Traces of emergence: an ontological unification of perception, artefact, and process

Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good.Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good

Form as an abstraction of mechanism

There is an emergent body of research linking the nature of form to design, functionality and user experience. This paper builds on these recent studies to propose a new approach connecting conceptual-design with advanced manufacturing techniques. Using the properties of work materials and advanced forming manufacturing processes, radical approaches to design and production could be open to designers and engineers, offering novel modes of user experience. By firstly reviewing the literature on product form and its bond with the concepts within the fields of user interaction and user experience, a number of “functional mechanisms” are introduced that could potentially be integrated into this new and more homogeneous manufacturing framework

The emotive qualities of patterns : insights for design

The role of pattern use in the visual arts has not been fully analysed in terms of its emotive and semantic values. Patterns have played a dominant role in art, architecture and design for thousands of years but their nuanced relationship with human observers has not been systematically analysed – the emotive and semantic qualities of their forms are yet to become fully clear. This paper presents work in experimental aesthetics, analysing the emotive and semantic qualities of commonly used patters. Focus groups were used as a means of analysing a set of sixteen distinct patterns where each group considered each pattern and assigned each one emotive and semantic values. The patterns were sourced from a wide variety of cultures and varied hugely in terms of their underlying geometry; angular forms, curved forms and symbolic content. Our results reveal that many patterns have complex emotive connotations and can sometimes convey strong value judgements that we suggest are derived from the qualities of their form and foundational structure. The possible reasons for these phenomena and the implications for design practice and design research and subsequently discussed

The emotive and semantic content of pattern : an introductory analysis

This article examines the emotive significance of culturally prominent patterns and sets out an agenda for their purposeful use in design. An exploratory study reviewed 16 distinct patterns and asked participants to judge to what extent a set of emotion terminology related to the aesthetic of each. The results suggest the dynamics of observing aesthetically complex pattern are both exciting and interesting. Drawing on aesthetic theory, it is also argued that discrete geometric motifs within pattern may be subjectively related to emotions such as trust and fear. Connecting these motifs with specific concepts in aesthetic perception and interpretation, it is proposed that pattern can be selectively applied by designers hoping to develop emotively attuned product aesthetics

Moving from brain-computer interfaces to personal cognitive informatics

Consumer neurotechnology is arriving en masse, even while algorithms for user state estimation are being actively defined and developed. Indeed, many consumable wearables are now available that try to estimate cognitive changes from wrist data or body movement. But does this data help people? It's a critical time to ask how users could be informed by wearable neurotechnology, in a way that would be relevant to their needs and serve their personal well-being. The aim of this SIG is to bring together the key HCI communities needed to address this: personal informatics, digital health and wellbeing, neuroergonomics, and neuroethics

The configuration and experience mapping of an accessible VR environment for effective design reviews

This paper presents a new VR interaction environment for the evaluation of digital prototypes, specifically in designer-client review sessions, and documents its implementation via experience mapping. Usability of VR controllers and basic manipulation remains a barrier for lay users, and a range of typical implementations are reviewed, highlighting the need for an easily accessible interface for this setting. The resulting interface configuration – the Control Carousel – demonstrates how the appropriate use of familiar mechanisms can increase VR accessibility. Three case studies using the Carousel in commercial design projects are described, and the subsequent interface refinements outlined. Finally, the development of an experience map describing the logistical, interactive and emotive factors affecting the Carousel’s implementation, is documented. This provides insights on how experience mapping can be used as part of a human-centred design process to ensure VR environments are attuned to the requirements of users, in this instance delivering improved collaborative reviews