Dear Rosann and Jonas:
This will be my last post on the matter of critical mapping. I simply want to make four points;
1) Its important that students of design at whatever level be introduced to a body of critical literature that represents important current and past texts in the field. They don't have to be exactly the same texts but one would expect there to be a body of core books and articles. Examples: William Morris, Lewis Mumford, Buckminster Fuller, John Chris Jones, Eric Gill and Jan Tschichold (for typography), various authors from Design Studies, Design Issues, The Design Journal, Tomas Maldonado, Gui Bonsiepe. I could continue.
2) I used the jazz analogy to point out the importance of absorbing the major ideas of the field so that they may contribute to one's practice. Listening to Charlie Parker does not mean that a musician will copy e Charlie Parker but he or she will absorb some qualities of Parker's playing that will be useful even if it contributes to their self-consciousness as a musician rather than to actual playing
3) I mentioned the wiki, perhaps without sufficient thought, to suggest that lots of people could work on creating their own groups of significant texts. They could share information as people can do on this list. I am not calling for a single group of texts that will define the field.
4) Comparisons to other fields previously mentioned are apt. Most fields do have a body of texts that are recognized as significant.
Victor Margolin
Professor Emeritus of Design History
Department of Art History
University of Illinois, Chicago
On Nov 3, 2011, at 7:00 PM, PHD-DESIGN automatic digest system wrote:
> There are 32 messages totaling 2219 lines in this issue.
>
> Topics of the day:
>
> 1. PhD research: classic designs
> 2. The "intermediatness" of a product (2)
> 3. Designing rules (was the shoemaker'c children)
> 4. Help - name of graphic designer (6)
> 5. The History of 'Modern Flat' (3)
> 6. Gunther Kress
> 7. critical mapping (3)
> 8. texts
> 9. Victor' critical mapping, Wiki, Zotero
> 10. The shoemaker'c children: designers who produce lousy web pages (2)
> 11. texts / critical mapping (3)
> 12. Request for Collaboration (2)
> 13. word for walked path (5)
> 14. A Companion to Design Research, Victor's challenge, texts, etc
>
> ----------------------------------------------------------------------
>
> Date: Thu, 3 Nov 2011 00:24:50 +0000
> From: João Martins <[log in to unmask]>
> Subject: PhD research: classic designs
>
> Dear all,
>
> In my PhD research in Design I was confronted with the need to know more
> about the products classified by several authors as Design Classics
> (chairs, lighting, clocks, door handles, toys,...) and I would like to
> contact with studies that have addressed the issue.
>
> I'm looking for references that might discuss how a classic design can be
> defined, for example.
>
> I am interested in better understanding of how objects created decades ago
> are still marketed, purchased and used by people and how that status
> (classic) may be dependent on its author, the context (historical,
> economic, social and cultural) of creation, or attributes of the object
> itself (aesthetic, ergonomic, functional,...)
>
> Many thanks in advance.
>
> João Martins
> PhD Student
> Doctoral Program in Design
> University of Aveiro
> Portugal
>
> ------------------------------
>
> Date: Wed, 2 Nov 2011 21:09:30 -0400
> From: Dan Zollman <[log in to unmask]>
> Subject: Re: The "intermediatness" of a product
>
> Hi Toon,
>
> An interesting perspective on this is the work on "non intentional design"
> and "design by use" by Uta Brandes and others. Conveniently, one book covers
> illustrations, the other covers theories.
>
> 1. "Non Intentional Design" by Uta Brandes and Michael Erlhoff (Daab, 2006)
> is a book of photos of "non-intentional design" or NID--there are just a
> couple pages of text describing the principles of NID (reversible and
> irreversible conversion, multi-functionality, and location change) and some
> of the common motives for NID.
> http://www.amazon.com/Non-Intentional-Design-Multilingual-Brandes/dp/3937718
> 931
>
> 2. "Design by Use: The Everyday Metamorphosis of Things" by Uta Brandes,
> Sonja Stich, and Miriam Wender. I haven't read this yet, but it looks like a
> strong analysis.
> http://www.amazon.com/Design-Use-Everyday-Metamorphosis-International/dp/376
> 4388676
>
> I think the phrase "design-in-use" may lead to more theories as well.
>
> Dan Zollman
> Rensselaer Polytechnic Institute
>
>> -----Original Message-----
>> From: PhD-Design - This list is for discussion of PhD studies and related
> research
>> in Design [mailto:[log in to unmask]] On Behalf Of toon
>> Sent: Wednesday, November 02, 2011 7:39 AM
>> To: [log in to unmask]
>> Subject: [PHD-DESIGN] The "intermediatness" of a product
>>
>> Hi all,
>>
>> You may remember me form earlier threads, I am a product designer (in my
> last
>> year of my study) and have to think about what I would like to show the
> world at
>> my graduation.
>>
>> I started out with the concept of happiness and products, you helped me a
> great
>> deal with this. I found out that this (as the concept of ethics was about
> a year ago)
>> is abstract and very hard to translate to the physical world.
>> I looked at "the motivation of the designer" (for the modernists that was
> to make
>> the world a better place) and "the intention of the designer" (that
> sometimes is
>> different from what happens with the product in the real
>> world.)
>>
>> And from these ideas I came to look at a product (that most take as an end
> point
>> of the design) as an intermediate product, that will find its final form
> with the user.
>> Like El Lissitzky said "Every form is the frozen instantaneous picture of
> a process.
>> Thus a work is a stopping place on the road to becoming and is not a fixed
> goal."
>>
>> To give a simple illustration, one can take a cup and use it to put
> flowers in, than
>> the cup is not a cup but a vase. So the user can "change" the product.
>> It is clear in modular systems like LEGO. There the product you buy (the
> physical
>> blocks) are not the end product, the concept of building is.
>>
>> Does anyone have any other illustrations or theories on this subject.
>>
>> Thanks for you valuable time.
>>
>> Toon Welling
>
> ------------------------------
>
> Date: Wed, 2 Nov 2011 21:42:59 -0400
> From: Gunnar Swanson <[log in to unmask]>
> Subject: Re: Designing rules (was the shoemaker'c children)
>
> David,
>
> On Nov 2, 2011, at 12:38 AM, David Sless wrote:
>> Designing rules has been a professional preoccupation for many graphic designers: type designers, book designers, wayfinding system designers, corporate identity designers, instructional designers etc etc. In each of these types of design, there is a need to develop a coherent set of rules that can be articulated, shared and systematically applied.
>
> Good point. And, I would ad, designing rules takes the experience of the craft--seeing where rules work and when they don't.
>
>> Sless D 2011
>> Critical Reflections on a Manifesto 120–123
>> in ICOGRADA Design Education Manifesto edited by Audrey Bennet and Omar Vulpinara
>> downloaded 2.11.2011 from http://www.icograda.org/education/manifesto.htm
>
> One of my favorite parts "the amount of effort involved in carrying out all these stages to a successful outcome is 50% of the effort, of which prototyping is seldom more than 10%; the remaining 50%, not shown on the above diagram, is the political management of all interested participants."
>
> Another thing I left out of my answer--Through designing and redesigning objects and systems, students get to compare their assumptions about the work to others' reactions to the work. That also applies to the process. By working on projects with real clients, my students learn not only that you are right about the amount but that political mangement is the 50% of the job that can often have the biggest affect on the form of the final object or system. The short, slightly more crass (and not nearly inclusive enough) version of that was one of the first things I was taught about project management: "The way design gets sold is the way design gets done." Even though the client projects come later, we start teaching about having the sort of conversations that promote good design practices from the very start.
>
>
> Gunnar
> ----------
> Gunnar Swanson Design Office
> 1901 East 6th Street
> Greenville NC 27858
> USA
>
> [log in to unmask]
> +1 252 258 7006
>
> http://www.gunnarswanson.com
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 02:00:59 +0000
> From: Terence Love <[log in to unmask]>
> Subject: Help - name of graphic designer
>
> Some time ago in a discussion about presenting information about complex designs and planning problems, someone gave the name of a designer that specialised in wall-sized pictures illustrating different aspects of situations, stakeholders and their views etc.
>
> I've unsuccessfully search the archives for the relevant emails. Please can anyone recall the discussion and the person who did the drawings?
>
> Best wishes,
> Terry
>
> ------------------------------
>
> Date: Wed, 2 Nov 2011 22:38:32 -0400
> From: cameron tonkinwise <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Hugh Dubberly?
> http://www.dubberly.com/concept-maps
>
> On Nov 2, 2011, at 10:00 PM, Terence Love wrote:
>
>> Some time ago in a discussion about presenting information about complex designs and planning problems, someone gave the name of a designer that specialised in wall-sized pictures illustrating different aspects of situations, stakeholders and their views etc.
>>
>> I've unsuccessfully search the archives for the relevant emails. Please can anyone recall the discussion and the person who did the drawings?
