Nothing Special? (Activist) Design Skills for the 21st Century

Abstract This isn’t just a challenge for designers, but also for policy, design research and the representation of design through its exhibition or publication. Design is embracing new sets of skills that require extended thinking. In terms of design education, which plays a role in defining the skills necessary to designers, this dynamic is particularly challenging. In this article, rather than pursue traditional disciplinary fields – either to be found in the design profession or in its educational institutions – I move toward four conceptual frameworks that might help structure a way into considering where design skills for the 21st century might be directed. I do this in the context of increasing global resource constraints, the need to address climate change more thoughtfully and issues of social inequality and injustice that have become greater and more widespread over the past 30 years. These years have seen the growth of design in the context of the neoliberal economic and social system. Building away from this, we may see design as an active agent in forging post-neoliberal ways of living, acting and being. Abstract This isn’t just a challenge for designers, but also for policy, design research and the representation of design through its exhibition or publication. Design is embracing new sets of skills that require extended thinking. In terms of design education, which plays a role in defining the skills necessary to designers, this dynamic is particularly challenging. In this article, rather than pursue traditional disciplinary fields – either to be found in the design profession or in its educational institutions – I move toward four conceptual frameworks that might help structure a way into considering where design skills for the 21st century might be directed. I do this in the context of increasing global resource constraints, the need to address climate change more thoughtfully and issues of social inequality and injustice that have become greater and more widespread over the past 30 years. These years have seen the growth of design in the context of the neoliberal economic and social system. Building away from this, we may see design as an active agent in forging post-neoliberal ways of living, acting and being.&nbsp

Co-Producing Social Futures Through Design Research

A report resulting from the research project 'Developing Participation in Social Design: Prototyping Projects, Programmes and Policies' (ProtoPublics) commissioned by the Arts and Humanities Research Council. A key aim of this report is to clarify how a design-oriented approach complements and is distinct from other kinds of cross-disciplinary, co-produced research in relation to social issues. The report is accompanied by an animation published online which summarises the argument

Consultant social design, austerity and citizenry

Social design has emerged as a broad set of designerly approaches to societal challenges. With falling public sector budgets and failing economies, social design, as carried through pro- fessional, consultant practices rather than in its voluntarist or activist modes, is understood to work as a smart, fast way of seeing us through these. Outsourcing, Outcome-Based Budgeting and the stirring up of traditional governance systems and responsibilities each contribute to a more varied and less permanent design landscape to work in, however. These are met by a set of design methods to researching, generating and realising new ways to configure and deliver services. This paper takes a critical view that asks whether consultant social design really is ‘social’ or whether, instead, it conspires, in its methods and in the contexts it is active in, towards the opposite

Nothing Special? (Activist) Design Skills for the 21st Century

Abstract This isn’t just a challenge for designers, but also for policy, design research and the representation of design through its exhibition or publication. Design is embracing new sets of skills that require extended thinking. In terms of design education, which plays a role in defining the skills necessary to designers, this dynamic is particularly challenging. In this article, rather than pursue traditional disciplinary fields – either to be found in the design profession or in its educational institutions – I move toward four conceptual frameworks that might help structure a way into considering where design skills for the 21st century might be directed. I do this in the context of increasing global resource constraints, the need to address climate change more thoughtfully and issues of social inequality and injustice that have become greater and more widespread over the past 30 years. These years have seen the growth of design in the context of the neoliberal economic and social system. Building away from this, we may see design as an active agent in forging post-neoliberal ways of living, acting and being.

Co-Producing Social Futures Through Design Research

This report summarises findings and outcomes from a 9-month, AHRC-funded research programme called Developing Participation in Social Design: Prototyping Projects, Programmes and Policies (henceforward ProtoPublics) that took place during 2015. A key aim of this report is to clarify how a design-oriented approach complements and is distinct from other kinds of cross-disciplinary, co-produced research in relation to social issues

A systematic review of sport and dance participation in healthy young people (15-24 years) to promote subjective wellbeing

