The Cybernetics of Design and the Design of Cybernetics

Purpose – The purpose of this paper is to connect two discourses, the discourse of cybernetics and that of design. Design/methodology/approach – The paper takes a comparative analysis of relevant definitions, concepts, and entailments in both discourse, and an integration of these into a cybernetically informed concept of human-centered design, on the one hand, and a design-informed concept of second-order cybernetics, on the other hand. In the course of this conceptual exploration, the distinction between science and design is explored with cybernetics located in the dialectic between the two. Technology-centered design is distinguished from human-centered design, and several axioms of the latter are stated and discussed. Findings – This paper consists of recommendations to think and do things differently. In particular, a generalization of interface is suggested as a replacement for the notion of products; a concept of meaning is developed to substitute for the meaninglessness of physical properties; a theory of stakeholder networks is discussed to replace the deceptive notion of THE user; and, above all, it is suggested that designers, in order to design something that affords use to others, engage in second-order understanding. Originality/value – The paper makes several radical suggestions that face likely rejection by traditionalists but acceptance by cyberneticians and designers attempting to make a contribution to contemporary information society

Conversation, Design and Ethics: The Cybernetics of Ranulph Glanville

One of the major themes of Ranulph Glanville’s work has been the intimate connection between cybernetics and design, the two principle disciplines that he has worked in and contributed to. In this paper I review the significance of the analogy that he proposes between the two and its connection to his concerns with, firstly, the cybernetic practice of cybernetics and, secondly, the relation between cybernetics and ethics. I propose that by putting the cybernetics-design analogy together with the idea that in cybernetics epistemological and ethical questions coincide, we can understand design as not just a form ofcybernetic practice but also one in which ethical questions are implicit

Design research as a variety of second-order Cybernetic practice

> Context • The relationship between design and science has shifted over recent decades. One bridge between the two is cybernetics, which offers perspectives on both in terms of their practice. From around 1980 onwards, drawing on ideas from cybernetics, Glanville has suggested that rather than apply science to design, it makes more sense to understand science as a form of design activity, reversing the more usual hierarchy between the two. I return to review this argument here, in the context of recent discussions in this journal regarding second-order science (SOS). > Problem • Despite numerous connections to practice, second-order cybernetics (SOC) has tended to be associated with theory. As a result, SOC is perceived as separate to the more tangible aspects of earlier cybernetics in a way that obscures both the continuity between the two and also current opportunities for developing the field. > Method • I review Glanville's understanding of design, and particularly his account of scientific research as a designlike activity, placing this within the context of the shifting relation between science and design during the development of SOC, with reference to the work of Rittel and Feyerabend. Through this, I summarise significant parallels and overlaps between SOC and the contemporary concerns of design research. > Results • I suggest that we can see design research not just as a field influenced by cybernetics but as a form of SOC practice even where cybernetics is not explicitly referenced. > Implications • Given this, design research offers much to cybernetics as an important example of SOC that is both outward looking and practice based. As such, it bridges the gap between SOC and the more tangible legacy of earlier cybernetics, while also suggesting connections to contemporary concerns in this journal with SOS in terms of researching research. > Constructivist content • By suggesting that we see design research as an example of SOC, I develop connections between constructivism and practice

The art of conversation: design cybernetics and its ethics

Purpose This paper discusses ethical principles that are implicit in second-order cybernetics, with the aim of arriving at a better understanding of how second-order cybernetics frames living in a world with others. It further investigates implications for second-order cybernetics approaches to architectural design, i.e. the activity of designing frameworks for living. Design/methodology/approach The paper investigates the terminology in the second-order cybernetics literature with specific attention to terms that suggest that there are ethical principles at work. It further relates second-order cybernetics to selected notions in phenomenology, pragmatism and transcendental idealism. The comparison allows for conclusions about the specificity of a second-order inquiry. In line with the thematic focus of this journal issue on the framing of shared worlds, the paper further elaborates on questions relating to the activity of designing “worlds” in which people live with others. Findings The paper highlights that a radical openness toward the future and toward the agency of others is inscribed in the conception of second-order cybernetics. It creates a frame of reference for conceiving social systems of all kinds, including environments that are designed to be inhabited. Originality/value The paper identifies an aesthetics grounded in the process of living-with-others as an ethical principle implicit in second-order cybernetics thought. It is an aesthetics that is radically open for the agency of others. Linking aesthetics and ethics, the paper’s contributions will be of specific value for practitioners and theoreticians of design. Considering second-order cybernetics as a practice generally dealing with designing, it also contributes to the wider second-order cybernetics discourse

