Infrastructuring for cultural commons

In this doctoral dissertation, I inquire into the ways in which Participatory Design (PD) and digital design endeavors can contribute to wider public access to, and use of, digital cultural heritage. I advocate for an approach according to which digital cultural heritage is arranged and understood as cultural commons, and for more collaborative modes of social care for and governance of the commons. In addition to the empirically grounded findings and proposals contained in six individual research articles, I develop a theoretical framework that combines scholarship on Information Infrastructures, Commons and PD. Against this framework I interrogate how the information infrastructures and conditions that surround digital cultural heritage can be active in constructing and contributing to cultural commons. While doing this, I draw attention to the gap that exists between on the one hand official institutional digital cultural heritage collections, systems and practices, and on the other hand the digital platforms and practices through which everyday people create, curate and share digital cultural works. In order to understand how to critically and productively bridge this gap, I present insights gained from conducting three design research cases that engage both cultural heritage institutions and everyday media users. Building upon this empirical work, and latching on to scholarship on the notion of infrastructuring, I propose four infrastructuring strategies for cultural commons: probing and building upon the installed base, stimulating and simulating design and use through gateways, producing and pooling shared resources, and, lastly, fostering and shaping a commons culture that supports commoning. In exploring these strategies, I map the territory between commons and infrastructuring, and connect these notions to the PD tradition. I do so to sketch the design principles for a design orientation, commons design. I assert that these principles can be useful for advancing PD, and can inform future initiatives, aid in identifying infrastructural challenges, and in finding and confirming an orientation to participatory design activities. Drawing on my practical design work, I discuss requirements for professional designers operating on commons frameworks and with collective action. By doing this, my dissertation not only breaks new theoretical ground through advancing theoretical considerations relevant to contemporary design research, especially the field of PD, but also contributes practical implications useful for professional digital media design practice, especially for designers working in the fields of digital culture and cultural heritage

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

Design revolutions: IASDR 2019 Conference Proceedings. Volume 3: People

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 3 includes papers from People track of the conference

[DiaGram]; Rethinking Graphic Design Process

Central to any graphic design education is the teaching of a design (or creative) process as an aid to problem-solving. This study draws upon experimental workshops within design education, together with current thinking from the broader arts, emotional psychology and the brain sciences, to explore the idea of repositioning process as the ‘main event’ – rather than it being a means-to-an-end. The study sought to frame learning experiences that enabled students to consciously become the object of their own study; including themes that explored ‘personal identity’, ‘dualism’, ‘mind-wandering’ and ‘habit’ as mechanisms to enhance our creative capacity, and evidenced significant improvements in the students’ confidence, dexterity and working methodologies (including the elusive ‘risk’ and ‘play’). The emerging conclusions propose key anchors (‘dissociative creativity’, ‘process as the main event’, ‘collaboration’ and ‘immersion’) that we believe ought to be central to the development of any new teaching (esp. within graphic design). Keywords: Design, Education, Process, Creativity, Risk Full paper. Delivered 31 May 2017. Page 81–95 of attached document