PRINCIPLES OF METADESIGN Processes and Levels of Co-Creation in the New Design Space

In the tight of the material and cultural conditions of the present world and within the context of current design theories, this research aims to provide an understanding of Metadesign as emerging design cutture, and to integrate and advance its conceptual framework and principles through a tra nsdisci pli nary dialogue with the aesthetics and practice of Net Art. By rejecting the notion of Metadesign as an established design approach and practice, the creation of an etymological hypothesis based on the meanings of the prefix "-meta" (behind, together, between) becomes possible. Following this historical and cultural path, the research describes theories, frameworks and practices of Metadesign that have occurred in art, culture and media since the 1980s, in fields, such as, graphic design, industrial design, software engineering, information design, interaction design, biotechnotogical design, telecommunication art, experimental aesthetics, and architecture. The comparison and integration of all these approaches and viewpoints attows the identification of some design trends. More significantly, however, such an analysis enables the deconstruction of clusters of concepts and the production of a map of coherent etements. The anticipatory, participatory and sociotechnical issues raised 4 by the emerging and interconnected concepts that underlie Metadesign can be articulated and summarized in a three-fotd path based on the initial epistemological hypothesis. This can be characterized by three specific terms: 1) behind (designing design); 2) with (designing together); 3) betweenlamon3 (designing the "inbetween "). Interactive Art practitioners and theorists, both at an aesthetic and practical level, also share concerns about interaction, participation and co-creation. Compared to more financially oriented fields, Interactive Art, and collaborative practices of Net Art specificalty, have been We to answer to the new materiat and existentiat condition outlined by interconnectivity with a more dismantling experimentalism. The insights and advances they have produced in relation to the embodied and intersubjective dimension of human experience and creativity are stilt to be fully explored. Such insights can significantly fortify the three-fold path elaborated by this research, particutarty the third fo(d, which is concerned with the design of the 0rinbetween ". Focusing on collaborative systems for graphical interaction, as more suitable to the goal of understanding basic embodied and intersubjective processes of co-creation, the research identifies and analyses three projects of Net Art as case studies (GL&n6rateur Po*i 6tique, Open Studio, SITO Synergy Gridcosm). The results of these case studies provide an understanding of the experience of co-creation, a grasp of motivationat paths to co-creation, and a description of the features of the computationat environment which can sustain co-creation

HIVE-MIND SPACE: A META-DESIGN APPROACH FOR CULTIVATING AND SUPPORTING COLLABORATIVE DESIGN.

The ever-growing complexity of design projects requires more knowledge than any individual can have and, therefore, needs the active engagement of all stakeholders in the design process. Collaborative design exploits synergies from multidisciplinary communities, encourages divergent thinking, and enhances social creativity. The research documented in this thesis supports and deepens the understanding of collaborative design in two dimensions: (1) It developed and evaluated socio-technical systems to support collaborative design projects; and (2) It defined and explored a meta- design framework focused on how these systems enable users, as active contributors, to modify and further develop them. The research is grounded in and simultaneously extends the following major dimensions of meta-design: (1) It exploits the contributions of social media and web 2.0 as innovative information technologies; (2) It facilitates the shift from consumer cultures to cultures of participation; (3) It fosters social creativity by harnessing contributions that occur in cultures of participation; (4) It empowers end-users to be active designers involved in creating situated solutions. In a world where change is the norm, meta-design is a necessity rather than a luxury because it is impossible to design software systems at design time for problems that occur only at use time. The co-evolution of systems and users\u2bc social practices pursued in this thesis requires a software environment that can evolve and be tailored continuously. End-user development explores tools and methods to support end users who tailor software artifacts. However, it addresses this objective primarily from a technical perspective and focuses mainly on tailorability. This thesis, centered on meta-design, extends end-user development by creating social conditions and design processes for broad participation in design activities both at design time and at use time. It builds on previous research into meta- design that has provided a strategic overview of design opportunities and principles. And it addresses some shortcomings of meta-design, such as the lack of guidelines for building concrete meta-design environments that can be assessed by empirical evaluation. Given the goal of this research, to explore meta-design approaches for cultivating and supporting collaborative design, the overarching research question guiding this work is: How do we provide a socio-technical environment to bring multidisciplinary design communities together to foster creativity, collaboration, and design evolution? 8 To answer this question, my research was carried out through four different phases: (1) synthesizing concepts, models, and theories; (2) framing conceptual models; (3) developing several systems in specific application areas; and (4) conducting empirical evaluation studies. The main contributions of this research are: \uf0a7 The Hive-Mind Space model, a meta-design framework derived from the \u201csoftware shaping workshop\u201d methodology and that integrates the \u201cseeding, evolutionary growth, reseeding\u201d model. The bottom-up approach inherent in this framework breaks down static social structures so as to support richer ecologies of participation. It provides the means for structuring communication and appropriation. The model\u2bcs open mediation mechanism tackles unanticipated communication gaps among different design communities. \uf0a7 MikiWiki, a structured programmable wiki I developed to demonstrate how the hive-mind space model can be implemented as a practical platform that benefits users and how its features and values can be specified so as to be empirically observable and assessable; \uf0a7 Empirical insights, such as those based on applying MikiWiki to different collaborative design studies, provide evidence that different phases of meta-design represent different modes rather than discrete levels

A study of the importance of cultural factors in the user interaction with, and the design of, interactive science and technology exhibits in museums

This research investigates the cultural factors affecting the use of interactive science exhibits including interactive science and technology exhibits (ISTEs) by visitors to science museums worldwide. Visitors bring differing characteristics and experiences to bear upon the task of using these exhibits. These affect the nature and quality of their interaction with the exhibits. This research has focused on the cultural issues, and has defined them using 10 distinct and coherent ‘dimensions’. This has been achieved by extensive review of relevant earlier research work and building on this with experimental studies with visitors and interviews with science museum experts in the UK and Thailand. Interactive science exhibits now take many forms, and therefore for scientific investigation of their use it is essential to classify them in a form which promotes research validity and reliability. This research has developed a new classification of interactive science exhibits into four classes based upon the user’s perception, cognition and the nature of the interaction. The classes are: (1) simple interaction with direct understanding; (2) simple interaction with complex understanding; (3) multiple interactions with direct understanding; and (4) multiple interactions with complex understanding. This classification was used in experimental studies of interaction with exhibits at science museums. The research methods used mixed methods of quantitative and qualitative research through three separate studies. The data collection methods were: interviews, questionnaires, and video recording observation. The findings were that not only language issues and conceptual understanding are important factors, but other cultural factors were also inter-related and affect visitors’ learning through ISTEs