>>
>> Best wishes,
>> Terry
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 08:22:35 +0530
> From: Ranjan MP <[log in to unmask]>
> Subject: Re: The History of 'Modern Flat'
>
> Dear Esra and friends
>
> What a wonderful thread which shows the power of cooperation over the web
> and what it can bring to research efforts in a very short time. Reading the
> various contributions till date I was drawn into the question myself since
> having "retired" from teaching at NID after about 40 years of living near
> or on the campus the campus at Paldi in Ahmedabad my wife, Aditi Ranjan
> and I had never bought a car in our life since we always walked to work
> while the city of Ahmedabad grew in size around us by magnitudes that are
> unimaginable a few years ago. Now we have had to look for a new home and we
> could choose any city in India and our criteria had many specific demands
> that were difficult to meet, particularly since the price of flats has sky
> rocketed here in India that is growing while the West seems to be in
> recession. So the last two years we spent looking around and exploring
> possibilities we selected a place in Ahmedabad which has promise of good
> public transportation unlike any other city in India and we have settled
> down for a flat in the North of Ahmedabad that is well connected to the
> Airport as well as the rest of the city and with promise of marked
> development since the location lies on the axis between Ahmedabad and the
> Capital city of Gujarat State, Gandhinagar. We now have a four bedroom flat
> for the two of us and my mother and for all our books and few other
> possessions while my daughter, Aparna Ranjan has moved to Bangalore to live
> and work as a Graphic designer, but she has a room too for her use when she
> would be with us.
>
> Sitting in Jaipur this morning I was enthused to look up the question of
> "Evolution of Housing in History" on Google and the following link came up
> that as always on the button when you ask pointed questions to Google!!
> <http://www.moyak.com/papers/history-housing.html>
> The second link was more interesting since it looks at evolution of life
> itself.
> <http://en.wikipedia.org/wiki/Evolutionary_history_of_life>
>
> The "Evolution of Housing and Floor Plans Since the 1600s" by Moya K. Mason
> (link above) gives a further link titled "Housing: Then, Now, and
> Future" by Moya K. Mason which too may be a useful one for the questions
> posed by you at the beginning of this thread and it provides a reading list
> as well. Take a look
> <http://www.moyak.com/papers/house-sizes.html>
>
> I must now get back to my preparation for my lecture at the Indian
> Institute of Crafts and Design this morning and through the day with the
> Faculty of the school where we are looking back at the core of design
> education and how it can be improved through our efforts today and tomorrow
> at the conclave to discuss the design curriculum for the school going
> forward. Here again the PhD -Design list would be a great place for
> collecting conversations and with all its contradictions and
> misunderstandings about what design could be and what should and could go
> into design education which keeps reminding me of the torrential river that
> divides us on the two banks, art and design and the other the science of
> design banks, the reflections go on and the river remains turbulent as
> ever. I did not want to get drawn into the conversations with Don Norman,
> always provocative nor with Ken Friedman and Rosan, or with Terry or Gunnar
> and so many other regular and interesting contributors on this list since
> although I am "retired" I am working and travelling perhaps more than when
> I was "working" at NID.... and my blog too suffers since the frequency of
> my posts have tapered down with each month since I "retired" last year in
> November, however I have posted my keynote lectures at numerous conferences
> there at a special download section on the first page, which reminds me
> that Esra should look at the work done at HfG Ulm on housing and you can
> find the material in the HfG Ulm journals which can be downloaded from my
> blog under the conference resources for "Look Back Look Forward: HfG Ulm
> and Design Education in India" as an interactive DVD that contains the
> digital versions of the journals.
> <http://design-for-india.blogspot.com/>
>
> The last time I visited Ulm for my research on the contributions by the
> great German school on Indian design education I visited Stuttgart and had
> an occasion to see the work of Mies at the Weissenhof and it was an
> education for me after visiting Frei Ottos lab that showed shapes of things
> still to come...
>
> Thank you guys for all the stimulating conversations and do keep going and
> some of us will continue to lurk and enjoy the exchanges in a very
> "retired" mode.. I will be in Lucerne (13 to 16th November) and Barcelona
> (17th to 20th November) this month and hope to see some of you there.... On
> 5th and 6th I am on the Jury of Design for Change at the Riverside School
> although I was also required to be at the convocation of the IICD jaipur on
> the same day. However I have to be with Kiran Bir Sethi, my former student
> who won this years INDEX Award for her work on Design for Change and this
> does show us that design is indeed different in many parts fo the world and
> we are still discovering what it really is and whet it can indeed do for
> all of us if we care to understand it deeply.
> <http://dfcworld.com/>
>
> With warm wishes
>
> M P Ranjan
> from my hotel at jaipur on tour to the IICD
> 3 November 2011 at 8.25 am IST
>
> -------------------------------------------------------------
> *Prof M P Ranjan*
> *Design Thinker and author of blog -
> www.Designforindia.com<http://design-for-india.blogspot.com/>
> *
> E8 Faculty Housing
> National Institute of Design
> Paldi
> Ahmedabad 380 007 India
>
> Tel: (res) 91 79 26610054
> email: ranjanmp@g <[log in to unmask]>mail.com
>
> <[log in to unmask]>web site: http://homepage.mac.com/ranjanmp
> <http://homepage.mac.com/ranjanmp>web domain: http://www.ranjanmp.in
> <http://www.ranjanmp.in/>blog: <http://www.design-for-india.blogspot.com>
> education blog: <http://www.design-concepts-and-concerns.blogspot.com>
> education blog: http://www.visible-information-india.blogspot.com
> <http://www.visible-information-india.blogspot.com/>
> ------------------------------------------------------------
>
> On 3 November 2011 02:53, Wang Lei <[log in to unmask]> wrote:
>
>> Hi Esra,
>> I think my research area is very close to yours. I ‘d like to share some
>> of my book list, hope it can help you.
>>
>> About Chinese housing history, text book:
>> Modern Urban Housing in China:1840-2000, Prestel, Peter G Rowe(Harvard
>> University ), Lu Junhua, Zhang jie (Tsinghua University),ISBN 3-7913-2507-08
>>
>> About Finnish housing history :
>> 1.Model House for Model Families:Gender, Ideology and the Modern Dwelling
>> the type-planned houses of the 1940 of the 1940s in Finland, Kirsi
>> Saarikangas,1993,ISBN 951891565-2
>> 2.The Dwelling,Gender and the Aethetics of Cleanliness in Modern
>> Architecture ,Kirsi Saarikangas, 2003 ISBN 951746309X
>>
>> About Japanese Housing history:
>> 3.Housing in Postwar Japan - A Social History,Ann Waswo(Oxford
>> University),Routledge 2002,ISBN 9780700715176
>>
>> 4.Witold Rybczynski’s Home-A short history of an idea is really good book,
>> highly recommended, but it not especially targeting at housing.
>>
>> You mentioned that also want some ideas of rooms, so this might be
>> interesting for you:
>> 5. At Home- A Short History of Private Life, Bill Bryson, 2010-5,Doubleday
>> Very thick book, it describes the history categorized by “rooms”, living
>> room, bedroom drawing rooms etc, which might be useful for you.
>>
>> Besides that, an old book might also interesting:
>> 6. A treatise on domestic economy: for the use of young ladies at home and
>> at school, Catharine E. Beecher(1856),reprint by Kessinger Publishing
>>
>> A dissertation also good:
>> 7. Couched in their own terms: What makes a living room?Talya
>> B.Rechavi,2004 PhD dissertation of City University if New York
>>
>> Some milestones in housing history:
>> Ancient Rome,Insula,5 floors, in Ostia (Fiume Tevere)area
>> 1750, Bedford square,5floors terrace house, Britain
>> Royal Crescent, designed by John Wood, in Bath, Britain
>> 1927, Weissenhof Housing Settlement in Stuttgart, which is dominated by
>> Mies van der Rohe
>> 1952, The Unite d’habitation in Marseilles, designed by Le Corbusier
>> 1953, China imported the housing plan from Soviet Union
>> 1960s-70s， Housing standardization worldwide.
>>
>> Hope you can find something useful among those materials. Good luck for
>> your research.
>> BR
>>
>> Lei Wang
>> PhD Candidate, Researcher
>> School of Art and Design, Aalto University
>> Hämeentie 135 C, Helsinki,00560,Finland
>> Email: [log in to unmask]
>> Phone: +358417255230
>>
>>
>> ________________________________________
>> From: PhD-Design - This list is for discussion of PhD studies and related
>> research in Design [[log in to unmask]] on behalf of esra bici [
>> [log in to unmask]]
>> Sent: 31 October 2011 14:13
>> To: [log in to unmask]
>> Subject: The History of 'Modern Flat'
>>
>> Dear all,
>> Hope you are all fine.
>> I am looking for references about the history and the emergence of the
>> 'modern flat'.
>> In the worldwide, how did the first flats appear and how was the housing
>> standardized into flats?
>> And how did the idea of considering the human needs as 'living room',
>> 'bedroom', 'deskroom', etc. and seperating so evolved?
>> I am looking for the consequences of this story related with the social
>> contexts.
>>
>> Cheers,
>> Esra.
>>
>
>
>
> --
>
> ------------------------------
>
> Date: Wed, 2 Nov 2011 22:58:50 -0400
> From: Terence Love <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Dear Cameron,
> Thank you for your message.
> Hugh was my first thought also but no. The person I'm remembering does paintings/images with 'real life' depictions of different aspects of a complex design situation (rather than diagrams).
