associated with artefacts and artefactual relations. It is of importance therefore, as this thesis argues, to speak of such material articulations as acts of designing. To examine the politics of movement and migration politics from such a perspective, this thesis focuses on practices that shape specific material articulations such as passports, camps and borders. At the same time, it discusses the practices that emerge from these articulations. By doing this, it follows the politics that shape these seemingly mundane artefacts and relations as well as the politics that emerge from them. Consequently, it argues that design and politics cannot be discussed and worked on as two separate fields of knowledge but rather as interconnected fields, as design-politics. This thesis unpacks this claim by focusing specifically on the lived experiences and struggles of asylum seekers, refugees and undocumented migrants as well as rearticulating some of the artefacts and artefactual relations involved in the politics of movement and migration.
33.	Kular, Onkar, et al. (författare) Allmänningen/The Common Room 2023 Annan publikation (övrigt vetenskapligt/konstnärligt)abstract Allmänningen/The Common Room was a Vinnova-funded project at the Faculty of Fine, Applied and Performing Arts, Gothenburg University (2018–2021). The aim of the project was to begin to develop and pilot a new public model for collaboration and usership between the university and society. Referring directly to the Swedish commons concept of Allmänningen and illustrated through terms such as Allmän (general), Allemansrätten (right of public access), Allmänheten (the general public), the commons can be viewed as not only a right to public access, but a relation between societal institutions and the individual citizen. A relation which within the context of Sweden, could and should naturally be applied and extended to the publicly funded university as a common societal resource. Although there are differences between the natural commons studied by influential figures such as Elinor Ostrom and the university as ‘commons’, the analogy stresses the relational dimensions between viable and sustainable institutions, and the public trust in the commons & its resources. Through a series of residencies in 2021, Allmänningen (The Common Room) began by inviting practitioners, collectives and organisations to help think through questions of what kind of common resources are produced within the university? How can these resources be developed as public commons? In what sense are these resources enclosed, vulnerable and at risk of exploitation? And what is needed today to produce a socially sustainable institution? By addressing these questions, the residencies through scholarship and practice piloted and began to suggest alternative modes and models for university collaboration and usership. Allmänningen/The Common Room prototyped residencies with Sandi Hilal (DAAR), Post Workers Theatre, Kulturhuset Blå Stället and Åbäke. Through four posters with edited interviews, transcriptions and commissioned texts the overall publication provides a comprehensive overview of the residency outputs and intentions.
34.	Kular, Onkar (författare) Luleå Biennial 2022, Craft & Art - Learning Room 2022 Ingår i: Galleri Syster, IASPIS - Stockholm, Rajalla - På Gränsen, European Festival of the Night - Korpilombolo, Havremagasinet Länskonsthall. Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract Luleå Biennial 2022, Craft & Art, hosted by Konstfrämjandet (The Peoples Movement for Art Promotion) Norrbotten, took place place throughout the region from October 15, 2022 – January 15, 2023. The artistic directors for the 2022 biennale, Onkar Kular and Christina Zetterlund expanded its contemporary art remit to include crafts of many types, from everyday handicraft to Sami duodji and aimed to sustainably represent the richness of creative activity of Norrbotten and beyond. Recognising the expansive geography of Norrbotten, the Learning Room (extensive three month) programme of workshops, making circles, seminars, performances and talks allowed guests to access the biennial digitally through the biennial website. As well as scheduled film screenings, events through the Learning Room included making circles with Anna-Stina Svakko at Galleri Syster and Tekeste Solomon Gebremariam at the European Festival of the Night, Weaving circles led by textile artist Ida Isak Westerberg and Norrbotten’s Crafts Advisor, a workshop for youth organised in collaboration with KUBN in Haparanda, The Knowledge House for Craft hosted with Garland Magazine and Weaving Kiosk by Rosa Tolnov Clausen in collaboration with Haparanda municipality’s cultural department, Aine Art Museum and Resurscentrum för konst Norrbotten. The Learning Room had a physical stage at Galleri Syster and Havremagasinet Länskonsthall Boden for in-person events and the live broadcasting of a selection of activities from the biennial programme. Throughout the biennial the Learning Room screened loaned and commissioned films by filmmaker Karl-Oskar Gustafsson, the first Gulahallan ja birgen produced by Luleå Biennial in collaboration with Berit Kristine Andersen Guvsám, Gunvor Guttorm and Laila Susanna Kuhmunen and Good luck with your car produced by Luleå Biennial in collaboration with Region Norrbotten's Craft and Design Consultant. Loaned films included, Duoji máttut—Vætnoen maadtoe—Duoje máddoinformation and A conversation about leather tanning produced by Sameslöjdstiftelsen Sámi Duodji.
