| 1. |
- Amacker, Ariana, 1980
(författare)
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Surrendering to The Now. Improvisation and an embodied approach to serendipity
- 2019
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Ingår i: Design Journal. - : Informa UK Limited. - 1460-6925 .- 1756-3062. ; 22, s. 1841-1851
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Tidskriftsartikel (refereegranskat)abstract
- In this paper I want to call attention to an embodied perspective and the ability to practice serendipity. I draw on Classical Pragmatist philosophy to offer insights for understanding serendipity in immediate experience and its significance for inquiry. In particular, John Dewey's view of aesthetic experience offers a starting point for developing an articulation of the embodied relation to inquiry from an artistic approach. Dewey proposed that being deeply engaged in inquiry requires not only acting in controlled ways upon the world but also undergoing or surrendering to experience. I use his view of surrender to characterize a receptive yet active state of awareness open to stimuli and the imaginative sensing of possibilities, new perceptions, and new meanings. To illustrate the subject, I draw on my training with movement improvisation and the approach of Surrendering to The Now.
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| 2. |
- Arvola, Mattias, et al.
(författare)
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Lifelogging in User Experience Research : Supporting Recall and Improving Data Richness
- 2017
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Ingår i: The Design Journal. - : Routledge. - 1460-6925 .- 1756-3062. ; 20, s. S3954-S3965
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Tidskriftsartikel (refereegranskat)abstract
- The purpose of lifelogging is to help users collect data for self-monitoring and reflection. We have in this study explored how lifelogging technology (a camera and a heart rate monitor) can change user experience (UX) research, and we describe a novel approach. Data was collected for three days with four participants, and a 4-6-hours co-creation workshop with stimulated recall interview was held with each of them to create an experience timeline. The timeline includes selfreported key experiences, lifelog stimulated experiences, heart rate, decisions, and valence. The results show that the number of experiences in the timeline that come from data points stimulated by the lifelogging, are as many as the self-reported data points. Lessons learned include that the use of lifelogging produces highly detailed UX research, but it is very time consuming, due to the sheer amount of data.
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| 3. |
- Aryana, Bijan, 1980, et al.
(författare)
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Strategies for Empowering Collective Design
- 2019
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Ingår i: Design Journal. - : Informa UK Limited. - 1460-6925 .- 1756-3062. ; 22
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Konferensbidrag (refereegranskat)abstract
- Collective activities such as crowdfunding, competitions, jams and hackathons are gaining more attention in innovation management. However, within the design domain such activities are often considered as a way for mass generation of ideas, rather than processes for developing proper design solutions. Information acquisition, gaining sufficient knowledge and generating feasible ideas are among the main challenges of collective design. In this study we applied three strategies of rapid design, informed participation, and knowledge sharing to overcome these challenges. During a one-week design hackathon, we conducted a collective design project in which three teams of participants conducted autoethnography research, shared their findings by an idea crowdsourcing platform, and tested their 3D printed prototypes with potential users. Although the tests showed efficiency of rapid design and informed participation strategy, we did not find knowledge sharing effective, mainly due to the absence of collaboration among teams.
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| 4. |
- Bahrami, Nasser, et al.
(författare)
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Felicitous design concept: harmonising marketing and design on product, process and strategy levels
- 2019
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Ingår i: Design Journal. - : Informa UK Limited. - 1460-6925 .- 1756-3062. ; 22:supl. 1, s. 2247-2250
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Tidskriftsartikel (refereegranskat)abstract
- Although marketing and design are considerably interrelated and interconnected concepts, there are few practical frameworks to establish collaborations between these two disciplines. This paper introduces the ‘Felicitous Design Concept’ as a framework which can take advantage of the synergy between existing theories, in particular, Societal Marketing and Persuasive Design. It aims to represent the way that marketing and design cooperate on multiple realms including product, process and strategy.
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| 5. |
- Blomkvist, Johan, et al.