> Any other thoughts? I'm almost certain the person I'm thinking of is American,
> Cheers,
> Terry
>
> -----Original Message-----
> From: "cameron tonkinwise" <[log in to unmask]>
> Sent: Wednesday, November 2, 2011 10:38pm
> To: "Dr Terence Love" <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Hugh Dubberly?
> http://www.dubberly.com/concept-maps
>
> On Nov 2, 2011, at 10:00 PM, Terence Love wrote:
>
>> Some time ago in a discussion about presenting information about complex designs and planning problems, someone gave the name of a designer that specialised in wall-sized pictures illustrating different aspects of situations, stakeholders and their views etc.
>>
>> I've unsuccessfully search the archives for the relevant emails. Please can anyone recall the discussion and the person who did the drawings?
>>
>> Best wishes,
>> Terry
>
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 11:00:08 +0800
> From: "CHUA Soo Meng Jude (PLS)" <[log in to unmask]>
> Subject: Re: Gunther Kress
>
> Thanks Kevin
> This is very helpful
> Perhaps it would be good to visit the Lab.
> Very best
> Jude
>
> National Institute of Education (Singapore) http://www.nie.edu.sg
>
> DISCLAIMER : The information contained in this email, including any attachments, may contain confidential information.
> This email is intended only for the use of the addressee(s) listed above. Unauthorised sight, dissemination or any other
> use of the information contained in this email is strictly prohibited. If you have received this email by fault, please
> notify the sender and delete it immediately.
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 14:30:12 +1100
> From: David Sless <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Bob Horn is your man
> http://www.stanford.edu/~rhorn/
>
> David
> --
>
>
>
> blog: www.communication.org.au/dsblog
> web: http://www.communication.org.au
>
> Professor David Sless BA MSc FRSA
> CEO • Communication Research Institute •
> • helping people communicate with people •
>
> Mobile: +61 (0)412 356 795
> Phone: +61 (0)3 9489 8640
> Skype: davidsless
>
> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>
>
>
> On 03/11/2011, at 1:00 PM, Terence Love wrote:
>
>> Some time ago in a discussion about presenting information about complex designs and planning problems, someone gave the name of a designer that specialised in wall-sized pictures illustrating different aspects of situations, stakeholders and their views etc.
>>
>> I've unsuccessfully search the archives for the relevant emails. Please can anyone recall the discussion and the person who did the drawings?
>>
>> Best wishes,
>> Terry
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 02:07:43 -0400
> From: Terence Love <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Hi David,
> Many thanks - spot on.
> Best wishes,
> Terry
>
> -----Original Message-----
> From: "David Sless" <[log in to unmask]>
> Sent: Wednesday, November 2, 2011 11:30pm
> To: "Dr Terence Love" <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Bob Horn is your man
> http://www.stanford.edu/~rhorn/
>
> David
> --
>
>
>
> blog: www.communication.org.au/dsblog
> web: http://www.communication.org.au
>
> Professor David Sless BA MSc FRSA
> CEO • Communication Research Institute •
> • helping people communicate with people •
>
> Mobile: +61 (0)412 356 795
> Phone: +61 (0)3 9489 8640
> Skype: davidsless
>
> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>
>
>
> On 03/11/2011, at 1:00 PM, Terence Love wrote:
>
>> Some time ago in a discussion about presenting information about complex designs and planning problems, someone gave the name of a designer that specialised in wall-sized pictures illustrating different aspects of situations, stakeholders and their views etc.
>>
>> I've unsuccessfully search the archives for the relevant emails. Please can anyone recall the discussion and the person who did the drawings?
>>
>> Best wishes,
>> Terry
>
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 01:09:08 -0500
> From: Victor Margolin <[log in to unmask]>
> Subject: critical mapping
>
> Hi Rosann:
> The point is not that one person or several will do the definitive critical mapping of design's and design research's history but that everyone who teaches should develop a sense of what the key literature in the field has been and is. Thats how most fields work. Certainly you can ask any art historian, sociologist, or political scientist what are the important texts in their field and they can tell you. If nobody knows that in the design and design research fields, then I suggest that lots of people dig in and discover key texts for themselves. I was thinking today about jazz musicians. I can't imagine that you would meet a jazz musician today who had never heard of Charlie Parker or who had never listened to his music. Or to Sonny Rollins, Horace Silver, Chick Corea, or Pat Metheney. Maybe some straight ahead players have not heard of Peter Brotzmann but I would say that they should listen to him too. I have just bought a book about wikinomics. Maybe this is a grand wikiproject for the field.
> Victor
>
> Victor Margolin
> Professor Emeritus of Design History
> Department of Art History
> University of Illinois, Chicago
>
>
>
>
>
>
>
> On Nov 2, 2011, at 7:00 PM, PHD-DESIGN automatic digest system wrote:
>
>> Date: Wed, 2 Nov 2011 13:21:50 +0000
>> From: Kevin Walker <[log in to unmask]>
>> Subject: Re: Gunther Kress
>>
>> Gunther is a colleague and is deeply concerned with design, in the context of the social semiotics he pioneered with Theo Van Leeuwen, and methods of multimodal analysis with Carey Jewitt. I haven't written a paper about his work but several of my students are applying his ideas to analyse things like wayfinding systems, construction sites, and schools. I did publish an interview with him which I hope gives a simple introduction to his work:
>>
>> http://www.exhibitresearch.com/cms/?q=node/1241
>>
>> I would also recommend his book with Theo, Multimodal Discourse, which addresses design directly.
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 15:46:01 +0800
> From: Alun Price <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Hi Terry
>
> Reminds me of the RSA Animate series. http://www.youtube.com/watch?v=zDZFcDGpL4U
>
> Alun
>
> ----- Original Message -----
> From: "Terence Love" <[log in to unmask]>
> To: [log in to unmask]
> Sent: Thursday, 3 November, 2011 2:07:43 PM GMT +08:00 Beijing / Chongqing / Hong Kong / Urumqi
> Subject: Re: Help - name of graphic designer
>
> Hi David,
> Many thanks - spot on.
> Best wishes,
> Terry
>
> -----Original Message-----
> From: "David Sless" <[log in to unmask]>
> Sent: Wednesday, November 2, 2011 11:30pm
> To: "Dr Terence Love" <[log in to unmask]>
> Subject: Re: Help - name of graphic designer
>
> Bob Horn is your man
> http://www.stanford.edu/~rhorn/
>
> David
> --
>
>
>
> blog: www.communication.org.au/dsblog
> web: http://www.communication.org.au
>
> Professor David Sless BA MSc FRSA
> CEO • Communication Research Institute •
> • helping people communicate with people •
>
> Mobile: +61 (0)412 356 795
> Phone: +61 (0)3 9489 8640
> Skype: davidsless
>
> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>
>
>
> On 03/11/2011, at 1:00 PM, Terence Love wrote:
>
>> Some time ago in a discussion about presenting information about complex designs and planning problems, someone gave the name of a designer that specialised in wall-sized pictures illustrating different aspects of situations, stakeholders and their views etc.
>>
>> I've unsuccessfully search the archives for the relevant emails. Please can anyone recall the discussion and the person who did the drawings?
>>
>> Best wishes,
>> Terry
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 19:58:11 +1100
> From: Ken Friedman <[log in to unmask]>
> Subject: Re: texts
>
> Hi, Peter,
>
> Thanks for your reply. Been thinking about it. Once again, I’m
> reproducing your full note because you raise so many valuable issues.
>
> By and large I agree, and I’d say these issues deserve thought. I’m
> going to concur on one specific point with a note that I’ve said much
> the same, and I’m going to disagree on one point.
>
> The journal article format known as the critical literature review is
> not about individual learning, nor even about the role of
> contextualization that a literature review serves in the PhD thesis. The
> critical literature review and the parallel format of the bibliographic
> essay that appears in book form involve concept mapping to advance the
> knowledge of the field. I don’t think anyone has suggested that a
> critical literature review is just about individual learning, nor even
> about individual learning at all, except incidentally as an author
> learns a great deal in writing one. The critical literature review adds
> to the body of knowledge of a field – that is why journals publish
> them.
>
> With Zotero, I’m going to disagree. Zotero does not do 80% of the
> work. Zotero doesn’t do 10% -- not even the 10% that a serious
> thematic bibliography does. Zotero compiles resource lists. They are
> poorly formatted in every Zotero list I’ve seen, and there is no
> apparent rationale for selection other than the enthusiasm of the
> author. In that sense, Zotero is a bit like “My Favorite Things” in
> the Sound of Music. (Remember Julie Andrews singing the film version of
> the Rodgers and Hammerstein musical? “Raindrops on roses and whiskers
> on kittens, bright copper kettles and warm woolen mittens, brown paper
> packages tied up with strings, these are a few of my favorite
> things.”) That is not even a bibliography, much less a concept map
> with a description of the value these have for the design field.
>
> Thanks for your proposal. I can see the value of an interpretive
> collaborative review. But this is quite different to a wiki, or any of
> the other collaborative tools floating about in conversations here.
>
> If I read this correctly, the tool is a expert-level tool where those
> who participate must demonstrate skill, knowledge, and expertise to join
> in. While this does not entirely solve the free-rider problem, it does
> solve the competency problem.
