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1.	Göransdotter, Maria, 1968- (author) Transitional design histories 2020 Doctoral thesis (other academic/artistic)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. (author) Mapping Design Methods : A Reflection on Design Histories for Contemporary Design Practices 2021 In: AIS/Design. - Milano. - 2281-7603. ; 8:15, s. 132-146 Journal article (peer-reviewed)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- (author) Tangible participation : engaging designs and design engagements in pedagogical praxes 2015 Doctoral thesis (other academic/artistic)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 (author) From Sustainability to Regeneration : a digital framework with BIM and computational design methods 2023 In: Architecture, Structures and Construction. - : Springer Nature. - 2730-9886 .- 2730-9894. ; 3:3, s. 315-336 Journal article (peer-reviewed)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. (author) VIRTUALLY HOSTED HACKATHONS FOR DESIGN RESEARCH : LESSONS LEARNED FROM THE INTERNATIONAL DESIGN ENGINEERING ANNUAL (IDEA) CHALLENGE 2022 2023 In: Proceedings of the Design Society. - : Cambridge University Press. ; , s. 3811-3820 Conference paper (peer-reviewed)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- (author) The science of imagining solutions : design becoming conscious of itself through design 2018 Doctoral thesis (other academic/artistic)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 (author) A Closer Look at the UrbanIxD Summer School Design Fictions through the Meta-Lens of Agonism and Dissensus 2014 In: The UrbanIxD Symposium Proceedings. - : UrbanIxD. - 9780956216939 ; , s. 1-6 Conference paper (peer-reviewed)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.	Popova, Kristina, et al. (author) Vulnerability as an ethical stance in soma design processes 2022 In: CHI '22. - New York : Association for Computing Machinery (ACM). - 9781450391573 ; , s. 1-13 Conference paper (peer-reviewed)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.
9.	Kular, Onkar, et al. (author) Bass Cultures: How Low Can You Go! 2023 In: Falkenbergs teater, Smedjan & Art Inside Out, Halland. Artistic work (other academic/artistic)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.
10.	Kular, Onkar, et al. (author) Bass cultures: How Low Can You Go! 2023 In: Art Inside Out Journal: Den allmäna designbyrån, NR 16. ; , s. 16-29 Journal article (other academic/artistic)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.
11.	lambert, matt (author) Settings & Findings N.14 with Melissa Cameron 2023 In: Lost In Jewellery Magazine. Journal article (pop. science, debate, etc.)
12.	Kular, Onkar, et al. (author) Allmänningen/The Common Room 2023 Other publication (other academic/artistic)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.
13.	Kular, Onkar (author) Luleå Biennial 2022, Craft & Art - Learning Room 2022 In: Galleri Syster, IASPIS - Stockholm, Rajalla - På Gränsen, European Festival of the Night - Korpilombolo, Havremagasinet Länskonsthall. Artistic work (other academic/artistic)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.
14.	Konsthantverk i Sverige, del 1 2015 Editorial collection (other academic/artistic)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.	The Right to design 2024 In: Urgent Pedagogies Issue #9. Other publication (other academic/artistic)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.
16.	Lindborg, PerMagnus, 1968- (author) Sound Art Singapore : Conversation with Pete Kellock, Zul Mahmod and Mark Wong 2014 In: eContact!. - 1910-4650. ; 16:2 Journal article (peer-reviewed)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.
17.	Bowman, Jason E., 1967 (author) PARSE Journal Issue #2 The Value of Contemporary Art 2015 In: http://www.parsejournal.com/issue/2. - Göteborg : University of Gothenburg. - 2002-0953. ; 1:2 Other publication (other academic/artistic)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.
18.	Auricchio, Valentina, et al. (author) Experiential ways of mapping : revisiting the Desktop Walkthrough 2022 In: Engaging spaces. - Milano : FrancoAngeli. - 9788835141747 ; , s. 131-158 Book chapter (peer-reviewed)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.
19.	Halldórsson, Halldór, 1971-, et al. (author) How did you do that? The value of externalising knowledge in graphic design 2021 In: Journal of Design Research. - : InderScience Publishers. - 1748-3050 .- 1569-1551. ; 19:1/2/3, s. 31-45 Journal article (peer-reviewed)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.
20.	Jung, Heekyoung, et al. (author) Metaphors, materialities, and affordances : hybrid morphologies in the design of interactive artifacts 2017 In: Design Studies. - Oxford : Elsevier. - 0142-694X .- 1872-6909. ; 53, s. 24-46 Journal article (peer-reviewed)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.
