Experiential Role of Artefacts in Cooperative Design

The role of material artefacts in supporting distributed and co-located work practices has been well acknowledged within the HCI and CSCW research. In this paper, we show that in addition to their ecological, coordinative and organizational support, artefacts also play an ‘experiential’ role. In this case, artefacts not only improve efficiency or have a purely functional role (e.g. allowing people to complete tasks quickly), but the presence and manifestations of these artefacts bring quality and richness to people’s performance and help in making better sense of their everyday lives. In a domain like industrial design, such artefacts play an important role for supporting creativity and innovation. Based on our prolonged ethnographic fieldwork on understanding cooperative design practices of industrial design students and researchers, we describe several experiential practices that are supported by mundane artefacts like sketches, drawings, physical models and explorative prototypes – used and developed in designers’ everyday work. Our main intention to carry out this kind of research is to develop technologies to support designers’ everyday practices. We believe that with the emergence of ubiquitous computing, there is a growing need to focus on personal, emotional and social side of people’s everyday experiences. By focusing on the experiential practices of designers, we can provide a holistic view in the design of new interactive technologies

Alternative Presents and Speculative Futures: Designing fictions through the extrapolation and evasion of product lineages.

The core question addressed by this invited keynote and conference paper is how fictions are designed to negotiate, critique and realise the multiplicity of possible new technological futures. Focusing on methods, processes and strategies the presentation initially describes how things/technologies become products, employing the perspective of domestication to describe the transition from extraordinary to everyday. This development suggests a product history, a traceable lineage that goes back through generations, each one a small iteration of the previous. By modelling this lineage, design fictions can do two things: 1. Project current emerging technological development to create Speculative Futures: hypothetical products of tomorrow. 2. Break free of the lineage to speculate on Alternative Presents. These fictions effectively act as cultural litmus paper, either offering vignettes of how it might be to live with the technology in question or challenging contemporary applications of technology through demonstrable alternatives. The presentation focused on how these two types of fiction are created, how they differ from science fiction, other modes of future thinking and technological critique - more specifically how both methodologies utilise designed artefacts. What informs the development, aesthetics, behaviour, interactions and function of these objects? Once created, how and where do they operate? How can we gauge and understand their impact and meaning? As a consequence of the presentation Auger was invited to run workshops and projects in Basel (Hochschule für Gestaltung und Kunst) and HEAD (Haute école d’art et de design), Geneva and is advising on the design of a new masters programme at the Basel Hochschule

The (In)Difference engine: explaining the disappearance of diversity in the design of the personal computer

At the time of writing there is a clear perception of all office computers as being more or less identical. Discussion with users entails repetitive rhetoric as they describe a landscape of boring beige boxes. The office PC is indeed a ‘clone’ - an identical, characterless copy of a bland original. Through the exploration of an archive of computer manufacturer’s catalogues, this article shows how previous, innovative forms of the computer informed by cultural references as diverse as science fiction, accepted gender roles and the discourse of status as displayed through objects, have been systematically replaced by the adoption of a ‘universal’ design informed only by the nondescript, self-referential world of office equipment. The acceptance of this lack of innovation in the design of such a truly global, mass-produced, multi-purpose technological artefact has had an enormous effect on the conception, perception and consumption of the computer, and possibly of information technology itself. The very anonymity of the PC has created an attitude of indifference at odds with its potential.</p

Consumer values and eco-fashion in the future

This paper discusses the consumer values, attitudes and expectations regarding sustainable textiles and clothing. Consumers' interest in ethical issues is currently raising ethical questions in the mass market. What does a consumer expect from sustainable products in the apparel industry? and what is future eco-fashion

High-end fashion manufacturing in the UK - product, process and vision. Recommendations for education, training and accreditation