Cybernetic transdisciplinarity as pedagogy

A core characteristic of cybernetics is the construction of transdisciplinary theory through the creation of analogies between different situations in terms of feedback processes. Feedback, which can be understood as processes where the observed outcomes of action are taken as input for new action, is widespread across social, ecological, biological, and technological contexts, giving cybernetics its transdisciplinary character. Cybernetics is often abstract in character, seeking to understand principles that apply in many situations. For instance, Wiener characterized cybernetics as relevant to both “the animal and the machine”, Ashby saw it as concerned with “all possible machines”, and Mead understood it as form of language “sufficiently abstract to make it possible to cross disciplinary boundaries”. This abstraction affords cybernetics its extraordinarily broad scope, explanatory power, and transgressive character, with ideas able to move between contexts. However, this abstraction also brings limitations. First, it focuses attention on general principles at the expense of material embodiment and the specifics of a situation. Second, positioning cybernetics as explanatory tends to characterize its relation to practice in terms of a theory-application relationship that is, at least to some extent, at odds with cybernetics’ core ideas about circularity. Third, the ease with which cybernetics moves ideas between contexts risks uncritical deployments of its analogies as if they represent equivalencies, such as thinking of machines as if they are brains or vice versa. In this paper, we present a way in which cybernetic analogies may be deployed in a manner which is embodied (rather than abstract) and methodological (rather than explanatory). The example we take is from our own teaching practices, focusing on a curriculum developed in the context of supporting postgraduate architecture and design students in understanding research. This is an area in which cybernetics has theory to offer, notably Glanville’s argument that research (including scientific research) is designed. By outlining the approach to teaching and learning developed in this curriculum, we describe how Glanville’s theoretical stance may be reformulated as a pedagogic process, where students reposition their growing expertise in design as expertise in (designing) research. We discuss the advantages of this in the context of education for design research, such as avoiding positioning research as something external to design and opening research to the sorts of critique that one may apply to other design outcomes. Reviewing the legacy of this curriculum in students’ subsequent project work, we conclude by speculating on the extent to which the pedagogic approach presented here may be taken up in other practical situations

A Poetics of Designing

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards

Cybernetic Musings on Open Form(s)

Second-order cybernetics conceives of human beings as agents and participants in the making of worlds, embedded in the design process. This conception of designing as a practice of living with and in a world grants it both urgency and hope. The paper proposes that design practitioners, in the widest sense, can learn from design cybernetics when conceiving new methodologies for the post-Anthropocene era. Further, it proposes that these methodologies’ development can take advantage of comparative studies of design cybernetics and design strategies found in traditional Chinese culture. Significantly, Chinese landscape poetry and landscape painting, and, in relation to this, Chinese classical garden design, emphasise elements that are also present in cybernetics discourse: circularity, a floating observer, and the continuity of observer and environment. The paper proposes that these ideas create the necessary conditions for the development of design approaches that reconnect human beings to their environments and permit future agents to initiate change from within. It concludes with an example of a public art installation that implements these ideas

Cybernetic Musings on Open Form(s): Learning to float

Second-order cybernetics conceives of human beings as agents and participants in the making of worlds, embedded in the design process. This conception of designing as a practice of living with and in a world grants it both urgency and hope. The paper proposes that design practitioners, in the widest sense, can learn from design cybernetics when conceiving new methodologies for the post-Anthropocene era. Further, it proposes that these methodologies’ development can take advantage of comparative studies of design cybernetics and design strategies found in traditional Chinese culture. Significantly, Chinese landscape poetry and landscape painting, and, in relation to this, Chinese classical garden design, emphasise elements that are also present in cybernetics discourse: circularity, a floating observer, and the continuity of observer and environment. The paper proposes that these ideas create the necessary conditions for the development of design approaches that re-connect human beings to their environments and permit future agents to initiate change from within. It concludes with an example of a public art installation that implements these ideas

Cybernetic Musings on Open Form(s): Learning to float

Second-order cybernetics conceives of human beings as agents and participants in the making of worlds, embedded in the design process. This conception of designing as a practice of living with and in a world grants it both urgency and hope. The paper proposes that design practitioners, in the widest sense, can learn from design cybernetics when conceiving new methodologies for the post-Anthropocene era. Further, it proposes that these methodologies’ development can take advantage of comparative studies of design cybernetics and design strategies found in traditional Chinese culture. Significantly, Chinese landscape poetry and landscape painting, and, in relation to this, Chinese classical garden design, emphasise elements that are also present in cybernetics discourse: circularity, a floating observer, and the continuity of observer and environment. The paper proposes that these ideas create the necessary conditions for the development of design approaches that re-connect human beings to their environments and permit future agents to initiate change from within. It concludes with an example of a public art installation that implements these ideas

Resonances of the Unknown

Purpose – The purpose of this paper is to discuss the relevance of second-order cybernetics for a theory of architectural design and related discourse. Design/methodology/approach – First, the relation of architectural design to the concept of “poiesis” is clarified. Subsequently, selected findings of Gotthard Günther are revisited and related to an architectural poetics. The last part of the paper consists of revisiting ideas mentioned previously, however, on the level of a discourse that has incorporated the ideas and offers a poetic way of understanding them