>
> Just as I disagree with you on Zotero, I disagree with Victor on the
> idea that we’ll get good concept maps out of a wiki. The problem the
> repeated calls for doing this work on a wiki is that folks want the
> wiki, but they don't want the work. They imagine that somehow a wiki or
> Zotero or any of these other tools will magically yield something even
> though no one actually does the work of write skilled, competent
> entries. The paragraphs, random notes, and odd thoughts that accumulate
> in a wiki won't congeal into a concept map without rigor and
> intelligence. This takes work that will not likely be forthcoming in any
> project where those who lack skills wait for others to flesh out their
> ideas with real thinking and writing. No serious researcher is likely to
> take part in an open environment like a wiki or Zotero, not when the
> participants are people they would not want to work with in seminars or
> direct research collaborations.
>
> Time is the most valuable resource I have. If I wouldn’t “spend”
> time in seminars and research collaborations with someone, I won’t
> spend time collaborating with them on a wiki. Wikipedia rises to a
> reasonable level of mediocrity without taking the next step for
> precisely this reason. Experts won’t spend time or waste it on a
> reference tool where unskilled amateurs can revise and waste hours or
> days of careful writing. The reason for the success of such open-access,
> online references as the Stanford Encyclopedia of Philosophy is that
> experts compile and edit it, review it, and work together carefully to
> ensure continuing, updated improvements through expert-level
> participation.
>
> That seems to me to be the kind of thing you are aiming at with your
> interpretive collaborative review. The medium seems a bit more
> collaborative than the single-author articles in the Stanford
> Encyclopedia of Philosophy, and the principle of expert-level
> participation makes the collaborative investment worthwhile.
>
> Best regards,
>
> Ken
>
> Professor Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished
> Professor | Dean, Faculty of Design | Swinburne University of Technology
> | Melbourne, Australia | [log in to unmask] | Ph: +61
> 39214 6078 | Faculty
>
>
> On Tue, 1 Nov 2011 12:15:40 -0400, Peter Jones | Redesign
> <[log in to unmask]> wrote:
>
> Ken - I appreciate the distinction making in your critique. I agree
> that we have several different purposes for critical, bibliographic, and
> narrative review of sources. Because the methods for producing these
> formats and outputs are quite similar (bibliographies, annotated, with
> summary, narrative, or multiple attributes) people often produce an
> adequate artifact and can confound the purposes. I would say that if we
> don’t teach good practice at the MDes level, those that pursue a PhD
> will find this an especially difficult undertaking. We may teach
> critiquing, but critical review writing and literature reviews are
> pitiful in much of the design literature.
>
> And I agree there’s a real need for disciplinary development and
> conceptual mapping of literature and concepts to theoretical and
> historical development. Developmental concept mapping through the
> literature is a PhD level task. But the outcome of this work should not
> be “just” individual learning. As I noted with respect to graduate
> medicine - Review articles are not only a primary means of practitioner
> and advanced resident study, they are also a significant output of
> fellows and faculty (and MD/PhD’s) who have requirements for
> publishing, and are advancing their disciplines. I think we have some
> parallels to medical education, but at the PhD level design is being
> treated more like a social sciences PhD. I’m not convinced this is
> the only or best model myself.
>
> Medical professionals move into fellowships or PhD programs to pursue
> advanced study or pure research. At that stage, but not in residency as
> much, they are producing review articles. Residents in their research
> rotation often work on ongoing research projects, but as a PGY3 resident
> they do not initiate research, and they often join projects that are
> mid-stream and have their literature base well established. Therefore,
> they may have the opportunity to write review article or produce
> critical literature reviews, but it’s not that common in my
> observations of US programs.
>
> So if our purpose is to strengthen the research base of our field, the
> tools you’ve indicated are ways to do promote those purposes, of
> course. I think there is room for different types of commitments in
> developing the concepts from literature. One of them is a
> research-based approach I’ve been developing with a Pharmacy professor
> in U Toronto’s Knowledge Media Design Institute. The Interpretive
> Collaborative Review is a process and a system (prototype) in search of
> funding. I can appreciate why something simple like Zotero achieves
> adoption (which is nicely articulated as a Web 2.0 design in many ways).
> Zotero meets 80% of the need while leaving the advanced features to
> academics. The ICR is described as:
>
> Collaborative Discovery of Information Significance: A Framework for
> Making Sense of Healthcare Research
>
> Peter Pennefather and Peter H. Jones. Laboratory for Collaborative
> Diagnostics, Leslie Dan Faculty of Pharmacy, University of Toronto
>
> We present a framework for collaborative sensemaking by a
> problem-focused community using electronically accessible scientific
> journal articles and other digital information artifacts. The framework
> guides collective structured evaluations of the significance of
> information sources associated with a given problem. The Interpretive
> Collaborative Review (ICR) framework is designed as a social informatics
> process. It is motivated by a need for researchers and practitioners to
> ascertain a current, collective interpretation of electronically
> accessible information and collectively generated propositions for
> problem understanding in complex and rapidly developing domains.
> Healthcare related information domains are used as an example where
> there is a need to integrate information derived from biomedical
> sciences, evidence-based measures of clinical outcomes, and health
> systems socio-economic analysis.
>
> The ICR framework establishes a conceptual model and a process for
> explicit human assignment of reviews and scores to information sources
> within an online dialogical environment, enabling collaborative
> evaluation, discussion, and recording of significance relationships. At
> least three necessary dimensions of significance relationships are
> recognized and evaluated with respect to each source considered: 1)
> match, 2) standing, and 3) authority. Match = Claims in the source
> (meaning), Standing =
> Warranted linking of claim to evidence (agency), and Authority =
> Evidence in source (power). These referents have both objective data
> (associated with a publication) and subjective interpretations.
>
> Each dimension is further characterized by collective scoring for three
> qualities of value in the source: 1) knowledge validity, 2) precedence,
> and 3) maturity. The resulting matrix of scores, specific comments,
> group editorial commentaries, and references are all woven into an
> electronic sensemaking narrative publication designed to be indexed,
> retrieved, and reviewed along with the associated corpus of prioritized
> sources.
>
> ICR makes a strong appeal for the dialogic construction of knowledge
> about collective problems using intentional human assignment of scores
> and reviews. We find that algorithmic relevancy scores are insufficient
> when considering the significance of materials in the context of
> collective problem solving. Human interpretation is needed to determine
> the relevance of a given information source to a problem context and to
> understand the range of equally valid perspectives in the recognition of
> that relevance. The authenticity of a source’s authorship can only be
> determined by another human being with contextual knowledge of the
> problem domain and of human motivations and ethical sensibilities. The
> credibility of a source to a problem situation represents another
> interpretive context, as the perception of the credibility of the source
> is a complex function of trust, expertise and of quality.
>
> This is the ICR in summary, which serves some of the purposes we are
> discussing. It will publish review results electronically, yet also is
> compatible with peer-review and with new forms of editorial review.
>
> I am quite in agreement with your purpose to address the gaps in our
> literatures and “to do the hard yards and actually write and develop
> some of these tools.” I will just note that there’s a lot more
> funding available to do this in medicine than in design!
>
> Best, Peter
>
> Peter Jones, Ph.D.
> Associate Professor, Faculty of Design
> Strategic Foresight and Innovation
>
> OCAD University
> http://DesignDialogues.com
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 10:13:11 +0100
> From: Rosan Chow <[log in to unmask]>
> Subject: Victor' critical mapping, Wiki, Zotero
>
> Hi Victor,
>
> Thank you for your reply. Is Wiki better than Zotero for your project of mapping design literature? Does anyone know more?
>
> Since our last discussion, Katharina Bredies has moved her library 'Design Theory Basic' from Mandeley to Zotero because the latter is free even when the membership exceeds 10.
>
> https://www.zotero.org/groups/design_theory_basics
>
> How are we going to do this?
> 1 Need to find someone who knows more about Wiki and Zotero, anyone?
> 2 Should I mobilize the young people I know?
> 3 Should we ask the professor emeritus?
>
> I know that most professors are very busy and it is difficult to get them involved unless it is a funded project or when credible people like you are the leaders.
>
> So still I think you need to do it yourself but in this case be the initiator. Once again, if you like, I will do what I can to help you.
>
> Best,
> Rosan
>
>
>
>
> Sent from my iPhone
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 10:33:20 +0100
> From: Wolfgang Jonas <[log in to unmask]>
> Subject: Re: critical mapping
>
> Dear Victor,
>
> thanks for clarifying what you mean.
>
> Maybe this finally releases us of the unbearable
> battle of interpretations about what you REALLY
> mean.
>
> By the way, there is an excellent PhD thesis from AUT:
> Frances Joseph (2010) Mnemotechne of Design -
> Ontology and Design Research Theories.
>
> She is explicitly working with a concept mapping tool.
>
> This is the beginning of my examiner´s report:
>
> ""Ontologies are human constructions that deny their constructedness."
>
> Klaus Krippendorff
>
> Introduction
> Frances Joseph´s thesis deals with the notorious
> phenomenon of various more or less incommensurate
> approaches / theories / terminologies / paradigms
> / ideologies / ... in dealing with design
> research and methodology. Everyone who is
> interested in meta-perspectives of design
> research is familiar with this "problem". The two
> standard reactions are either the forceful call
> for unification or the more composed stance to
> live with this plurality / mess. The candidate
> adopts the latter viewpoint and goes a
> considerable step forward: her intention is to
> make this confusing collection of diverse
> theories a usable and useful resource for future
> design researchers. She calls this her
> "mnemotechne-project" with menemotechne meaning
> the art and/or craft and technology (!) of
> memory. The three main research questions are:
> - How can different ways of reflecting about
> design research be understood in relation to one
> another?