The Centre for Fashion Enterprise (CFE) was commissioned by the Department of Culture, Media and Sport (DCMS) to undertake a feasibility study to explore fully the market need for a new high-end production hub. This was in direct response to the need highlighted in the DCMS report, Creative Britain - New Talents For The New Economy, published in 2008. In addition to finding a need for a sampling and innovation facility1 (outlined in a separate document), the study identified significant problems relating to education and skills training in the sector. Recommendations are given in this report as to how these might be addressed, as well as a recommendation for an accreditation scheme that would aim to raise production quality standards within the sector

Comparative study of selected indoor concentration from selective laser sintering process using virgin and recycled polyamide nylon (pa12)

Additive manufacturing (AM) stands out as one of the promising technologies that have huge potential towards manufacturing industry. The study on additive manufacturing impact on the environment and occupational exposure are attracting growing attention recently. However, most of the researcher focus on desktop and fused deposition modelling type and less attention given to the industrial type of AM. Usually, during the selective laser sintering process, recycle powder will be used again to reduce cost and waste. This article compares the PM 2.5, carbon dioxide (CO2) and total volatile organic compound (TVOC) concentration between virgin and recycles powder using polyamide-nylon (PA12) towards indoor concentration. Four phases of sampling involve during air sampling accordingly to the Industry Code of Practice on Indoor Air Quality 2010 by DOSH Malaysia. It was found that PM 2.5 and CO2 concentration are mainly generated during the pre-printing process. The recycle powder tended to appear higher compared to virgin powder in terms of PM 2.5, and CO2. The peak value of PM 2.5 is 1452 μg/m3 and CO2 is 1218 ppm are obtained during the pre-printing process during 8 hours of sampling. TVOC concentration from recycling powder is slightly higher during the post- printing phase where confirm the influence of the powder cake and PA12 temperature from the printing process. In summary, this work proves that elective laser sintering (SLS) machine operators are exposed to a significant amount of exposure during the SLS printing process. Mitigation strategies and personal protective equipment are suggested to reduce occupational exposure

Cultural economy and the creative field of the city

I begin with a rough sketch of the incidence of the cultural economy in US cities today. I then offer a brief review of some theoretical approaches to the question of creativity, with special reference to issues of social and geographic context. The city is a powerful fountainhead of creativity, and an attempt is made to show how this can be understood in terms of a series of localized field effects. The creative field of the city is broken down (relative to the cultural economy) into four major components, namely, (a) intra-urban webs of specialized and complementary producers, (b) the local labor market and the social networks that bind workers together in urban space, (c) the wider urban environment, including various sites of memory, leisure, and social reproduction, and (d) institutions of governance and collective action. I also briefly describe some of the path-dependent dynamics of the creative field. The paper ends with a reference to some issues of geographic scale. Here, I argue that the urban is but one (albeit important) spatial articulation of an overall creative field whose extent is ultimately nothing less than global.cultural economy; creative field; creativity; creative city; urban economy; urban growth

Fashion Law: More than Wigs, Gowns, and Intellectual Property

[T]his article frames the emerging field of fashion law and synthesizes its substance from an international perspective in order to raise the profile of fundamental areas in which the law and fashion intersect as well as identify key areas for future research. Part II examines the background on fashion law, initially focusing on its origins and then examining IP, traditionally the main area of the field. Additionally, the Article defines, frames, and justifies the emerging field of fashion law. Because an exhaustive analysis of the emerging trends in fashion law is beyond the scope of this Article, Part III only focuses on some of the most active areas to show the relevance and importance of the law in the world of fashion as well as indicates the need for further engagement by the academy, the legislature, and the judiciary. First, the Article explores deficiencies in current IP law, particularly how IP law may inhibit innovation and creativity. Second, the Article examines fashion’s impact on society, including the manner in which fundamental rights and health issues inextricably connect with the fashion industry. Third, the Article analyzes the impact of the fashion industry on labor and weaknesses in the law. Fourth, the Article finally probes the fashion industry’s relationship with environmental and corporate sustainability. Through such analysis, the Article illustrates the importance of the evolving field of fashion law to business and society as well as the rich research opportunities for legal scholars with a sense of sartorial curiosity