(författare)
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Benefits of External Representations in Service Design : a Distributed Cognition Perspective
- 2014
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Ingår i: The Design Journal. - : Bloomsbury Publishing. - 1460-6925 .- 1756-3062. ; 17:3, s. 331-346
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Tidskriftsartikel (refereegranskat)abstract
- A defining characteristic of service design is the use of external representations, which support designers in making intangible aspects of services accessible and shareable. Both current and future states are externally represented, using different service design techniques, for the purposes of articulating insights, learning, communicating, collaborating, and maintaining empathy for customers. The purposes of, and techniques for, making external representations were compared with benefits of using external representations to think, suggested by the theory of distributed cognition. The analysis indicated that the service design techniques could be divided into two groups; definite and ongoing. The analysis also revealed that none of the included techniques explicitly supported designers in making multiple simultaneous representations of services. The research contributes knowledge about how the externalisations relate to benefits of making external representations, and about how to choose and use different service design techniques based on theories of distributed and situated cognition.
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| 6. |
- Blomkvist, Johan, 1978-
(författare)
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Benefits of Service Level Prototyping
- 2016
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Ingår i: The Design Journal. - Abingdon, UK : Informa UK Limited. - 1460-6925 .- 1756-3062. ; 19:4, s. 545-564
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Tidskriftsartikel (refereegranskat)abstract
- This paper discusses the impact ofservice design by zooming in on the case of serviceprototyping. It is suggested that prototyping servicesis different from prototyping in other disciplinesand shows how by discussing prototyping ondifferent levels. On the service level of prototyping,a technique called ‘service walkthrough’ can be away to understand whole service experiences. Theservice walkthrough was used in three cases. On anabstract level, what the service walkthrough addsis a technique for service design that allows explorationof the relationship between touchpoints suchas composition, continuity, and consistency. In thecases studied, the walkthroughs increased empathyfor different roles in the services while generating insightsabout e.g. technical requirements, transitionsbetween touchpoints, and expectations at variousmoments of the service. The paper ends with a discussionabout the relationship between touchpointsand the potential scope of the service walkthroughtechnique.
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| 7. |
- Bremner, Craig, et al.
(författare)
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The Museum of the Future : a sedimentary cloud
- 2017
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Ingår i: The Design Journal. - : Taylor & Francis. - 1460-6925 .- 1756-3062. ; 20:Suppl. 1, s. S3560-S3568
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Tidskriftsartikel (refereegranskat)abstract
- Taking our cue from the impact of Joseph Kosuth’s 1965 conceptual artwork One and Three Chairs, there has always been one and three museums-the cosmos is the museum of light, the city is the museum of space and given the job of the museum is to indefinitely accumulate time the museum today is the museum of time. In this paper we present a fourth-the museum of the future. The museum and the department store were concurrent designs of industrialization; one-the store-collected the here-and-now and sold it as what-might-become while the other-the museum-collected what-was and projected it as what-we-have-become. However, the manifest crises of the planet illustrate the limits of our capacity to persuade ourselves we can imagine a future in which we want to live, and cast urgency on the long-term design project of being together. And the project of being together in the urban age is driving us to change the entire terrain of thought and action. Where once ideas drove change, change now appears to be split between two projects whose temporal dimensions govern the notion of ‘future’. One is the busy sharing of digital records of the as-found, and counter to this digital archive is the revival of designs of what-might-become illustrated in the boom in digital imagery of fantasy futures. In order to now imagine a future it has become necessary to navigate the competing time frames of the digital archiving of the past and the digital reproduction of the future. But for Jacques Derrida the question of the archive is not a question of the past but a question of the future, the very question of the future, of a response, of a promise and of a responsibility for tomorrow. According to him “the archive-if we want to know what this will have meant we will only know tomorrow.” And Hal Foster disconnects the archive from the museum when he questions “Might visual culture rely on techniques of information to transform a wide range of mediums into a system of image-text-a database of digital terms-an archive without museums?” In this paper we propose this temporal disjuncture-archive and future-can be bridged by the design of what we call the Museum of the Future whose windows open onto the permanent present. The Museum of the Future is not a location for the sentimental accumulation of time in the form of tasteful objects. According to Cedric Price “neither knowledge nor value can be stored and contained in a particular place” therefore “the museum of the future initiates a process of constant revision that assures the contingency and non-solidity of a building”. Following from Price we propose the Museum of the Future is a continuous interior whose form, stretched to compass the cumulous cloud of digital sentimentality and reproduction, functions as a sedimentary layer for our imaginings of increasingly populous and proximate future relations.