We know that taking part in physical activity like sport and dance can bring wellbeing benefits, such as being more satisfied with life and happier, and feeling less anxious and depressed. Most of the evidence is however about adults. This review was carried out to investigate the relationships between subjective wellbeing (SWB) and taking part in sport and dance for healthy young people (15-24 years). Healthy people were defined as those without a condition diagnosed by a health professional. SWB describes wellbeing in terms of the good and bad feelings arising from what people do and how they think. The focus of this review was agreed through on-going collaborative engagement with UK-wide stakeholders representing policy, commissioning and managing, service delivery, and scholars from both academic and non-academic organisations. We examined studies from the past 10 years and found that there is limited good quality evidence, and very little conducted in the UK. The review includes published findings from 977 participants across six countries - China, Korea, India, Turkey, Sweden and the USA. In some studies, participants were predominantly female. A wide variety of wellbeing measures were used. The most common form of sport/dance related activity was based on meditative practices (yoga and Baduanjin Qigong). Other physical activities reported included body conditioning, aerobic exercise, dance training, hip hop dance and sports including volleyball, ice skating, Nintendo Wii Active Games. We included evidence from recent unpublished reports (grey literature) produced by or for sport and dance organisations since 2013. Participants in the evaluations were both male and female with a mean age between 13-24 years and were engaged in UK-based programmes of sport and dance. Findings illustrate that depending on activity type and delivery mode, taking part is associated with wellbeing improvements connected to social connectedness, pleasure, sense of purpose, confidence, interpersonal skills, happiness, relaxation, creative skills and expression, aspiration and ambition. Taking part was also associated with negative wellbeing connected to concerns about competency and capability. Overall, the evidence available in this review suggests that yoga-type activities have the potential to improve subjective wellbeing and that group-based and peer supported sport and dance programmes may promote wellbeing enhancement in youth groups. The evidence in this review provides limited promising findings upon which sport and dance programmes for wellbeing improvement could be developed. The lack of evidence identified in this review does not necessarily mean that wellbeing benefits are not accrued from taking part in sport and dance. There is scope to build evidence on wellbeing outcomes of sport and dance in healthy young people through well-designed, rigorous and appropriate research methods which are underpinned by relevant theory and use established methods of analysis

A systematic review of the subjective wellbeing outcomes of engaging with visual arts for adults (“working-age”, 15-64 years) with diagnosed mental health conditions

The importance of the visual arts in contributing to the wellbeing of adults with mental health conditions has been little documented beyond some insightful and influential interventions and exploratory studies. Initiatives such as Arts on Prescription projects have, in the UK provided examples of the positive effects that engagement in artistic and creative activity can have, and some of these have been documented in small-scale studies of interventions. Most of the evidence has been perceived as positive but of limited scale. In this context, this review was carried out to examine in a more focused way the ‘subjective wellbeing’ (SWB) outcomes of engagement with the visual arts for adults with a background history of mental health conditions. SWB embraces both the positive and negative feelings that arise in individuals based on their view of the world, how they think about themselves and others, and what they do in the interactions and practices of everyday life. Adult subjects in the studies included in this review were of ‘working-age’ (15-64 years). The focus of the review and the precise research question were agreed at inception sessions of the research team, and in collaborative engagement with stakeholders in the areas of policy, service-delivery, project and evaluation commissioning, and research and scholarship in the spheres of the visual arts and mental health. Published studies from the past 10 years were studied for the review, and their findings synthesised and integrated into an evaluation of the state of knowledge in the field, in terms of the specifics of the research questions. We found that there is limited high-quality evidence, though case studies from the UK have provided important and consistent findings, corroborated by grey literature that has reported on interventions and projects. The review includes published findings based on data on/from 163 participants across four countries – Australia, Sweden, the UK, and the USA. Overall, female respondents outnumbered male respondents. A wide variety of wellbeing measures were used in some quantitative, statistical studies. In-depth interviews dominated the qualitative studies, giving voice to the experiences of individual subjects. The visual arts practices that featured in the studies included forms of painting or drawing, art appreciation with selected art forms, artmaking culminating in an exhibition, and more general creative and craft activities that included visual artefacts such as ceramics or sculpture. Evidence we include from recent unpublished reports (grey literature) was produced by or for visual arts organisations since 2014. Participants in the evaluations were both male and female and were engaged in UK-based arts interventions, many via community arts or ‘Arts on Prescription’ types of intervention. Overall, the evidence available in this review has shown that engagement in the visual arts for adults with mental health conditions can reduce reported levels of depression and anxiety; increase self-respect, self-worth and self-esteem; encourage and stimulate re-engagement with the wider, everyday social world; and support in participants a potential renegotiation of identity through practice-based forms of making or doing. The most effective ‘working ways to wellbeing’ are also confirmed in processes of implementation that ensure provision of secure safe-space and havens for interventions; that recognise the value of non-stigmatising settings; and that support and sustain collaborative facilitation of programmes and sessions. 4 Some negative dimensions of engagement with the visual arts were also identified, including stress and pressure felt to complete activities or commit to artmaking, and the very real fear that the end of an intervention would mean the return to a world of anxiety, decreasing confidence and social isolation. The review shows that for adults starting visual arts activities or programmes, the subjective wellbeing outcomes are, for the majority of participants, positive. This applies to men and women alike across the studies. The most convincing evidence has emerged from focused qualitative research designs, and makes clear that the most effective work in the field continues to lack the necessary resources and infrastructure that would ensure sustainable practices and interventions. Overall, there is some evidence of benefit in a weak field that could be strengthened by fuller monitoring of cohorts to evaluate the long-term effects of participants’ engagement with the visual arts

What works for wellbeing? A systematic review of wellbeing outcomes for music and singing in adults