> - Can the results of such understanding be used
> to inform the organisation of information about
> design research methodology?
> - Can new computational systems and technologies
> be used to support relational models of design
> theories?
> The author reports a shift in the course of
> dealing with the subject from an early focus on
> outcome (the design of a resource as a
> conventional formally based database system)
> towards process, strategy and methodology. The
> phenomenon of interest turned out to be too
> heterogeneous to be transferred into one single
> unified model without destroying its complex
> character. Therefore the author switched to a
> hermeneutical analysis of theories. The system
> design of the resource now served as a medium for
> further exploring, developing and testing the
> relational model of theories. The unified
> syntactic model became a semantic "bridging and
> mapping device" for the various models of
> theories. The theories under consideration were
> accepted in their respective singularity. This
> was an important decision in Frances Joseph´s
> research."
>
> For further information you should contact the author.
>
> Best,
>
> Jonas
>
> ---
>
>
>
>
>
>
> At 1:09 Uhr -0500 03.11.2011, Victor Margolin wrote:
>> Hi Rosann:
>> The point is not that one person or several will
>> do the definitive critical mapping of design's
>> and design research's history but that everyone
>> who teaches should develop a sense of what the
>> key literature in the field has been and is.
>> Thats how most fields work. Certainly you can
>> ask any art historian, sociologist, or political
>> scientist what are the important texts in their
>> field and they can tell you. If nobody knows
>> that in the design and design research fields,
>> then I suggest that lots of people dig in and
>> discover key texts for themselves. I was
>> thinking today about jazz musicians. I can't
>> imagine that you would meet a jazz musician
>> today who had never heard of Charlie Parker or
>> who had never listened to his music. Or to Sonny
>> Rollins, Horace Silver, Chick Corea, or Pat
>> Metheney. Maybe some straight ahead players have
>> not heard of Peter Brotzmann but I would say
>> that they should listen to him too. I have just
>> bought a book about wikinomics. Maybe this is a
>> grand wikiproject for the field.
>> Victor
>>
>> Victor Margolin
>> Professor Emeritus of Design History
>> Department of Art History
>> University of Illinois, Chicago
>>
>>
>>
>>
>>
>>
>>
>> On Nov 2, 2011, at 7:00 PM, PHD-DESIGN automatic digest system wrote:
>>
>>> Date: Wed, 2 Nov 2011 13:21:50 +0000
>>> From: Kevin Walker <[log in to unmask]>
>>> Subject: Re: Gunther Kress
>>>
>>> Gunther is a colleague and is deeply concerned
>>> with design, in the context of the social
>>> semiotics he pioneered with Theo Van Leeuwen,
>>> and methods of multimodal analysis with Carey
>>> Jewitt. I haven't written a paper about his
>>> work but several of my students are applying
>>> his ideas to analyse things like wayfinding
>>> systems, construction sites, and schools. I did
>>> publish an interview with him which I hope
>>> gives a simple introduction to his work:
>>>
>>> http://www.exhibitresearch.com/cms/?q=node/1241
>>>
>>> I would also recommend his book with Theo,
>>> Multimodal Discourse, which addresses design
>>> directly.
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 11:38:19 +0200
> From: esra bici <[log in to unmask]>
> Subject: Re: The History of 'Modern Flat'
>
> Dear all,
> Thanks for your excellent contributions.
> I have noted them all.
> I am also glad to meet people who have related research areas with me.
> I will stay in contact and share the interesting points with you.
>
> Cheers,
> Esra.
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 18:57:01 +0800
> From: Terence Love <[log in to unmask]>
> Subject: Re: The shoemaker'c children: designers who produce lousy web pages
>
> Hi David and Gunnar,
>
> The idea of creating 'rules' (also rules of thumb and heuristics and
> 'procedures') is a core part of all professional practices. Sure in graphic
> design there have been developed many many 'rules' especially in relation to
> typography.
> I'm suggesting, however, that the shift to recent web technologies requires
> a very different sort of approach to 'rules' in which the older ways of
> thinking about rules in visual appearances are part of a different game from
> when the appearance of a design was fixed and created by the designer rather
> than automatically constructed by software in a highly variable manner.
> Gunnar's quote ' Graphic designers often feel helpless when they find
> themselves in the role of visual dishwashers for the Information Architect
> chefs' made sense in the days when appearance and structure of a webpage was
> fixed and websites were composed of pre-written webpages coded in html with
> links between them to form the navigation. That's no longer the case and
> I'm unclear that graphic designers and the old styles of visual rule making
> apply much in the design of database-driven websites. Convince me!
>
> 1. Graphic designers don't seem to be trained to have and understanding of
> creating dynamic logic of automatically composed (and recomposed) visual
> appearance as found in database-driven website design. For example, I'm not
> sure many graphic design graduates could say to construct a basic dynamic
> intelligent visual template for e.g. Drupal or Typo3. (For instructions see
> http://api.drupal.org/api/drupal/includes--theme.inc/function/template_prepr
> ocess/7
> http://api.drupal.org/api/drupal/includes--theme.inc/function/template_prepr
> ocess_page/7
> http://api.drupal.org/api/drupal/includes--common.inc/function/drupal_render
> _page/7
> http://api.drupal.org/api/drupal/modules--system--system.api.php/function/ho
> ok_page_alter/7
> http://api.drupal.org/api/drupal/modules--system--system.api.php/function/ho
> ok_page_build/7 etc). My experience has been of graphic designers lack of
> understanding on these kind of issues and problems from that lack of
> understanding in all other aspects of website design beyond visual design.
> May be I'm out of date. Please correct me if I'm wrong and creating this
> kind of structure of the dynamic visual logic of a database-driven website
> is nowadays part of a typical graphic design degree.
>
> 2. Contrary to what David wrote. The visual design issues do not need to be
> addressed at all until the rest of a database-driven website is completed.
> Website appearance and the logic of its dynamics are wholly and separately
> determined by the visual template files which are uploaded later after the
> website is completed. That is why one can totally change the visual
> appearance of a database-driven website in seconds simply by changing the
> visual logic templates- see for example http://www.csszengarden.com/
>
> I can understand the political drive of graphic designers to bid for design
> team leadership but practically I'm unconvinced in relation to
> database-driven website design except for a small number of exceptions of
> graphic designers with excellent mathematically-based technical skills. From
> experience, it's not clear to me yet why one would trust a graphic designer
> for leading a data-base driven website design team when their training does
> not appear to give them the overall understanding - and the graphic
> design work is so exclusively packaged into one single aspect of the
> process.
>
> I'm open to being convinced. I know a PhD student who is visually-trained
> and is leading a substantial data-base driven website design team for a
> large company - but he also has high-level engineering and software
> development skills. Do you have examples, and are the other members of the
> design team happy with the graphic design leadership?
>
> My reason for pressing so hard to tease out the details on this is it has
> PhD-level research implications for research into complex design practice,
> particularly in light of the increasing automatisation of creative aspects
> of graphic design. The argument could go either way. With increased
> automation might be argued that increased human input and oversight by
> trained graphic designers is essential in a highly automated visual
> production environment... or not.
>
> Best wishes,
> Terry
> ____________________
> Dr. Terence Love, FDRS, AMIMechE, PMACM, MISI
>
> Senior Lecturer, Design
> Researcher, Social Program Evaluation Research Unit
> Edith Cowan University, Perth, Western Australia
> Mob: 0434 975 848, Fax +61(0)8 9305 7629, [log in to unmask]
>
> Senior lecturer, Dept of Design
> Curtin University, Perth, Western Australia
>
> Director, Design-based Research Unit, Design Out Crime Research Centre
>
> Honorary Researcher, Institute of Entrepreneurship and Enterprise
> Development
> Lancaster University, Lancaster, UK
> ____________________
>
>
>
>
> -----Original Message-----
> From: PhD-Design - This list is for discussion of PhD studies and related
> research in Design [mailto:[log in to unmask]] On Behalf Of Gunnar
> Swanson
> Sent: Wednesday, 2 November 2011 3:49 AM
> To: Dr Terence Love
> Subject: Re: The shoemaker'c children: designers who produce lousy web pages
>
> Terry,
>
> On Nov 1, 2011, at 11:57 AM, Terence Love wrote:
> [snip]
>> The assumption that web design is primarily an issue of graphic design is
>> not obvious.
> [snip]
>> The question is, where does the graphic designer contribute to these kinds
>> of website design? What is their best role?
>
> Just time for a quick note.
