| 1. |
- Enquist, Henrik
(författare)
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A socio-material ecology of the distributed self
- 2008
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Ingår i: Design Philosophy Papers. - 1448-7136. ; :2
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Tidskriftsartikel (refereegranskat)abstract
- When distributed to different artefacts, the self appears in a multitude of shapes, characterized not only by its materiality but also by the necessity to preserve at least an illusion of a core self. The experience of a continuous evolution of these overlapping “selves”, many of which are materialized together with others’ overlapping selves, cannot be captured by traditional design approaches, nor can ethical aspects and conflicts of the right to express yourself through artefacts. This article, with its empirical basis in an interdisciplinary EU funded project, PalCom, is an attempt to test both ecological concepts and relationships and sociological (actants, actor-network-theory) ones. No meaningful separations are observed between the human ecology and sociology and the artefactual ones. Instead, it is the whole system of people, practices, values, and technologies in a particular situatedness that is meaningful to pinpoint and elaborate. In this text, the notion of the distributed self will be discussed. By this I mean the way artefacts are included in the study of an individual. There are many things to be considered when thinking of the socio-materiality of this distributed self. Here, two different approaches are tested, separately and intertwined: a sociological and an ecological.
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| 2. |
- Jönsson, Bodil, et al.
(författare)
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Ethics in the Making
- 2005
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Ingår i: Design Philosophy Papers. - Queensland, Australia : Team D/E/S. - 1448-7136. ; :4, s. 1-8
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Tidskriftsartikel (refereegranskat)abstract
- Applied ethics in research is no longer regarded as a concern exclusive to the medical field. Exemplars in ethics from other fields such as design are, however, meagre, as are relevant practical and design applied guidelines. The more ethically grounded a given area of research is, the greater the chance it can contribute to long-term, meaningful breakthroughs in knowledge. An improved ethics in design can enable a critical questioning that in turn leads to entirely new research questions.The mere involvement of human subjects and the application of safety provisions in design research do not guarantee it will meet ethical considerations, best practices or standards. The entire complex interaction with users offers intriguing possibilities and risks, or can result in mediocrity in areas such as: preparation and implementation that is worth the research person’s time; respect for users’ contributions; dignified treatment; feedback in an iterative and interactive process with mutual information and inspiration; and products and processes that are truly influenced by the users. This reasoning applies to all, but with special distinction to people who are disabled and elderly. Starting with specific needs as opposed to more general ones (the latter of which result in the necessity for more abstract specifications for the multitudes) can, above and beyond the ethical dimension, also result in increased innovation and effectiveness for society on the whole. Proceeding from the particular to the general is of considerable value, for ethical reasons as well as for sheer effectiveness.Involving persons with a variety of disabilities in product development helps to ensure innovative and useworthy products.[1] One of many prerequisites for ethically sound user involvement is that all participants are aware of the interference taking place in an iterative design process.An elaboration of ethical aspects in design can be valuable for different stakeholders (user organisations, NGOs and the design community) and, of course, for the relevance of resulting products and processes. A more considerate ethical approach could have substantial economical value due to the higher relevance of the results. There has been a considerable increase in the ethical expectations placed on businesses and professions in recent years. Scores of organisations have reacted by developing ethical codes of conduct and professional guidelines to explicitly state their values and principles.[2] Moreover, the drafting of a code of ethics can be seen as an indication of professionalism in an emerging profession.[3]
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| 3. |
- Jönsson, Bodil, et al.
(författare)
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Ethics in the making
- 2005
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Ingår i: Design Philosophy Papers. - : Routledge. - 1448-7136. ; :4
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Tidskriftsartikel (refereegranskat)abstract
- Applied ethics in research is no longer regarded as a concern exclusive to the medical field. Exemplars in ethics from other fields such as design are, however, meagre, as are relevant practical and design applied guidelines. The more ethically grounded a given area of research is, the greater the chance it can contribute to long-term, meaningful breakthroughs in knowledge. An improved ethics in design can enable a critical questioning that in turn leads to entirely new research questions.
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| 4. |
- Keshavarz, Mahmoud, et al.
(författare)
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Design and Dissensus : Framing and Staging Participation in Design Research
- 2013
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Ingår i: Design Philosophy Papers. - 1448-7136. ; 11:1, s. 7-29
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- When people cite Herbert Simon’s definition of design (as they frequently do) as an activity that seeks to Change Existing Situations Into Preferred Ones, this is usually an entrée into what they really want to discuss, which is “how do designers do this?” Here lies the history of the ‘design methods’ movement that sought to rationalise design as process, and the counter-reaction to it as researchers and designers began to conceptualise their work in terms of human-centred design, participatory design, co-design, design ethnography, and so on. But what’s been overlooked in Simon’s oft-repeated definition of design is the change bit – the move from existing to preferred is glided over as if obvious. If pressed to name the gap between the existing and the preferred, those who cite Simon would perhaps say something like – better functionality, performance, convenience, efficiency, aesthetic appeal, and so on. The parameters of change are assumed as given, as issuing from the client, thus they are circumscribed, delimited, not an issue.
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| 5. |
- Keshavarz, Mahmoud, et al.