Aims: The role of arts and music in supporting subjective wellbeing (SWB) is increasingly recognised. Robust evidence is needed to support policy and practice. This article reports on the first of four reviews of Culture, Sport and Wellbeing (CSW) commissioned by the Economic and Social Research Council (ESRC)-funded What Works Centre for Wellbeing (https://whatworkswellbeing.org/). Objective: To identify SWB outcomes for music and singing in adults. Methods: Comprehensive literature searches were conducted in PsychInfo, Medline, ERIC, Arts and Humanities, Social Science and Science Citation Indexes, Scopus, PILOTS and CINAHL databases. From 5,397 records identified, 61 relevant records were assessed using GRADE and CERQual schema. Results: A wide range of wellbeing measures was used, with no consistency in how SWB was measured across the studies. A wide range of activities was reported, most commonly music listening and regular group singing. Music has been associated with reduced anxiety in young adults, enhanced mood and purpose in adults and mental wellbeing, quality of life, self-awareness and coping in people with diagnosed health conditions. Music and singing have been shown to be effective in enhancing morale and reducing risk of depression in older people. Few studies address SWB in people with dementia. While there are a few studies of music with marginalised communities, participants in community choirs tend to be female, white and relatively well educated. Research challenges include recruiting participants with baseline wellbeing scores that are low enough to record any significant or noteworthy change following a music or singing intervention. Conclusions: There is reliable evidence for positive effects of music and singing on wellbeing in adults. There remains a need for research with sub-groups who are at greater risk of lower levels of wellbeing, and on the processes by which wellbeing outcomes are, or are not, achieved

What Works for Wellbeing? A systematic review of wellbeing outcomes for music and singing in adults

IMS: The role of arts and music in supporting subjective wellbeing (SWB) is increasingly recognised. Robust evidence is needed to support policy and practice. This article reports on the first of four reviews of Culture, Sport and Wellbeing (CSW) commissioned by the Economic and Social Research Council (ESRC)-funded What Works Centre for Wellbeing ( https://whatworkswellbeing.org/ ). OBJECTIVE: To identify SWB outcomes for music and singing in adults. METHODS: Comprehensive literature searches were conducted in PsychInfo, Medline, ERIC, Arts and Humanities, Social Science and Science Citation Indexes, Scopus, PILOTS and CINAHL databases. From 5,397 records identified, 61 relevant records were assessed using GRADE and CERQual schema. RESULTS: A wide range of wellbeing measures was used, with no consistency in how SWB was measured across the studies. A wide range of activities was reported, most commonly music listening and regular group singing. Music has been associated with reduced anxiety in young adults, enhanced mood and purpose in adults and mental wellbeing, quality of life, self-awareness and coping in people with diagnosed health conditions. Music and singing have been shown to be effective in enhancing morale and reducing risk of depression in older people. Few studies address SWB in people with dementia. While there are a few studies of music with marginalised communities, participants in community choirs tend to be female, white and relatively well educated. Research challenges include recruiting participants with baseline wellbeing scores that are low enough to record any significant or noteworthy change following a music or singing intervention. CONCLUSIONS: There is reliable evidence for positive effects of music and singing on wellbeing in adults. There remains a need for research with sub-groups who are at greater risk of lower levels of wellbeing, and on the processes by which wellbeing outcomes are, or are not, achieved

What works for wellbeing in culture and sport? Report of a DELPHI process to support coproduction and establish principles and parameters of an evidence review

Aims: There is a growing recognition of the ways in which culture and sport can contribute to wellbeing. A strong evidence base is needed to support innovative service development and a 3-year research programme is being undertaken to capture best evidence of wellbeing impacts and outcomes of cultural and sporting activities in order to inform UK policy and practice. This article provides an overview of methods and findings from an initial coproduction process with key stakeholders that sought to explore and agree principles and parameters of the evidence review for culture, sport and wellbeing (CSW). Methods: A two-stage DELPHI process was conducted with a purposeful sample of 57 stakeholders between August and December 2015. Participants were drawn from a range of culture and sport organisations and included commissioners and managers, policy makers, representatives of service delivery organisations (SDOs) and scholars. The DELPHI 1 questionnaire was developed from extensive consultation in July and August 2015. It explored definitions of wellbeing, the role of evidence, quality assessment, and the culture and sport populations, settings and interventions that are most likely to deliver wellbeing outcomes. Following further consultation, the results, presented as a series of ranked statements, were sent back to participants (DELPHI 2), which allowed them to reflect on and, if they wished, express agreement or disagreement with the emerging consensus. Results: A total of 40 stakeholders (70.02%) responded to the DELPHI questionnaires. DELPHI 1 mapped areas of agreement and disagreement, confirmed in DELPHI 2. The exercise drew together the key priorities for the CSW evidence review. Conclusion: The DELPHI process, in combination with face-to-face deliberation, enabled stakeholders to engage in complex discussion and express nuanced priorities while also allowing the group to come to an overall consensus and agree outcomes. The results will inform the CSW evidence review programme until its completion in March 2018