>
> I wrote a piece for Steve Heller's -The Education of an E-Designer- back in
> 2000 about my students who didn't want to have anything to do with designing
> for the web. <http://www.gunnarswanson.com/writing/WebVsDesign.pdf> Just to
> prove that I've degenerated into a completely pompous fool, I'll quote me:
> "Graphic designers often feel helpless when they find themselves in the role
> of visual dishwashers for the Information Architect chefs. What does that do
> for graphic designers or, perhaps more important, what does it do for
> graphic design? It depends, of course, on who runs, leads, or guides the
> teams. Leaders will be people with an understanding of the overall process
> but that could be someone with a background in design, computer programming,
> business administration-you name it. As the man said, go to an architect
> with a problem and you'll get a building as a solution; the background of
> team leaders will greatly affect outcomes. As a graphic designer, I can't
> help but hope for someone with a design perspective in charge."
>
> So my short answer is that the answers to your questions are political but,
> like most things political, the results are real. If (good) graphic
> designers play a central role fairly early, things we recognize as important
> will be addressed. If we do not, they probably won't be. That will have real
> effects on the project result. I suspect that you and I would not always
> agree on how laudable or lamentable the effects are in specific cases.
>
>
> Gunnar
> ----------
> Gunnar Swanson Design Office
> 1901 East 6th Street
> Greenville NC 27858
> USA
>
> [log in to unmask]
> +1 252 258 7006
>
> http://www.gunnarswanson.com
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 07:45:20 -0400
> From: Gunnar Swanson <[log in to unmask]>
> Subject: Re: The shoemaker'c children: designers who produce lousy web pages
>
> Terry,
>
> On Nov 3, 2011, at 6:57 AM, Terence Love wrote:
>> Gunnar's quote ' Graphic designers often feel helpless when they find
>> themselves in the role of visual dishwashers for the Information Architect
>> chefs' made sense in the days when appearance and structure of a webpage was
>> fixed and websites were composed of pre-written webpages coded in html with
>> links between them to form the navigation. That's no longer the case and
>> I'm unclear that graphic designers and the old styles of visual rule making
>> apply much in the design of database-driven websites. Convince me!
>
> It was, of course, written "in the days" and much of the article is fairly archaic. Some of it still applies.
>
> If you're asking me to claim that most graphic designers are equipped to head the development of complex dynamic websites, I'll have to say no. I am not one to claim that designers (graphic designers or otherwise), by nature of being designers, are equipped to do anything and everything. I doubt that the answer would be yes if we exchanged in any broad field for "graphic design" in the first sentence of this paragraph. What I was trying to say is that people start somewhere and that start has a big influence on where they go.
>
> In the article I mentioned in an aside in an earlier post, Dana Cuff interviewed several architects about how they thought about the people who would use their buildings. Spoiler alert: Most of them really didn't think about them and certainly didn't think of them as people. Cuff is a planner rather than an architect so (at the risk of stepping on architect toes) was more likely to ask the question. I have no doubt that graphic designers have giant blind spots and massive areas of ignorance on projects like the ones you describe. So does everyone else. If everyone does her best to adjust the rear view mirrors and eliminate the blind spots, the old patterns will still have an effect.
>
> If I had to sum up the "visual dishwashers" article in two sentences they would be: (1) If websites don't tend to reflect the aspirations of graphic designers, the solution is graphic designers changing that. (2) Doing so will change graphic designers but I hope they will keep (1) in mind.
>
> I don't know if I could convince you that graphic design has important insights and I suspect that this is not the format to try to convince you. I'm also probably not the person best qualified to be specific to the subject so I won't take up your challenge.
>
>
> Gunnar
> ----------
> Gunnar Swanson Design Office
> 1901 East 6th Street
> Greenville NC 27858
> USA
>
> [log in to unmask]
> +1 252 258 7006
>
> http://www.gunnarswanson.com
>
>
>
>>
>>
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 10:31:29 -0400
> From: Francois Nsenga <[log in to unmask]>
> Subject: Re: The History of 'Modern Flat'
>
> Dear Esra
>
> You say you'll share interesting points provided by contributors to your
> query. I only hope the sharing will be with us all on the list, and not
> only with those who contributed!
>
> Best wishes
>
> Francois
> Montreal
>
> On Thu, Nov 3, 2011 at 5:38 AM, esra bici <[log in to unmask]> wrote:
>
>> Dear all,
>> Thanks for your excellent contributions.
>> I have noted them all.
>> I am also glad to meet people who have related research areas with me.
>> I will stay in contact and share the interesting points with you.
>>
>> Cheers,
>> Esra.
>>
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 23:07:56 +0800
> From: "CHUA Soo Meng Jude (PLS)" <[log in to unmask]>
> Subject: Re: critical mapping
>
> This is so important. But I have to report a very dissappointing experience I had this year co-teaching a course on design thinking to some school leaders. I gave them some of the representative literature and worked through the theories a little for my part, but all my students knew and wished to hear more off was IDEO and prototyping. I got the impression that amongst those I teach, they had decided that IDEO is and exhausts 'design thinking'. I went away upset and angry, but also realised that the term design thinking may be been taken as a kind of static idea or sign, unlike what Gunther Kress talks about in his works, where words and phrases are not just assimilated but transformed, used, and shaped, which is what children do, using wrong words to best effect, to re-design in fulfilment of their potential for other meanings, and with that, the semiotic assumption that words and ideas are not given, received and used merely, but taken and then to be molded for our own interests. A fallacious semiotics was to blame. The thing now is to help many know that, 'design thinking' is not something defined by someone and therefore to be used as such, and studied as such, but a concept under which we can put, for ourselves, those interesting ideas concerned with the creation of the artificial. We have to, to quote the gospels, turn around and become like little children. And in order to put those things that interest us, we have first to know what's available, the various different ideas throughout the history of design, some of which are in conflict. 'Design thinking' itself is a task to be designed.
>
> Jude
>
> ________________________________________
> From: PhD-Design - This list is for discussion of PhD studies and related research in Design [[log in to unmask]] On Behalf Of Victor Margolin [[log in to unmask]]
> Sent: Thursday, November 03, 2011 2:09 PM
> To: [log in to unmask]
> Subject: critical mapping
>
> Hi Rosann:
> The point is not that one person or several will do the definitive critical mapping of design's and design research's history but that everyone who teaches should develop a sense of what the key literature in the field has been and is. Thats how most fields work. Certainly you can ask any art historian, sociologist, or political scientist what are the important texts in their field and they can tell you. If nobody knows that in the design and design research fields, then I suggest that lots of people dig in and discover key texts for themselves. I was thinking today about jazz musicians. I can't imagine that you would meet a jazz musician today who had never heard of Charlie Parker or who had never listened to his music. Or to Sonny Rollins, Horace Silver, Chick Corea, or Pat Metheney. Maybe some straight ahead players have not heard of Peter Brotzmann but I would say that they should listen to him too. I have just bought a book about wikinomics. Maybe this is a grand wikiproject for the field.
> Victor
>
> National Institute of Education (Singapore) http://www.nie.edu.sg
>
> DISCLAIMER : The information contained in this email, including any attachments, may contain confidential information.
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> ------------------------------
>
> Date: Thu, 3 Nov 2011 11:33:57 -0400
> From: Peter Jones | Redesign <[log in to unmask]>
> Subject: Re: texts / critical mapping
>
> Ken - Thanks, let me concisely refine these points and see if we have common ground. Email does not enable dialogue, and even when we try the medium conforms us to a textual mode of communication. (And wikis are not much better, they are textual as well, and are worse than email for deep exposition, in my decade or so of experience with them).
>
> We are covering several complex themes within a single email discussion - it may require iteration to clarify meaning and to respond to gaps in sensemaking.
>
> I completely support your objectives for the critical review and conceptual mapping in a domain. I agree the purpose is primarily for communicating with scholars about the development of research and understanding in a field. Perhaps I wasn't clear enough about "disciplinary development" but that's my point, that scholars at the PhD level and faculty should be engaged in mapping their understanding of the significance of concepts and research findings. This advances or develops the discipline, and it is a practice trained at the PhD level and in dissertation work.
>
> This practice should be started at the MDes/MA level in the form of annotated bibliographies, that could encourage a type of canonical structure such as you had indicated (two emails back? ;) If we don't train for quality writing and critical reviewing at the Master's level, we are leaving the advanced practitioner with significant skill gaps.
>
> My comments about Zotero are related to my own developmental challenges with the ICR (interpretive collaborative review). The most challenging problem with scholarly innovation is a shared and agreeable infrastructure. We have to look at the entire Zotero product - not just the community website that Rosan pointed us to. Zotero is a full-featured reference manager available for free as a Firefox plugin. It is a classical disruptive innovation - I use the Zotero app now instead of EndNote or Refworks. With the addition of the community site, the infrastructure is extended to enable the kinds of cooperative thinking tools that I want to build, such as the ICR.
>
> We have designed the interpretive collaborative review (ICR) process as a theoretically sound way to cooperatively formulate critical reviews of information sources as a loosely-coupled group editorial process. The interpretive review is based on the consideration that different stakeholders for a shared concern will have unique perspectives and understandings about the significance of a source (a journal article or even a blog post). Based on Ross Ashby's principle of requisite variety, the idea is to create a "dialogic surround" that encompasses the problem area by the different perspectives associated with the type of review output. Not all the reviewers are experts, and their fields of knowledge and experience may differ widely. If you want grounded clinical assessment of a new strain of malaria, you want not just infectious disease researchers but observers on the ground to participate. If you want to review the development of the multiple tracks of thinking in service design, you (as an editor) would recruit the perspectives you believe will enrich understanding.