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| 8. |
- Christoforidou, Despina, et al.
(författare)
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Good Taste vs Good Design : A tug of war in the light of Bling
- 2012
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Ingår i: The Design Journal. - : Berg Publishers. - 1460-6925 .- 1756-3062. ; 15:2, s. 185-202
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Tidskriftsartikel (refereegranskat)abstract
- Some products are considered ‘bad taste’ and therefore of less value. However, if we focus on what a product does with and for its users, rather than on what a product is, we can disregard superficial statements based on taste and instead get a better understanding of good design. This reasoning is based on the relationship between ‘good taste’ and ‘good design’, terms which are sometimes confused and treated as synonyms. In this article, we explore the tension between ‘good taste’ and ‘good design’ and how designers can use that tension in the design process. We consider ‘good taste’ to be rooted in a subjective context of inherent values, whereas ‘good design’ arises from competence and is based on professional skill. In this paper, ‘bad taste’ is exemplified by products associated with the lifestyles of rap artists and the subculture of bling. Our experience is that bling products often generate strong feelings and opinions and are dismissed by many as ‘bad taste’ because their appearance is incompatible with what is perceived to be ‘good design’. In the context of a course on trends, industrial design students were given the task of exploring how bling products are perceived in everyday life. Their views on bling were compatible with how bling is presented in the media. The students perceived bling products to be far from what is regarded as ‘good taste’ within their own culture. Consequently, they were unable to regard bling as a source of inspiration in their design work. However, when the students began to consider what the product does rather than what it is, they were able to use bling as a source of creativity. What other design opportunities are overlooked by regarding products as being in ‘bad taste’?
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| 9. |
- Cruickshank, Leon, et al.
(författare)
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Making interactive TV easier to use : Interface design for a second screen approach
- 2007
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Ingår i: The Design Journal. - : Taylor & Francis. - 1460-6925 .- 1756-3062. ; 10:3, s. 41-53
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Tidskriftsartikel (refereegranskat)abstract
- Interactive television (iTV) has the potential to revolutionize the way we consume broadcast media, but users still find both the notion of iTV and the services currently available problematic. This paper describes a project that investigates a representative group of users' aspirations, and barriers to iTV service engagement in the UK. This primary research informed the development of new User Interface (UI) and service solutions that addressed these barriers. Specifically, a second screen solution was developed to remove the need for iTV services to use on-screen graphics, dramatically improving the possibilities for effective interaction and navigation for iTV interfaces and services. The effectiveness of these solutions was evaluated through the testing of these new iTV services in a representative group of family homes.
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| 10. |
- Dan, M. Cristina, et al.
(författare)
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Circular Fashion : The New Roles of Designers in Organizations Transitioning to a Circular Economy
- 2021
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Ingår i: The Design Journal. - : Routledge. - 1460-6925 .- 1756-3062. ; 24:6, s. 1001-1021
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Tidskriftsartikel (refereegranskat)abstract
- To tackle global sustainability challenges of the Fashion Industry and ensure long-term viability, companies have slowly started integrating circular approaches. This paper explores if and how fashion designers can aid the transition towards a circular economy. For this purpose, 15 interviews with ten fashion designers working in medium and large international fashion companies and five key expert informants were conducted. The results are summarized in the ORFDCE model (Organizational Roles of Fashion Designers for Circular Economy) and suggests designers can take up three central roles in the transition process, if they expand their sustainability-related knowledge and are supported by four central systemic organizational changes. The model enables companies to identify their specific standing in the transition process and develop designer training and support measures aimed at realizing their designers' full potential. The article also issues several recommendations for further research, to enable the transition from linear to circular fashion.
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