21.	Kosmack Vaara, Elsa, et al. (author) Exploring and Prototyping the Aesthetics of Felt Time 2021 In: Journal for Artistic Research. - Amsterdam : Society for Artistic Research. - 2235-0225. ; :22 Journal article (peer-reviewed)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.
22.	Kuenen, Stoffel, 1975- (author) Aesthetics of being together 2018 Doctoral thesis (other academic/artistic)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.
23.	johansson, michael, 1962-, et al. (author) Fieldasy 2004 In: Fieldasy. - Sheffield, UK. Conference paper (other academic/artistic)abstract Fieldasy is a process for engaging multiple perspectives in the creation of a world, and the mapping of its virtual space. While the final outcome lies ahead, the process has already produced a series of artistic expressions that drives the overall project forward. Fieldasy refers to the methods of field working and invoking imagination by using physical objects. The objects constitute a shared ground for collaborative creativity, serves as nodes in a complex narrative and as a basis for the creation of the world. In the paper, we describe the process, methods and the artifacts developed in this project. We also show how this approach can host and facilitate artistic development in a complex production environment such as the one of digital media, supported by invited artists, researchers (computer science) and students (interaction design), enabling diverse parties to transfer their knowledge into the project in an ongoing manner. Three aspects of the project are discussed: The Framework; the city of Abadyl, The Method; fieldasy and The Output; a series of artifacts eventually displayed in a series of exhibitions.
24.	Christoforidou, Despina, et al. (author) Good Taste vs Good Design : A tug of war in the light of Bling 2012 In: The Design Journal. - : Berg Publishers. - 1460-6925 .- 1756-3062. ; 15:2, s. 185-202 Journal article (peer-reviewed)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’?
25.	SHARE Handbook of Artistic Research Education 2013 Editorial collection (other academic/artistic)abstract On the organisation, development and future of doctoral education in artistic practices.
26.	Wilson, Mick, 1964 (author) White Mythologies and Epistemic Refusals: Teaching Artistic Research Through Institutional Conflict 2020 In: Teaching Artistic Research: Conversations Across Cultures. - Berlin : De Gruyter. - 3110662396 Book chapter (peer-reviewed)abstract This essay outlines a heuristic model of a teaching practice that attempts to operate within the fundamentally contested field of artistic research by exploring the terms and processes of conflicted institutional practices and rhetorics. Taking account of the different ways in which artistic research has become a highly visible moment of institutional conflict, this paper outlines an approach to teaching early-stage researchers through active processes of knowledge conflict. The model outlined here proposes a group process by which fault-lines of conflict and disagreement may be thematized and operationalized within a teaching praxis. The provisional model being proposed is based upon concrete experiment and application over the last decade in a range of formal and informal educational settings.
27.	Abdipour, Morteza, 1977- (author) Arrangement Design Studies : the introduction of the digital wall in domestic environments 2021 Licentiate thesis (other academic/artistic)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.
28.	Göransdotter, Maria, et al. (author) Design Methods and Critical Historiography : An Example from Swedish User-Centered Design 2018 In: Design Issues. - : MIT Press. - 0747-9360 .- 1531-4790. ; 34:2, s. 20-30 Journal article (peer-reviewed)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.
29.	Göransdotter, Maria, 1968- (author) Designing together : on histories of Scandinavian user-centred design 2022 In: Nordic design cultures in transformation, 1960–1980. - New York : Routledge. - 9781032290423 - 9781032313511 - 9781003309321 ; , s. 157-177 Book chapter (peer-reviewed)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.
30.	Lorentzen, Lena, 1962-, et al. (author) Bringing human diversity into design processes through empathic modelling 2018 In: Transforming our World Through Design, Diversity and Education - Proceedings of Universal Design and Higher Education in Transformation Congress 2018. - Dublin : IOS Press. - 1879-8365 .- 0926-9630. - 9781614999225 - 9781614999232 ; 256, s. 128-136 Conference paper (peer-reviewed)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.
31.	Torretta, Nicholas B., 1988- (author) Moving decolonially in design for sustainabilities : spaces, rhythms, rituals, celebrations, conflicts 2022 Doctoral thesis (other academic/artistic)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.
32.	Westerlund, Bo, 1951- (author) Design Space Exploration : co-operative creation of proposals for desired interactions with future artefacts 2009 Doctoral thesis (other academic/artistic)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.