35.	Lindström, Kristina, et al. (författare) Design haunted by progress : untying knots 2024 Ingår i: PDC '24. Proceediings of the Participatory Design Conference 2024. - New York, USA : Association for Computing Machinery (ACM). - 9798400706547 ; , s. 211-214 Konferensbidrag (refereegranskat)abstract Design in general, including participatory design, has been and is still closely entangled with an idea of progress molded by modernism, technological development, rationality and economic growth. Today, when trying to shift towards other motivations and meanings in designing, we as designers find ourselves being haunted by this legacy. In this workshop we invite participants to make present and carefully untie designs’ entanglements with progress and to craft concrete imaginaries of a more socio-ecological just design after progress. Through this workshop we hope to start building a community around present-ing design histories and making a repertoire of narratives of how to be better haunted in participatory design.The workshop will take the form of a séance that is based on stories and images from the participants’ ongoing work that speaks to where they have sensed a haunting by the ghosts of progress embedded in design. This could for example be in a design method that you are using, a learning objective in your design curricula, an evaluation criterion, a design outcome that you have been involved with as a professional design practitioner, design educator or design researcher.It is imperative that the participants are in agreement with the workshop organisers that the séance is in itself an experimental attempt to explore a non-linear way of searching for the barely present or not easily discernible ideals or mechanisms of progress in participatory design. It is not to be confused with calling for supernatural spirits or deceased kins.
36.	Sandelin, Erik, et al. (författare) Design (In)actions 2020 Ingår i: ACM International Conference Proceeding Series. - New York, NY, USA : Association for Computing Machinery. Konferensbidrag (refereegranskat)abstract Sometimes the best decision may be to not design. But you can "not design" in different ways. There are emerging discussions of using design's destructive potential to hinder, eliminate, "undesign" unwanted technologies and practices. In this paper we argue that informed and carefully crafted not-doings should also be considered valid and generative design acts. Through discussing a series of inaction-related design projects we propose the concept of design (in)actions. An (in)action is the informed, articulated and designerly decision to not act. Through the concept of "designer killjoy" we frame risks and stakes of such moves. We discuss how design inactivism - design (in)actions mobilised for activist ends - inform and develop current conceptualisations of design activism. Finally, we propose design (in)actions as a useful tactic for "gracious design": more-than-human design moves characterised by forsaking human privilege through leaving be.
37.	Lewis, Erin, 1980- (författare) Abstract Everywhere : Dressing in Electromagnetic Atmospheres 2020 Ingår i: Unlikely: Journal for Creative Arts. - Melbourne. - 2205-0027. ; 6 Tidskriftsartikel (refereegranskat)abstract As an artistic space, the electromagnetic atmosphere sits akin to the notion of ether as a non-visual and omnipresent force; an "abstract everywhere" (Milutis, 2002). It forms an energetic ambiance that seems to come "from nowhere and everywhere at once" (Kahn in Vincente et al., 25). It is a space devoid of exactitudes, an invisible sandbox of infinite expressions of electromagnetic properties that afford physical interaction. As Dunne posits, the electromagnetic atmosphere is simultaneously a physical, conceptual, and notional space (102). To situate oneself in this liminal space requires a method through which to perceive this energetic ether in relation to ourselves.The artistic research that is presented here stems from a practice of experimental textile design, through which body-based textile antenna designs are proposed. These antennas allow the wearer to explore the boundaries of their body within this electromagnetic atmosphere through means of interaction. As textile antennas receive electromagnetic waves they are converted to soundwaves that the wearer can hear in real-time through the use of headphones. Interaction with the textile antennas combine body positioning, movement, and the directional quality of electromagnetic waves, resulting in changes to the sonic expressions one hears.Considering that the act of wearing on the body is communicative, we question how signification occurs with these body-based textile antennas as technological objects. Using Barthes' semiotic notions of dress objects and dressing, signified and signifier (Barthes, 1983), we explore the notion that these objects may carry signification through frequency-based interactions with electromagnetic atmosphere. As a result, we speculate on bodily signifiers for perceiving the abstract everywhere.