>
> The theoretical basis for this model draws on information science, social systems theory, and Dervin's sense-making methodology. As a dialogic design process it relies on requisite variety and requisite saliency to draw out information significance, which can be articulated as capsule reviews across a fairly large corpus of articles, which are distributed across a team of reviewers, who agree to select and critique a subset - and then review and critique each other's reviews, almost like you and I are doing here in email.
>
> We propose that information significance is a type of relevance (which we call pertinence) recognized by human perceivers, as opposed to keyword relevance based on statistical term matching in a corpus. I consider this a collective sensemaking process.
>
> It is an interpretive review, not a purely "objective" approach. We ask reviewers to identify the warrants in the reviewed articles that support the claims the reviewer may be promoting. We want to make reviewer perspectives as explicit as possible, since in much of science and medicine these values and rationale are never otherwise expressed.
>
> The implementation of this idea is where infrastructure comes in. We have tried several times to build an effective "super-wiki" that would be sufficient to produce an publishable ICR process. The idea is that an editor interested in producing an ICR would use our online toolset to convene an shared review committee, collect a corpus of sources , then select perhaps 100 articles to actually allocate for review among the team. The toolset enables the review, making a transparent record of commentary and scores associated with measures of Match (pertinence), Authority (trust), and Standing (authenticity). Now you have a qual and quant record of the review that can be published online, and searched with very rich metadata associated with the problem domain.
>
> So yes, I am interested in people willing to join us in making these reviews possible for a well-defined and motivating problem area. And more so, I continue to look for funding to build a review toolset that makes this easy for first-time users and participants.
>
> Thanks, Peter
>
> -----Original Message-----
> From: Ken Friedman [mailto:[log in to unmask]]
>
> Hi, Peter,
>
> Thanks for your reply. Been thinking about it. Once again, I’m reproducing your full note because you raise so many valuable issues.
>
> By and large I agree, and I’d say these issues deserve thought. I’m going to concur on one specific point with a note that I’ve said much the same, and I’m going to disagree on one point.
>
> The journal article format known as the critical literature review is not about individual learning, nor even about the role of contextualization that a literature review serves in the PhD thesis. The critical literature review and the parallel format of the bibliographic essay that appears in book form involve concept mapping to advance the knowledge of the field. I don’t think anyone has suggested that a critical literature review is just about individual learning, nor even about individual learning at all, except incidentally as an author learns a great deal in writing one. The critical literature review adds to the body of knowledge of a field – that is why journals publish them.
>
> With Zotero, I’m going to disagree. Zotero does not do 80% of the work. Zotero doesn’t do 10% -- not even the 10% that a serious thematic bibliography does. ... snipped>
>
> Thanks for your proposal. I can see the value of an interpretive collaborative review. But this is quite different to a wiki, or any of the other collaborative tools floating about in conversations here.
>
> If I read this correctly, the tool is a expert-level tool where those who participate must demonstrate skill, knowledge, and expertise to join in. While this does not entirely solve the free-rider problem, it does solve the competency problem.
>
> Just as I disagree with you on Zotero, I disagree with Victor on the idea that we’ll get good concept maps out of a wiki. The problem the repeated calls for doing this work on a wiki is that folks want the wiki, but they don't want the work. They imagine that somehow a wiki or Zotero or any of these other tools will magically yield something even though no one actually does the work of write skilled, competent entries. The paragraphs, random notes, and odd thoughts that accumulate in a wiki won't congeal into a concept map without rigor and intelligence. This takes work that will not likely be forthcoming in any project where those who lack skills wait for others to flesh out their ideas with real thinking and writing. No serious researcher is likely to take part in an open environment like a wiki or Zotero, not when the participants are people they would not want to work with in seminars or direct research collaborations.
>
> Time is the most valuable resource I have. If I wouldn’t “spend” time in seminars and research collaborations with someone, I won’t spend time collaborating with them on a wiki. Wikipedia rises to a reasonable level of mediocrity without taking the next step for precisely this reason. Experts won’t spend time or waste it on a reference tool where unskilled amateurs can revise and waste hours or days of careful writing. The reason for the success of such open-access, online references as the Stanford Encyclopedia of Philosophy is that experts compile and edit it, review it, and work together carefully to ensure continuing, updated improvements through expert-level participation.
>
> That seems to me to be the kind of thing you are aiming at with your interpretive collaborative review. The medium seems a bit more collaborative than the single-author articles in the Stanford Encyclopedia of Philosophy, and the principle of expert-level participation makes the collaborative investment worthwhile.
>
> Best regards,
>
> Ken
>
> Professor Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished Professor | Dean, Faculty of Design | Swinburne University of Technology
> | Melbourne, Australia | [log in to unmask] | Ph: +61
> 39214 6078 | Faculty
>
>
> On Tue, 1 Nov 2011 12:15:40 -0400, Peter Jones | Redesign <[log in to unmask]> wrote:
>
> Best, Peter
>
> Peter Jones, Ph.D.
> Associate Professor, Faculty of Design
> Strategic Foresight and Innovation
>
> OCAD University
> http://DesignDialogues.com
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 23:48:28 +0800
> From: Terence Love <[log in to unmask]>
> Subject: Re: texts / critical mapping
>
> Dear Peter,
> Zotero full featured? I found Zotero and Mandeley didn't do what Endnote does and went back to Endnote.
> Interesting you found different. You want to say more?
> I'd be grateful if you would also say more about how you are using Ashby LoRV.
> Best wishes,
> Terry
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 15:45:24 +0000
> From: Uttaran Dutta=CEPHAD <[log in to unmask]>
> Subject: Re: Request for Collaboration
>
> Interactions with scholars and professionals help me in identifying five broad domains for research collaboration. They are:
> Design Methodologies and Practices,
> Participatory Design,
> Design for the Underserved/ BoP,
> Visual Design and Aesthetics,
> Design Ethnography,
>
> Please let me know your valuable thoughts and comments.
> Regards, Uttaran.
>
> Previous Post:
> Dear Sir/ Madam,
> I am currently a doctoral student (3rd Year) in the Brian Lamb School of Communication, Purdue University. I did my Master of Design (with specialization in Visual Communication) from Industrial Design Centre, Indian Institute of Technology, Bombay, India and have a work experience of eleven years in a Public Sector Enterprise in India in Marketing Communication Strategy, Media Management & Design Research. I did my Bachelor’s in Civil Engineering and Master of Business Administration (with specialization in Operations Management). I am interested in designing communication strategies and ethnographic methodologies in the area of participatory sustainable community development, especially for under-served and subaltern communities of the third world countries.
>
> I am interested in collaborating with designers/ architects/ academicians for writing scholarly articles/ journal papers on contemporary design (and related) issues. If you are interested or if you know someone suitable for such collaboration then please let me know. Thank you for your time and attention. Regards, Uttaran Dutta. [[log in to unmask]]
> Linkedin Public Profile:http://www.linkedin.com/pub/uttaran-dutta/1/b6a/5b3
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 18:14:21 +0200
> From: Pelin Göçmen <[log in to unmask]>
> Subject: Re: Request for Collaboration
>
> Dear Uttaran,
>
> I have been working in Gazi University as a research assistant since 2006
> in Graphic Design Education department. I have a Bachelor's in
> Communication, Master's and finally PhD in Graphic Design. I would like to
> collaborate with you for writing an academic paper about "visual design and
> aesthetics".
>
> I am looking forward to hearing from you soon.
>
> All the best,
> Pelin
>
> On Thu, Nov 3, 2011 at 5:45 PM, Uttaran Dutta=CEPHAD <[log in to unmask]>wrote:
>
>> Interactions with scholars and professionals help me in identifying five
>> broad domains for research collaboration. They are:
>> Design Methodologies and Practices,
>> Participatory Design,
>> Design for the Underserved/ BoP,
>> Visual Design and Aesthetics,
>> Design Ethnography,
>>
>> Please let me know your valuable thoughts and comments.
>> Regards, Uttaran.
>>
>> Previous Post:
>> Dear Sir/ Madam,
>> I am currently a doctoral student (3rd Year) in the Brian Lamb School of
>> Communication, Purdue University. I did my Master of Design (with
>> specialization in Visual Communication) from Industrial Design Centre,
>> Indian Institute of Technology, Bombay, India and have a work experience of
>> eleven years in a Public Sector Enterprise in India in Marketing
>> Communication Strategy, Media Management & Design Research. I did my
>> Bachelor’s in Civil Engineering and Master of Business Administration (with
>> specialization in Operations Management). I am interested in designing
>> communication strategies and ethnographic methodologies in the area of
>> participatory sustainable community development, especially for
>> under-served and subaltern communities of the third world countries.