33.	Akner-Koler, Cheryl, 1956-, et al. (author) Sharing Haptic Attributes : Model development of 4 haptic attribute models for hand, nose, mouth and, body 2020 In: Working Together 2020. Conference paper (other academic/artistic)abstract Our topic concerns how to conduct practice-based research between and within three aesthetic disciplines: sculptor, professional taster, and performative artist. We continue to work with the material and experiences developed during the 3-year VR-funded HAPTICA research project. Our plan is to actualise a few practical situations that show how we gained both a deeper aesthetic knowledge within our own artistic disciplines and grew more sensitive and knowledgeable about the challenges faced in the other disciplines. The overall topic has been to expand the field of aesthetics by including the proximity senses: tactile, haptic, smell, taste, and movement by conducting artistic research in haptic.
34.	Bågander, Linnea (author) Body movement as material : Designing temporal expressions 2021 Artistic work (other academic/artistic)abstract Movement and temporal qualities have a significant effect on design expressions. However, in the design of dress these are often overlooked, and the static form of a positioned body is considered to be the main driver of design. This work explores the expressions of the body in motion, engaged in the interaction constituted by wearing. Through a practice-led experimental approach, the research presented in this thesis aims to establish strategies for utilising the motion of the body in the context of design development. The research has been carried out through multiple series of experiments. Initial series of experiments focused on exploring wearing as an entwined dialogue between body and material that is expressing and informing the motion of the body. This was followed by series of experiments focusing on more particular variables such as body movement principles, material properties, and somatic experiences. Through analysing and implementing movement as a design material the work suggests an alternative type of form-thinking and form-giving where materiality together with the body movement extends garments into a temporal expression.The result suggests an alternative model consisting of methods, concepts, and variables for design for designing temporal expressions wherein dress is defined as a temporal form and designed as a system of possible movements and ways in which a wearer can interact with a garment. Within this model, body movement is under-stood as a material and the body is viewed as a temporal structure and a mechanism for changes in the design. Overall, temporal expressions, or temporal form suggest acts of wearing and the somatic presence of the body as foundations in body-based expressions of equal importance as worn material. In particular, the design examples suggest another use of the joints of the body – the crucial points that enable move-ment – which were the main design material for temporal expressions.The methods and thinking proposed in this thesis may be beneficial for multiple fields of art and design that use the body’s motion as design material extending the findings from the origins of dress.
35.	Bowman, Jason E., 1967 (author) De-Imagining Critical Communities 2015 In: Community Arts? Learning from the Legacy of Artists' Social Initiatives Conference, Liverpool, 1st of nov. Conference paper (other academic/artistic)abstract I contributed a presentation and moderated a session. This daylong event brings together distinguished thinkers and practitioners from the field of community arts, in order to discuss the legacy of such practices in the light of a renewed interest in socially engaged art. This event will re-open conversations and instigate new ones, ensuring that important work undertaken in the 1970s and 1980s continues to resonate. Speakers: Assemble, Ania Bas, Sonia Boyce, Jason E. Bowman, Polly Brannan, Anna Colin, Anna Cutler, Rosie Cooper, Janna Graham, Granby 4 Streets Community Land Trust, Jeanne van Heeswijk, Homebaked, Sophie Hope, Nina Edge, Bill Harpe, Wendy Harpe, Loraine Leeson, Angela McKay, Andrea Phillips, Laura Raicovich, Alan Read, Frances Rifkin, Sally Tallant, Nato Thompson and Ed Webb-Ingall. This event is part of a weekend of programmes in Liverpool and beyond that considers current approaches in socially engaged art
36.	Sandelin, Erik, et al. (author) Design (In)actions 2020 In: ACM International Conference Proceeding Series. - New York, NY, USA : Association for Computing Machinery. Conference paper (peer-reviewed)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.	Crafting Cultural Heritage 2014 Editorial proceedings (peer-reviewed)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?