(författare)
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Design and Dissensus : Framing and staging participation in design research
- 2013
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Ingår i: Design Philosophy Papers. - : Team D/E/S. - 1448-7136. ; :1
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Tidskriftsartikel (refereegranskat)abstract
- Addressing social issues and operating in the public realm, contemporary design engages with the problematics of relating to more diverse people, groups and ‘others’ than those traditionally served by design. Tracing some related concerns within the early Participatory Design movements, we query approaches based on ‘consensus’ and explore an alternative based on ‘dissensus’, as theorized within political philosophy. To discuss critical-political aspects of participation in design, dissensus is a lens applied retrospectively to reflect on an example of our own practice-based research. Carried out with groups of women activists in Iran and Sweden, ‘Forms of Resistance’ was a project in which a design researcher engaged a series of socio-material activities to recognize the experiences and subjectivities of those otherwise excluded from a prevailing political order. Alternative communication and aesthetic practices were developed in response to issues of equity, power and difference within and across research situations and sites, which are discussed in relation to concepts of ‘indisciplinarity’ and ‘free translation’. This paper discusses alternative approaches to framing and staging participation in design, elucidating a series of terms and concepts relevant to social and critical practices of design and design research.
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| 6. |
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| 7. |
- Keshavarz, Mahmoud
(författare)
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Material practices of power – part I : passports and passporting
- 2015
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Ingår i: Design Philosophy Papers. - : Routledge. - 1448-7136. ; 13:2, s. 97-113
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Tidskriftsartikel (refereegranskat)abstract
- In this paper, passports are investigated as socio-technical artifacts with the capacity of interrogating the relation between design and politics. While they might appear as ‘trivial’ objects for some, passports tend to speak to the current political regime of mobility and more importantly immobility that produces refugee populations and undocumented migrants waiting in camps, transit zones or precarious clandestinity for several months and years. This inquiry in two parts aims to interrogate the artifacts of passport and its artifactual relations and practices – which I call passporting – in relation to the ways in which mobilities and immobilities are organized, controlled, regulated and shaped. Part I presents three interrelated ways of looking at passports: first, the historicity of passports and the ways in which technologies and material practices merge with the political, social and economic interests of specific times and spaces; second, the ways passports function and perform in a network of relations and ecologies which produce continuity as well as uncertainty with different effects, forms and scales in different environments; third, how passports and bodies change their positions constantly in the world in which the difficulties and uncertainties to locate either and/or become desirable space and time for manipulating and exercising power over undesired groups and individuals in local sites through a global rationale.
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| 8. |
- Keshavarz, Mahmoud
(författare)
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Material practices of power – part II : forged passports as material dissents
- 2016
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Ingår i: Design Philosophy Papers. - : Taylor & Francis Group. - 1448-7136. ; 14:1&2, s. 3-18
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Tidskriftsartikel (refereegranskat)abstract
- While mundane for the privileged few, passports, as discussed in the first part of this paper (DPP vol. 13, no. 2), are rather strong, thick and extensive devices of articulating, partitioning and producing possibilities of access, movement and inhabitations in the world. They have emerged from a certain intersection of social and material forces and continue to produce and provide new environments of power relations. It was proposed that these articulations are better to be renamed as passporting, which recognizes the regimes of practices involved in such environments beyond the single artifact of passport. Part II takes much further this analysis through proposing four lines of reading the passporting regime: materialities; sensibilities; part-taking; and translating. These lines, which point to the ontological qualities of passporting, can also be enacted for intervening into the passporting regime which articulates to the current hegemonic order of mobility. I trace such possible interventions in the acts of forgery of passports. Forgery uses, enables, dissents and rearticulates these very four lines of the passporting regime in other directions than the ones imagined by their initial design. By discussing the practices of passport forgery in relation to the passporting regime, this article offers a material and critical understanding of the notions of citizenship and nationality.
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| 9. |
- Redström, Johan
(författare)
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On Technology as Material in Design
- 2005. - 2
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Ingår i: Design Philosophy Papers. - Ravensbourne, Australia : Team D/E/S Publications. - 1448-7136. ; :2
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Tidskriftsartikel (refereegranskat)abstract
- And what is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. John Cage Silence In many ways, design has been moving away from the physical object. Emerging practices such as interaction, experience and service design, often utilising new technologies with almost 'immaterial' properties, seem to point to a situation where the material 'thing' as we used to know it is replaced by communication, information, systems and infrastructures. From another perspective, however, the importance of the things themselves is being re-discovered, and perhaps these new 'immaterial' technologies play a role in this. A central reason for this shift is that though technical objects are often characterised by their practical functionality, their everyday lives seem a bit more complicated than these official functions might suggest. Thus, the predominant focus on practical functionality in the design of technical objects need to reconsidered and above all complemented. As we turn to these things, we do not only have to re-locate the functions of technical objects within a rich context of use; to understand the presence of technical objects, we also need to consider the materials that build them. In what follows, I will present some ideas on how the properties of technologies (such as information technology) seem to influence the way we think about the design of technical objects. Further, I will try to challenge the instrumental perspective on technology by considering it to be design material, asking question about it such as: what are its expressions as material? What are its form elements?
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| 10. |
- Stolterman, Erik, et al.
(författare)
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Critical HCI Research : a research position proposal
- 2008
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Ingår i: Design Philosophy Papers. - 1448-7136. ; 1
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Tidskriftsartikel (refereegranskat)abstract
- The ongoing development of digital technology creates new, immensely complex environments that deeply influence our lifeworld. This paper is about the ways in which HCI (Human-Computer Interaction) research and other information technology disciplines can contribute to a deeper understanding of technology and the ongoing transformations or our lifeworld. As such, the paper is a conceptual exploration driven by a sincere striving for the possibility of making a real difference to the way research is carried out on the societal influences of digital technology. The paper is based on the assumption that htere are some foundational decisions forming any research endeavor: the question of methodology, the question of object of study and most importantly—the question of being in service. We explore and propose a research position by taking a critical stance against unreflective acceptance of digital technology and by acknowledging people's lifeworld as a core focus of inquiry. Te position is also framed around an empirical and theoretical understanding of the evolving technology that we label the digital transformation, in which an appreciation of aesthetic experience is regarded to be a focal methodological concept.
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