38.	Mattsson, Sandra, et al. (författare) Synthesis of Universal Workplace Design in Assembly-A Case Study 2022 Ingår i: Advances in Transdisciplinary Engineering. - : IOS Press BV. - 9781614994398 ; 21, s. 184-196 Konferensbidrag (refereegranskat)abstract To form an inclusive and sustainable society, workplace design that can be used by different individuals, regardless of sex, language, background, and body function variations is needed. Such workplaces can also give economic benefits to companies if they provide a more accessible, safer, more productive and error proofed working environment. This aim of this paper is to evaluate a universal design concept developed at a company aiming at providing an 'easy job'-workplace design for manual industrial operations. The study investigated key factors from 8 interviews and compared it to theoretical constructs such as WHO's ICIDH-2. A synthesis was formed that included the following factors: personal factors, environmental factors and outcomes of universal work. The study has resulted in new insights regarding universal workplace design and the vision is that the synthesis can be used by other production companies that want to increase the universal design in assembly work. © 2022 The authors
39.	Andersson, Jonas, et al. (författare) The Architectural Competition (Editors' Notes) : Introduction 2011 Ingår i: The Architectural Competition. - Stockholm : Axl Books. - 9789197859820 Bokkapitel (övrigt vetenskapligt/konstnärligt)
40.	Bowman, Jason E., 1967 (författare) PARSE Journal Issue #2 The Value of Contemporary Art 2015 Ingår i: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2 Annan publikation (övrigt vetenskapligt/konstnärligt)abstract With Professor Andrea Phillips (University of Gothenburg) and Dr. Suhail Malik (Goldsmiths, University of London) , I co-edited the second edition of the peer-reviewed PARSE (Platform for Artistic Research Sweden) Journal. This edition dealt specifically with questions of value in contemporary art and included a total of 11 peer reviewed contributions.
41.	Aditya, Pawar, 1983- (författare) Open-collaborative libraries : Libraries as generative community centres 2015 Konferensbidrag (populärvet., debatt m.m.)
42.	Aditya, Pawar, 1983- (författare) Prototyping boundary objects : Boundary objects as means for negotiating a cultural imaginary 2015 Konferensbidrag (övrigt vetenskapligt/konstnärligt)
43.	Aranda Muñoz, Alvaro, et al. (författare) CO-DESIGNING TECHNOLOGICAL EXPLORATIONS IN DEVELOPING FUTURES LITERACY THROUGH SPECULATIVE DESIGN AND AN ARTISTIC INTERVENTION 2023 Ingår i: Proc. Des. Soc.. - : Cambridge University Press. ; , s. 957-966, s. 957-966 Konferensbidrag (refereegranskat)abstract Futures Literacy is the capability to imagine and understand potential futures to prepare ourselves to act and innovate in the present. This pilot study aims to understand how artistic methodologies and speculative design can support the collaborative exploration of futures in the context of work and contribute to developing peoples' capability of futures literacy. Our premise is that technologies such as Artificial Intelligence and the Internet of things can augment people and support their needs at work. To illustrate this process, we have presented a collaborative method that integrates an artistic intervention with speculative design activities. We tested the method in a full-day workshop with seventeen (17) participants from a Swedish academy responsible for enabling learning and competence development at work in the healthcare sector. The results indicate that the artistic intervention, combined with the speculative design activities, can challenge current participants' perspectives and offer them new ways of seeing futures with technologies. These new ways of seeing reveal underlying premises crucial in developing the capability of futures literacy. © The Author(s)
44.	Botero, Andrea, et al. (författare) Getting Participatory Design Done : From Methods and Choices to Translation Work across Constituent Domains 2020 Ingår i: International Journal of Design. - 1991-3761 .- 1994-036X. ; 14:2, s. 17-34 Tidskriftsartikel (refereegranskat)abstract Collaborative arrangements between users and designers today are enacted in a broadening array of circumstances. These include extended, even years-long projects within corporations, the public and third sectors, as well as open-ended, peer-to-peer open design initiatives. Building on a literature review and analysis of four concrete participatory design projects, in this paper we argue that besides skills in selecting and implementing co-design methods, there is a larger repertoire of issues that need attention, if one takes the promises and limits of participatory design seriously. We elaborate on how these issues have purchase in the interplay of four interrelated domains: the strategic considerations that drive all those implicated, the mundane acts involved in co-design work, the choice of methods that is conditioned by strategic and mundane issues, and the producing of design outcomes permeated in turn by all the above. These domains co-constitute each other in such a way that one domain cannot easily be considered apart from the others. Participatory design understood from this perspective is not about facilitation skills, but rather skills to translate among strategic, mundane, method and design domains, and being aware of how they qualify and permeate each other in order to achieve results.