38.	Seng, Judith (author) Design and socio-material choreographies of daily life 2020 In: Zwischenmenschliches Design : Sozialität und Soziabilität durch Dinge / Edited by Martina Fineder and Johannes Lang. - : Springer VS. - 9783658302689 Book chapter (other academic/artistic)abstract About the book: What influence does the design of the objective environment have on interpersonal relationships and how are these intentionally or unintentionally shaped with things? In what way are social skills such as interpersonal recognition, action and experience made possible or impossible through design and architecture? Authors from various disciplines pursue these questions and open up a thing-oriented perspective on the topic of social design, which is both suitable for building a bridge between theory and practice and for collecting relevant study material for the social dimensions of design. With contributions by Johannes Lang, Martina Fineder, Daniel Martin Feige, Albena Yaneva, Elke Gaugele, Adam Drazin, Annette Geiger, Martin Gessmann, Nynke Tromp, Paul Hekkert, Peter-Paul Verbeek, Anamaria Depner, (et al.), Katharina Dankl, Alexander Hagner, Judith Seng. About the text: In the course of my artistic research, various elements gradually condensed into an approach that I now call the choreographic design approach. The term 'choreography' originally described the recording (graphē) of the circular movements of the choir (choreia) in Greek drama and later became a term for any form of notation of mostly dance movements. Today, 'choreography' means inventing and studying movements, especially in connection with dance. The means of the action (the body) is always designed in connection with the intention of the action (the body movements). Just as the dance act cannot be viewed separately from the body in which it manifests itself, objects are also closely intertwined with actions and human interaction. From a choreographic perspective, design can be viewed as the design of performative practice that arises in the interaction between things and people in everyday life. A choreographic design approach therefore opens up formats and perspectives for design that are able to make visible, to examine and to make the dynamic overall structure of objects, spaces, bodies and their material, social, cultural and political contexts visible in everyday situations shape. In my work, I primarily try to approach this idea in a practical manner and will therefore first present excerpts from my own artistic research. Using the first three of a total of seven experiments in the ongoing ACTING THINGS project series, I will try to describe how relevant aspects of a dynamic, socio-material design practice emerge in a continuous interplay of experimental set-ups and reflections. In the second part, I will use examples from my teaching activities to discuss ways of using the knowledge gained in the more abstract experiments for the design of everyday choreographies.
39.	Lewis, Erin, 1980- (author) Abstract Everywhere : Dressing in Electromagnetic Atmospheres 2020 In: Unlikely: Journal for Creative Arts. - Melbourne. - 2205-0027. ; 6 Journal article (peer-reviewed)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.
40.	Aditya, Pawar, 1983- (author) Open-collaborative libraries : Libraries as generative community centres 2015 Conference paper (pop. science, debate, etc.)
41.	Aditya, Pawar, 1983- (author) Prototyping boundary objects : Boundary objects as means for negotiating a cultural imaginary 2015 Conference paper (other academic/artistic)
42.	Andersson, Jonas, et al. (author) The Architectural Competition (Editors' Notes) : Introduction 2011 In: The Architectural Competition. - Stockholm : Axl Books. - 9789197859820 Book chapter (other academic/artistic)
43.	Aranda Muñoz, Alvaro, et al. (author) CO-DESIGNING TECHNOLOGICAL EXPLORATIONS IN DEVELOPING FUTURES LITERACY THROUGH SPECULATIVE DESIGN AND AN ARTISTIC INTERVENTION 2023 In: Proc. Des. Soc.. - : Cambridge University Press. ; , s. 957-966, s. 957-966 Conference paper (peer-reviewed)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. (author) Getting Participatory Design Done : From Methods and Choices to Translation Work across Constituent Domains 2020 In: International Journal of Design. - 1991-3761 .- 1994-036X. ; 14:2, s. 17-34 Journal article (peer-reviewed)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- (author) Transtructures : prototyping transitional practices for the design of postindustrial infrastructures 2016 Doctoral thesis (other academic/artistic)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. (author) Workshop YOUR study design! Participatory critique and refinement of participants' studies 2021 In: ACM/IEEE International Conference on Human-Robot Interaction. - New York, NY, USA : IEEE Computer Society. ; , s. 688-690 Conference paper (peer-reviewed)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.	Laurien, Thomas, 1967, et al. (author) An Emerging Posthumanist Design Landscape 2022 In: Palgrave Handbook of Critical Posthumanism. - Cham : Palgrave Macmillan. - 9783030426811 - 9783030426811 - 9783031049576 - 9783031049583 Book chapter (peer-reviewed)abstract A designer is somebody who points, who designates, and gives directions. Design thereby has a direction into the future. What directions are designers pointing out if design is coupled with posthumanism? Posthumanism has come into being in a landscape of both ideas and design. That which has previously been designed and produced is coming back and it can help us point out harmful inequalities if we sharpen our observational tools and concepts.“An Emerging Posthumanist Design Landscape” is an overflowing designated area for examples and thinking on compositions of design and critical posthumanism. It is a landscape in the making, yet scarred by previous design cultures and histories. As design researchers operating out of Scandinavian academia, we invite readers/travelers to meander through an emerging hybrid landscape and to make a few selected stops at the sites of our own recent design interventions. We articulate concepts, frictions, and opportunities sprouted in a sprawling and increasingly populated landscape of design and posthumanism. Posthumanist thinking questions and recharges fundamental design concepts and methods/approaches, e.g.: Who are the actors of posthumanist design? Where does it take place? What do we design? What materials do we use? How do we work? When does design take place? Why are compositions of design and critical posthumanism important undertakings? The responses to these questions sketch trajectories for further travels and the co-creation of an emerging posthumanist design landscape.
