These readings were discussed in further detail in person with peers and lecturers during the course, below is a light summary.
Block One
Making: Knowing From The Inside by Tim Ingold
What is the author’s main argument?
Ingold discusses the core method of participant-observation, of needing to be immersed in the world to learn about it from the inside. He compares knowledge making to making in general, sometimes messy. Having information is not the same thing as knowing something. He argues that doing something like movement, is knowing it, rather than information about movement. Or you can study music, without knowing how to play an instrument.
How does the author’s argument relate to your practice/discipline?
Ingold argues that making something means you know it more than studying it. The practice of design is more effective at knowing design than studying others (although both are still relevant in my practice). Thinking through making is an important part of my practice, and research – it forms how my design decisions are made and my proffered research methods of working with people (rather than just watching).
How could you develop the author’s ideas through your own design research?
This reading was analysed further for my zine project.
This can be seen in my Covid project early in the term, and later will be shown in my dissertation proposal.
Design Away: Unmaking Things by Cameron Tonkinwise.
What is the author’s main argument?
Cameron Tonkinwise challenges the idea of making in this reading – arguing that anytime we make something we are also destroying something else. Usually when it comes to raw materials. While there are beneifits to ‘knowing through making’ as Tim Ingold argues, is the destruction of materials in the name of learning an appropriate use of these materials – especially as many projects made during design education are later simply thrown away.
How does the author’s argument relate to your practice/discipline?
The numerous prototypes made and materials explored within the practice of product design is not ideal environmentally. However, making effective prototypes can reduce the risk of more expensive (and more valuable materials) being used in designs that do not suit their purpose. While being respectful of the idea that everything made is destroying something, this can be balaced with the overall picture throughout the design process.
How could you develop the author’s ideas through your own design research?
It would be interesting to see what could be done to re-cycle at each stage of the design process, and how that might change the way we look at the process of design. Could each phase become a product as well? How can we better look at the process of design in an environmental way, not just the end products?
This reading was analysed further for my zine project.
Block Two
Alone Together by Sherry Turkle
What is the author’s main argument?
In this reading Sherry Turkle explores the phenomenon of being alone, but together. She looks at the digital world and how it affects us. From robots to social media, how is the virtual reality of these things changing the reality of our lives. Turkle explores the impact of social media, how in a strange twist, platforms like Facebook and Instagram were designed to bring us closer, but often leave us with feelings of loneliness.
Turkle argues that robots cannot feel emotions, but only mimic them and talks about the impact this may have on us in the future – that their replacement of the ‘real’ has multiple perspectives. There could be benefit in using robots where it is more environmentally friendly than using the ‘real thing’ – because maybe it does give us the same experience (or close enough to it).
How does the author’s argument relate to your practice/discipline?
When designing digital products in particular, it is important to remember the untended consequences (such as how Facebook started out). It is not possible to think of all outcomes, but we should not ignore the impact of digital media and social media on our society and be conscious of these affects when designing new products that join this world.
How could you develop the author’s ideas through your own design research?
The research possibilities in the digital world, social media, robots etc. is endless. Speculative design practice can help explore where we can go from here, and the some of the concerns that Turkle raises. Future research into the after effects of products designed with good intentions currently would also be interesting.
This reading was further explored in my Podcast.
The Theory of Affordances by James J. Gibson (Chapter 9)
What is the author’s main argument?
James Gibson argues that objects value come from what they can do for you, what they offer by way of function, but also affordances. By this he means more than practical function, does the object remind you of something, or offer you some feeling? These are all things that the object does for you and how it provides value.
How does the author’s argument relate to your practice/discipline?
Products are not just designed to solve problems, they also have aesthetic and personal purposes. Simply creating something to ‘solve a problem’ would make product design more like engineering, rather than a creative process.
How could you develop the author’s ideas through your own design research?
Understanding the variety of ways objects can provide value to someone can greatly impact my own design research practice. Understanding this puts a greater emphasis on critical design and details.
The Uncanny Valley by Masahiro Mori
What is the author’s main argument?
The uncanny valley discusses the phenomenon of technologies that are meant to replace or mimic real things, they need to be extremely accurate to convince the human mind. If one thing is off, we will know it, and it makes us uncomfortable once we realise what that thing is. This has great implications in the creation of artificial intelligence, limbs, virtual realities and more.
How does the author’s argument relate to your practice/discipline?
There are products designed that are meant to replace functions of other items, like robots. Humans like to make things that look like them, but maybe not too perfectly. Creating objects that look nothing like their function is an interesting way to play with this idea.
How could you develop the author’s ideas through your own design research?
Further exploration of this reading can be seen in my Podcast.
Block Three
Transculturality, Art and Aesthetic Principles by Eugenio Benitez
What is the author’s main argument?
Eugenio Benitez discusses the main question of “what is art” in this paper. Our cultural backgrounds and understanding of art can affect how we think about this question. Can something that is aesthetically pleasing be called art? what if its just a nice view out a window? Does art need to be aesthetically pleasing to be called art?
How does the author’s argument relate to your practice/discipline?
This paper can have you start to begin the debate of art vs design all over again. If there are questions around what is art, then there are also questions around what is design? For me this paper really reminds us of the importance of perspective. My approach to a design solution may be different than someone else’s, but how can we judge which is more suitable – especially if they both solve the problem. Aesthetics is a highly subjective area, while influenced by culture and nature, it can still be personal in nature. Keeping this in mind is important while analysing and or creating design work.
How could you develop the author’s ideas through your own design research?
Further exploration of this reading can be seen in my Exhibit design.
Design by Tangible Stories – Enriching Interactive Everyday Products with Ludic Value by Tek-Jin Nam and Changwon Kim
What is the author’s main argument?
This article looks at how can emotional value be infused into objects and products. It argues that the production of a narrative is important in the creation of an object, and that by adding hidden surprises within it and causing that ‘serendipity’ effect add to the enjoyment of the object (and therefore its value to the user). Finally the importance of incorporating a physical interaction, people cannot help but want to touch things. The physicality of a product can help it feel more comfortable, fun, or help us with out understanding of it (through haptic feedback). It is not just how you interact with the object that helps create value, but it is also how the object interacts with the world (real or imagined).
How does the author’s argument relate to your practice/discipline?
The creation of objects that have an emotional value is important in the field of product design, not just because we aim to have what we do feel important, but also because when things are important to us, we are less likely to dismiss them. Understanding how to add value to these objects can help with designing a richer experience.
How could you develop the author’s ideas through your own design research?
This reading brings to light the importance of small added ‘serendipity’ moments for me. Adding something unexpected, or not immediately obvious might seem to be slightly inefficient in product design, but when looking to make an impact – this is something I will be interested in exploring more in the future.