45.	Davoli, Lorenzo, 1983- (författare) Transtructures : prototyping transitional practices for the design of postindustrial infrastructures 2016 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract This dissertation is about 'transtructures', a term coined to describe new kinds of infrastructures that are more attentive and responsive to the needs of contemporary society, its emerging economies and technological capabilities. The purpose of this inquiry is to begin to explore the character and possibilities of a design practice that could guide responsibly and ethically the transition of existing industrial infrastructures towards these new configurations: what processes it could follow, and what materials it could include. Through a series of design experiments in the areas of logistics and telecommunications, I started to prototype and develop a programmatic framework for a 'redirective' design practice, which is aimed at engaging publics with infrastructural issues. Design probes and speculative mockups have been employed to express and materialize present and future infrastructural configurations, opening them up to public scrutiny and participation. The premise of this work is fairly simple: if we want to provide more citizen-centered solutions to emerging social demands, we need to explore what changes are possible, and even required, within the industrial systems that currently frame our possibilities for implementing such innovations. Thus, certain design interventions will be necessary to allow people outside these systems to understand and relate to these networks and to identify possibilities for their transformation. The result of this inquiry is the early 'prototype' of what a practice for redirecting and transitioning towards the design of such postindustrial infrastructures could be like. In particular, it exemplifies how design may inquire into the artificial space of industrial infrastructures and explore opportunities for their reconfiguration toward more contextually adaptive forms and functions.
46.	Fraune, M. R., et al. (författare) Workshop YOUR study design! Participatory critique and refinement of participants' studies 2021 Ingår i: ACM/IEEE International Conference on Human-Robot Interaction. - New York, NY, USA : IEEE Computer Society. ; , s. 688-690 Konferensbidrag (refereegranskat)abstract The purpose of this workshop is to help researchers develop methodological skills, especially in areas that are relatively new to them. With HRI researchers coming from diverse backgrounds in computer science, engineering, informatics, philosophy, psychology, and more disciplines, we can't be expert in everything. In this workshop, participants will be grouped with a mentor to enhance their study design and interdisciplinary work. Participants will submit 4-page papers with a small introduction and detailed method section for a project currently in the design process. In small groups led by a mentor in the area, they will discuss their method and obtain feedback. The workshop will include time to edit and improve the study. Workshop mentors include Drs. Cindy Bethel, Hung Hsuan Huang, Selma Sabanović, Brian Scassellati, Megan Strait, Komatsu Takanori, Leila Takayama, and Ewart de Visser, with expertise in areas of real-world study, empirical lab study, questionnaire design, interview, participatory design, and statistics.
47.	Grillner, Katja, 1970- (författare) När arkitektur är arkitektur är arkitektur konst 2001 Ingår i: Det transparenta huset. - Stockholm : Statens konstråd. - 9197402869 Bokkapitel (övrigt vetenskapligt/konstnärligt)
48.	Konsten, Samhället och Miljön 2023 Konstnärligt arbete (refereegranskat)abstract Audiovisuell presentation / artist talk under Konstans konstfestival. Festivalen som var ett samarbete mellan Konstnätverket i Sundsvall (KNIS), Grannar och Region Västernorrland, fokuserade på konstens bärkraft som en konstans i samhället för frågor om hållbarhet, klimat och miljö.
49.	Kosmack Vaara, Elsa, et al. (författare) Exploring and Prototyping the Aesthetics of Felt Time 2021 Ingår i: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22 Tidskriftsartikel (refereegranskat)abstract The intention of this research is to investigate how interaction designers may explore felt time through the culinary practice of sourdough baking. In this exposition we share how the physical experience and manipulation/shaping of time in sourdough baking provides an experience of fulfillment and satisfaction. We show our insights on how interaction designers, and possibly many other communities of practice and discourse, may learn from this.The goal is to inspire the audience to engage in a broad and critical discourse around felt time and to emphasize the value of prototyping a felt time repertoire in interaction design. The research exploration is built on the collaboration between an interaction designer/researcher, a culinary connoisseur baker and a sculptor/design researcher and teacher.
50.	Lagerbielke, Erika, 1960- (författare) Ååh, jag önskar att jag hade varit där! 2014 Ingår i: Småland En kärleksförklaring. - Karlstad : Votum & Gullers förlag. - 9789187283413 ; , s. 36-45 Bokkapitel (populärvet., debatt m.m.)

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