48.	Lindh Karlsson, Monica, 1965-, et al. (author) Design Togetherness, Pluralism and Convergence 2016 In: Proceedings of DRS 2016. - London : Design Research Society. ; , s. 4029-4044 Conference paper (peer-reviewed)abstract We describe an inquiry into how we relate to each other in design, as we design. In particular, we are interested in to what extent, and in what ways, we acknowledge diversity in knowledge, experience, and skill. We have conducted a series of project courses within design education to make students explore different ways of doing design together. Our findings point to two main tendencies: towards cultures of pluralism, of coming together as who we are; and cultures of representation, of coming together as what we are. This points to important issues related to how methodology and process structure the way we perceive and relate to each other. Indeed, in a disciplinary methodological framework ultimately oriented towards convergence and the making of a final design, how do we evolve and engage with that which must not converge to a single point but where difference and diversity must be acknowledged?
49.	Magnusson, Frans, 1981 (author) Realtime & Development - modes of knowing design computation in architectural practice 2017 Licentiate thesis (other academic/artistic)abstract This thesis examines theoretical, methodological and organisational implications of design computation for architectural practice - from an insider perspective. It also proposes a conceptual model for knowing within this practice, in an approach that interrelates theory and actionable knowledge. Dsearch is a research & development network focused on the introduction of design computation at White arkitekter, a large Scandinavian architectural firm with over 900 employees.The research studies Dsearch from an insider perspective, providing a description and discussion of an organisational entity involved in the paradigmatic shift towards computationally augmented design thinking - design computation - in architectural practice. This entails the introduction of new tools, methods and competencies.This thesis contributes to the knowledge in architectural design computation practice, conceptualising documented methodology so as to establish a deeper theoretical understanding. Reciprocally it provides the wider field of design theory with insights into the problems and methods that occur in design computation in architectural practice.It also proposes a conceptual model for how to attain and share knowledge in an architectural practice augmented by design computation. This model articulates Realtime and Development as two approaches to time that are distinguished by design computation.The model builds on practical experience intertwined with notions from cognitive science, philosophy of the mind, design methodology, action research, and management- and learning-theory.
50.	Olsson, Jens, 1985 (author) In conversation with simulation: The application of numerical simulation to the design of structural nodal connections 2020 Licentiate thesis (other academic/artistic)abstract The thesis explores methods for integration of structural analysis, design and production in a digital design environment. The somewhat ambiguous title implies the ambition to make such integration in relation to the explorative phase of the design process which is described by Donald Schön as having a conversational character. A conversation between the designer and the representation by the means of the tool. The tool is in this context a simulation and instead of exploring the potential of automatic optimisation, the simulation is used for designer driven exploration. The aim of the thesis is to give an overview of how this type of integration is currently being approached and to contribute with new tools and methods in that pursuit. The motivation behind the work is to lower the threshold for the application of structural analysis in early-stage design, with an ambition of architectural qualities and resource efficiency in mind. An overview of the historical context is portrayed with broad brush strokes, followed by a more precise account of the mathematical and physical context, which is complemented by an attempt to describe how our tools and roles tend to interplay in the composition of the design process. Methods such as the finite element method, isogeometric analysis, smoothed particle hydrodynamics and peridynamics, including their related geometrical representations are introduced in relation to this context. A variety of production techniques are also discussed in relation to material mechanical properties for conventional building materials such as steel, concrete and wood. The method development is approached through the use of numerical and physical experiments which are applied for design of material-efficient structural components, with a particular design process perspective. The nodal connection is chosen as an application because it combines geometrical and structural complexity in an element that is of crucial importance for a holistic spatial setting, while often being produced in a material inefficient way, with poor attention to detail. The three articles that are included follow a trajectory from large to small, from the holistic to the particular. The first article is a description of the computational design work with the roof for the new international airport of Mexico City. The second article aims to address one of the challenges that were faced in that project with material inefficiency for nodal connections, with a critical perspective on optimisation. The final article presents an extension/modification for the peridynamics theory enabling variable particle sizes and an irregular particle distribution through the introduction of a concept called force flux density . The development is motivated by limitations found in the present theory through numerical experiments. The method enables simulation of phenomena such as brittle fracture, for which correlation with Griffith's theory of fracture is shown. Further work includes an extension of the force flux method from 2D to 3D, including calibration of material a model for 3D printed steel. Other possibilities involve the exploration of how such a method can adapt to the various stages of the design process, where requirements of accuracy, speed and interactivity will vary.

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