Developing an ecology of mind in design

The relationship between design and sustainability (DfS) is forever evolving: from the early focus on cleaner production processes and resource efficiencies to more recent endeavours to promote environmentally benign behaviours or to counter the increasing impacts of climate change. The uncomfortable truth though is that the majority of design activity serves market forces at a global scale and at an ever-increasing rate. Despite predictions of resource scarcity – peak oil, peak minerals, peak water – the increase in the linear transit of material through the Global economy rises year on year. Design straddles this production consumption cycle: it conceives of the processes and technologies that shape our artificial world; and it fashions the forms of that artificial world that drive a consumption ideology. Neither position is sustainable. Informed by Sterling’s rigorous exploration of different sustainable education paradigms, this paper reconstructs a design literacy that has the capacity to realize effective transitions for the long-term wellbeing of environment, biodiversity and humankind

General characteristics of anticipated user experience (AUX) with interactive products

Providing a positive user experience (UX) has become the key differentiator for products to win a competition in mature markets. To ensure that a product will support enjoyable experiences for its users, assessment of UX should be conducted early during the design and development process. However, most UX frameworks and evaluation techniques focus on understanding and assessing user’s experience with functional prototypes or existing products. This situation delays UX assessment until the late phases of product development which may result in costly design modifications and less desirable products. A qualitative study was conducted to investigate anticipated user experience (AUX) to address this issue. Twenty pairs of participants were asked to imagine an interactive product, draw their product concept, and anticipate their interactions and experiences with it. The data was analyzed to identify general characteristics of AUX. We found that while positive AUX was mostly related to an imagined/desired product, negative AUX was mainly associated with existing products. It was evident that the pragmatic quality of product was fundamental, and significantly influenced user’s anticipated experiences. Furthermore, the hedonic quality of product received more focus in positive than negative AUX. The results also showed that context, user profile, experiential knowledge, and anticipated emotion could be reflected in AUX. The understanding of AUX will help product designers to better foresee the users’ underlying needs and to focus on the most important aspects of their positive experiences, which in turn facilitates the designers to ensure pleasurable UX from the start of the design process

Prospects for large-scale financial systems simulation

As the 21st century unfolds, we find ourselves having to control, support, manage or otherwise cope with large-scale complex adaptive systems to an extent that is unprecedented in human history. Whether we are concerned with issues of food security, infrastructural resilience, climate change, health care, web science, security, or financial stability, we face problems that combine scale, connectivity, adaptive dynamics, and criticality. Complex systems simulation is emerging as the key scientific tool for dealing with such complex adaptive systems. Although a relatively new paradigm, it is one that has already established a track record in fields as varied as ecology (Grimm and Railsback, 2005), transport (Nagel et al., 1999), neuroscience (Markram, 2006), and ICT (Bullock and Cliff, 2004). In this report, we consider the application of simulation methodologies to financial systems, assessing the prospects for continued progress in this line of research

Into the Unknown: Navigating Spaces, Terra Incognita and the Art Archive

This paper is a navigation across time and space – travelling from 16th century colonial world maps which marked unknown territories as Terra Incognita, via 18th century cabinets of curiosities; to the unknown spaces of the Anthropocene Age, in which for the first time we humans are making a permanent geological record on the earth’s ecosystems. This includes climate change. The recurring theme is loss and becoming lost. I investigate what happens when someone who is lost attempts to navigate and find parallels between Terra Incognita and the art archive, and explore the points where mapping, archiving and collecting intersect. Once something is perceived to be at risk, the fear of loss and the impulse to preserve emerges. I investigate why in the Anthropocene Age we have a stronger impulse to the archive and look to the past, rather than face the unknowable effects of climate change. This is counterpointed by artists, whose hybrids practices engage with re-imaging and re-imagining today’s world, thereby moving us forward into the unknown. ‘Becoming’ is therefore another central theme. The art archive is explored from multiple perspectives – as an artist, an art archive user and an archivist – noting that the subject, the consumer and the archivist all have very differing agendas. I question who uses physical archives today and how we can retain our sense of curiosity. I conclude with a link to an interactive artwork, which visualises, synthesises and expands this research

The ‘responsibility’ factor in imagining the future of education in China

Design and creativity have been a considerable force for improving life conditions. A lot of effort has been invested in explaining the design process and creativity mainly through the design thinking methodology, but design accountability and responsible actions in the design process are, yet, to be fully explored. The concept of design ethics is now increasingly scrutinized on both the level of business organization and of the individual designer. A 4-day design workshop that involved creativity techniques provided the base to explore responsibility in the fuzzy front end of the design process. The future of education in 2030 was defined as the workshop's theme and fifty-six students from China were asked to create detailed alternative scenarios. A number of imagination exercises, implementation of technological innovations and macro-environment evolutions employed in the workshop are discussed. The aim was to incite moral and responsible actions among students less familiar with creative educational contexts of student-led discovery and collaborative learning. This paper reflects on the use of creativity methods to stimulate anticipation in (non)design students

On Neuromechanical Approaches for the Study of Biological Grasp and Manipulation

Biological and robotic grasp and manipulation are undeniably similar at the level of mechanical task performance. However, their underlying fundamental biological vs. engineering mechanisms are, by definition, dramatically different and can even be antithetical. Even our approach to each is diametrically opposite: inductive science for the study of biological systems vs. engineering synthesis for the design and construction of robotic systems. The past 20 years have seen several conceptual advances in both fields and the quest to unify them. Chief among them is the reluctant recognition that their underlying fundamental mechanisms may actually share limited common ground, while exhibiting many fundamental differences. This recognition is particularly liberating because it allows us to resolve and move beyond multiple paradoxes and contradictions that arose from the initial reasonable assumption of a large common ground. Here, we begin by introducing the perspective of neuromechanics, which emphasizes that real-world behavior emerges from the intimate interactions among the physical structure of the system, the mechanical requirements of a task, the feasible neural control actions to produce it, and the ability of the neuromuscular system to adapt through interactions with the environment. This allows us to articulate a succinct overview of a few salient conceptual paradoxes and contradictions regarding under-determined vs. over-determined mechanics, under- vs. over-actuated control, prescribed vs. emergent function, learning vs. implementation vs. adaptation, prescriptive vs. descriptive synergies, and optimal vs. habitual performance. We conclude by presenting open questions and suggesting directions for future research. We hope this frank assessment of the state-of-the-art will encourage and guide these communities to continue to interact and make progress in these important areas