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

Sound for Fantasy and Freedom

Sound is an integral part of our everyday lives. Sound tells us about physical events in the environ- ment, and we use our voices to share ideas and emotions through sound. When navigating the world on a day-to-day basis, most of us use a balanced mix of stimuli from our eyes, ears and other senses to get along. We do this totally naturally and without effort. In the design of computer game experiences, traditionally, most attention has been given to vision rather than the balanced mix of stimuli from our eyes, ears and other senses most of us use to navigate the world on a day to day basis. The risk is that this emphasis neglects types of interaction with the game needed to create an immersive experience. This chapter summarizes the relationship between sound properties, GameFlow and immersive experience and discusses two projects in which Interactive Institute, Sonic Studio has balanced perceptual stimuli and game mechanics to inspire and create new game concepts that liberate users and their imagination

Challenging the Computational Metaphor: Implications for How We Think

This paper explores the role of the traditional computational metaphor in our thinking as computer scientists, its influence on epistemological styles, and its implications for our understanding of cognition. It proposes to replace the conventional metaphor--a sequence of steps--with the notion of a community of interacting entities, and examines the ramifications of such a shift on these various ways in which we think

Structuring the decision process : an evaluation of methods in the structuring the decision process

This chapter examines the effectiveness of methods that are designed to provide structure and support to decision making. Those that are primarily aimed at individual decision makers are examined first and then attention is turned to groups. In each case weaknesses of unaided decision making are identified and how successful the application of formal methods is likely to be in mitigating these weaknesses is assessed

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Teaching with style: computer aided instruction, personality and design education

The investigation reported in this thesis concerns the possibility of automatically matching the learning styles of design students with appropriate styles of computer aided instruction (CAl). Individual adult learners exhibit preferences for the way information is presented and for the ways in which they are taught. These preferences arise from characteristics known as cognitive styles which are associated with personality. Cognitive dissonance occurs when there is a mismatch between styles of teaching and styles of learning. Under these conditions some students will be discouraged. A survey of students on typical design courses showed them to have particular learning preferences. In this respect they are differentiated from tutors who may prefer to teach in a different style. CAl systems also exhibit styles. These are manifest in features such as the computer's control of learning interactions and the form of information which the system delivers. Computer-based training has often been of a sequential, drill-andpractice kind which encourages rote learning. This style has met with limited success, and it is shown to be unsuitable for most design students. The Myers-Briggs Type Indicator (MBTI) is used to classify the psychological types of design students. Evidence of learning preferences from the MBTI and from related sources is given. From a theoretical description of learning episodes, a computer-based model is developed that provides CAl treatments matched to sixteen learning styles. It is concluded that CAl-based teaching of technological information to design students can be more optimally matched. The principles established have wider implications for communications between designers and others

Design Guidelines...an unacceptable constraint on creativity or good design practice?

A programme of research was motivated by an identified training need within the School of Design at Staffordshire University. There was a specific requirement to develop computer based training materials for software tools used in multimedia development. Guidance was required to maintain a standard design approach for producing such materials. Initial investigations found that present 'how to do it' guides were insufficiently focused. The research centred on compiling a focused set of guidelines and related design techniques and heuristics to construct an appropriate guide. This paper discusses some of the findings and emerging issues of the research project, for example: generic (ambiguous) and emphatic (context specific) forms of guidelines; ineffective and effective published guidelines in the context of modern multimedia; a negative attitude by designers to present forms of guidelines; the need for a more focused approach to offering guidance for specific domain contexts; as multimedia has no widely accepted conventions, guidelines could help to establish principles of good design practice

Teaching anthropology with and to designers: notes from the field

This article discusses the Author’s experience of teaching anthropology to and with designers at a Design faculty. Through the illustration of mutual false expectations and productive frictions, the article illustrates the progressive development of a methodology to teach anthropology to designers and to collaborate across disciplines. In so doing, the article also identifies the peculiarities of the ‘anthropological approach’ by emphasizing the importance of cross-scale interactions in the analysis of phenomena and the role of theory in making ethnography and, therefore, in supporting designers to make their work. The main argument is that theory and practice are not dichotomous, rather they are co-implicated because theoretical innovation is at the basis for design practices. The article concludes explicating the ways in which anthropology can be useful to design students, even if in forms that are different from those usually expected or imagined

Considering the Importance of User Profiles in Interface Design

User profile is a popular term widely employed during product design processes by industrial companies. Such a profile is normally intended to represent real users of a product. The ultimate purpose of a user profile is actually to help designers to recognize or learn about the real user by presenting them with a description of a real user’s attributes, for instance; the user’s gender, age, educational level, attitude, technical needs and skill level. The aim of this chapter is to provide information on the current knowledge and research about user profile issues, as well as to emphasize the importance of considering these issues in interface design. In this chapter, we mainly focus on how users’ difference in expertise affects their performance or activity in various interaction contexts. Considering the complex interaction situations in practice, novice and expert users’ interactions with medical user interfaces of different technical complexity will be analyzed as examples: one focuses on novice and expert users’ difference when interacting with simple medical interfaces, and the other focuses on differences when interacting with complex medical interfaces. Four issues will be analyzed and discussed: (1) how novice and expert users differ in terms of performance during the interaction; (2) how novice and expert users differ in the perspective of cognitive mental models during the interaction; (3) how novice and expert users should be defined in practice; and (4) what are the main differences between novice and expert users’ implications for interface design. Besides describing the effect of users’ expertise difference during the interface design process, we will also pinpoint some potential problems for the research on interface design, as well as some future challenges that academic researchers and industrial engineers should face in practice

New design companions opening up the process through self-made computation

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.Cataloged from PDF version of thesis.Includes bibliographical references (p. 73-75).This thesis is about man and machine roles in the early conception of designs where it investigates computational methods that support creativity and surprise. It discusses the relationship between human and digital medium in the enterprise of Computer-Aided Design', and Self-Made Computation to empower the designer as driver of digital processes taking the computer as an active collaborator, or a sharp apprentice, rather than a master. In a design process tool personalization enables precise feedback between human and medium. In the field of architecture, every project is unique, and there are as many design workflows as designers. However current off-the-shelf design software has an inflexible built-in structure targeting general problem-solving that can interfere with non-standard design needs. Today, those with programming agility look for customized processes that assist early problem-finding instead of converging solutions. Contributing to alleviate software frustrations, smaller tailor-made applications prove to be precisely tailored, viable and enriching companions in certain moments of the project development. Previous work on the impact of standardized software for design has focused on the figure of the designer as a tool-user, this thesis addresses the question from the vision of the designer as a tool-maker. It investigates how self-made software can become a design companion for computational thinking - observed here as a new mindset that shifts design workflows, rather than a technique. The research compares and diagrams designer-toolmaker work where self-made applets where produced, as well as the structures in the work of rule-maker artisans. The main contributions are a comparative study of three models of computer-aided design, their history and technical review, their influence in design workflows and a graphical framework to better compare them. Critical analysis reveals a common structure to tailor a creative and explorative design workflow. Its advantages and limitations are exposed to guide designers into alternative computational methods for design processes. Keywords: design workflow; computation; applets; self-made tools; diagrams; design process; feedback; computers; computer-assisted-designby Laia Mogas-Soldevila.S.M