>>
>> I am interested in collaborating with designers/ architects/ academicians
>> for writing scholarly articles/ journal papers on contemporary design (and
>> related) issues. If you are interested or if you know someone suitable for
>> such collaboration then please let me know. Thank you for your time and
>> attention. Regards, Uttaran Dutta. [[log in to unmask]]
>> Linkedin Public Profile:
>> http://www.linkedin.com/pub/uttaran-dutta/1/b6a/5b3
>>
>
>
>
> --
> Dr. Pelin ÖZTÜRK GÖÇMEN (PhD in Graphic Design Education)
> Faculty of Arts and Design
> Gazi University, Turkey
> http://websitem.gazi.edu.tr/pgocmen
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 12:21:30 -0400
> From: Peter Jones | Redesign <[log in to unmask]>
> Subject: Re: texts / critical mapping
>
> I know, it depends on how many features you need. In my view MS Word 6.0 (1996?) reached the sufficient complement of features I use regularly in text production. Everything since then has been UI and refinement. What features do we really need for reference management and where does the tool save ME time? The rapid capture of citation when browsing is a big part of it - the lightweight access to a free tool that continues to be developed.
>
> It's not "as" full featured as EndNote of course, but for creating topical citation lists that I can edit later, it's quite good. Besides, do you think design grad students will spend money on a reference manager? ;) It's better to encourage discipline that gets followed rather than to set a bar so high that its ignored. My students do use Zotero and Mendeley, but I haven't seen EndNote yet in the MDes.
>
> I don’t have the time to draft a new post on systems theory in dialogic design - I've recently given a workshop at AHO in collaboration with Birger Sevaldson, and some background is at: http://www.systemsorienteddesign.net/index.php?option=com_content&view=article&id=164:workshop-by-professor-peter-jones&catid=1:latest-news
>
> Requisite variety is one of the principles guiding the methodology of structured dialogic design, discussed in the papers at http://globalagoras.org Most of them are here at: http://www.globalagoras.org/publications/article-library
>
> I'd be happy to discuss more later - I'm particularly interested in integrating dialogic and systemic design literatures into MDes and PhD curricula. If you are currently working on innovative design curricula, we should find better ways to share our developmental work.
>
> Peter
>
>
> -----Original Message-----
> From: Terence Love [mailto:[log in to unmask]]
> Sent: Thursday, November 03, 2011 11:48 AM
> To: [log in to unmask]
> Subject: Re: texts / critical mapping
>
> Dear Peter,
> Zotero full featured? I found Zotero and Mandeley didn't do what Endnote does and went back to Endnote.
> Interesting you found different. You want to say more?
> I'd be grateful if you would also say more about how you are using Ashby LoRV.
> Best wishes,
> Terry
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 12:21:12 -0400
> From: Francois Nsenga <[log in to unmask]>
> Subject: Re: The "intermediatness" of a product
>
> Dear Toon
>
> Ten years ago, in my Master's dissertation in Sociology, I suggested the
> idea to consider artefacts as full-fledged social actors, almost at the
> same level as humans. In that sense, users do not only "change products",
> they fully and continuously interact with them as 'intermediaries', both
> changing them but at the same time being changed by them.
>
> In the designing perspective, that means there are two categories of
> designers: on one hand technicians or crafts persons who, as you say, have
> as their goal to give an 'intermediate' / provisional 'physical' / tangible
> shape to artefacts. On the other hand, there is a new category of
> designers still in the making (incidentally thanks to exchanges on this
> this list), that of those professionals looking at artefacts as in a
> magnifying lens. For these latter professionals, giving shape to artefacts
> is not their immediate goal; rather, artefacts are first viewed as
> 'intermediates' towards other ends such as contributing to users'
> happiness, comfort, etc., to realizing monetary returns to economic
> investors, to eventually furthering community empowerment, to eventually
> inducing political policies, etc. etc. Ultimately, the aim pursued by the
> second category of designers is to "hear", as in Court of Justice, all
> those particular desiderata and, at the end of the exercise, bring the
> expert judgement or "render a sentence" up to the technician table as
> requirements or specifications to embody into the final physical shape of
> artefacts.
>
> Both categories of design professionals would thus consider artefacts as
> 'intermediates' or intermediaries, but not with a samilar view on artefacts
> "intermediatness". At this moment, still, there seems to be a confusion in
> the two views above. But we all on this list particularly are working hard
> towards clarification of roles; the only way that, as French people say,
> "les vaches du roi seront bien gardées".
>
> Good luck in your search!
>
> Francois
> Montreal
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 16:20:29 -0400
> From: jeremy hunsinger <[log in to unmask]>
> Subject: word for walked path
>
> There is a design concept or an architectural term that means 'the path that people walk, not the path they were supposed to walk. So as designers, we design a way for people to proceed through a space, but people as a whole wear their own path that is different' I've heard this used once and did not note it clearly, I'm wondering if people know this term. It may have been a french, german, or greek derived term.
>
> it is not:
> path
> trace
> cowpath
>
>
> Jeremy Hunsinger
> Communication Studies
> Wilfrid Laurier University
> Center for Digital Discourse and Culture
> Virginia Tech
>
>
>
> Imagination is the one weapon in the war against reality.
> -Jules de Gaultier
>
> () ascii ribbon campaign - against html mail
> /\ - against microsoft attachments
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 20:42:40 +0000
> From: Stephen Boyd Davis <[log in to unmask]>
> Subject: Re: word for walked path
>
> Jeremy
>
> The term you are looking for may be "desire line".
> http://en.wikipedia.org/wiki/Desire_path
>
> If so, it has some latin and old french in desir and some old english in
> path.
>
> Best,
> Stephen
>
>
> On 03/11/2011 20:20, "jeremy hunsinger" <[log in to unmask]> wrote:
>
>> There is a design concept or an architectural term that means 'the path that
>> people walk, not the path they were supposed to walk. So as designers, we
>> design a way for people to proceed through a space, but people as a whole wear
>> their own path that is different' I've heard this used once and did not note
>> it clearly, I'm wondering if people know this term. It may have been a
>> french, german, or greek derived term.
>>
>> it is not:
>> path
>> trace
>> cowpath
>>
>>
>> Jeremy Hunsinger
>> Communication Studies
>> Wilfrid Laurier University
>> Center for Digital Discourse and Culture
>> Virginia Tech
>>
>>
>>
>> Imagination is the one weapon in the war against reality.
>> -Jules de Gaultier
>>
>> () ascii ribbon campaign - against html mail
>> /\ - against microsoft attachments
>
>
> .............................................................
> Stephen Boyd Davis
> Research Leader, School of Design
> Royal College of Art
> Kensington Gore
> London SW7 2EU
> United Kingdom
>
> Tel 44 (0)20 7590 4444 (main switchboard)
>
> www.rca.ac.uk
> .............................................................
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 16:45:33 -0400
> From: jeremy hunsinger <[log in to unmask]>
> Subject: Re: word for walked path
>
> Yes, this was just mentioned by another colleague--Richard Grusin, but there is a single word in a technical language that means somewhat the same thing. That's the word I'm trying to find, but desire path is interesting as it means the same sort of thing, but it is a different disciplinary genesis from what i can see from google scholar.
>>
>
> Jeremy Hunsinger
> Communication Studies
> Wilfrid Laurier University
> Center for Digital Discourse and Culture
> Virginia Tech
>
>
> Words are things; and a small drop of ink, falling like dew upon a thought, produces that which makes thousands, perhaps millions, think. --Byron
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 16:18:34 -0500
> From: Alan Overton <[log in to unmask]>
> Subject: Re: word for walked path
>
> I'm reminded of this quote:
>
> "The tao that can be spoken is not the eternal tao." --Lao-tzu
>
> Alan Overton
>
> On 11/3/11 3:20 PM, jeremy hunsinger wrote:
>> There is a design concept or an architectural term that means 'the path that people walk, not the path they were supposed to walk. So as designers, we design a way for people to proceed through a space, but people as a whole wear their own path that is different' I've heard this used once and did not note it clearly, I'm wondering if people know this term. It may have been a french, german, or greek derived term.
>>
>> it is not:
>> path
>> trace
>> cowpath
>>
>>
>> Jeremy Hunsinger
>> Communication Studies
>> Wilfrid Laurier University
>> Center for Digital Discourse and Culture
>> Virginia Tech
>>
>>
>>
>> Imagination is the one weapon in the war against reality.
>> -Jules de Gaultier
>>
>> () ascii ribbon campaign - against html mail
>> /\ - against microsoft attachments
>
> ------------------------------
>
> Date: Thu, 3 Nov 2011 22:29:45 +0000
> From: Inês Redondo Pinto Pereira <[log in to unmask]>
> Subject: Re: A Companion to Design Research, Victor's challenge, texts, etc
>
> Boa noite Eduardo
>
> Acho um projeto interessante.
> Será que poderemos falar melhor sobre o assunto?
>
> Estou a desenvolver um projecto de investigação em design editorial.
>
> Um Abraço
> Inês Redondo
> FBAUP
>
>
>
> 2011/11/2 Ken Friedman <[log in to unmask]>
>
>> Dear Eduardo,
>>
>> This is a good idea and I do remember. I’ll tell you why I have not
>> pursued this, and why it will be some time before I do.
>>
>> The kinds of companions published by Blackwell, Oxford, Cambridge, and
>> the other great academic publishers are massive undertakings. A book
>> such as this is effectively an in-depth, encyclopedia rendering of a
>> field. These are not opinion pieces of the nature we publish on this
>> list, but carefully developed and well referenced articles not unlike
>> the articles Victor would like to see written. Anyone who has written
>> encyclopedia articles as I have knows what kind of work this entails –
>> even short entries of 750-1,500 words can take two weeks each with
>> referencing, editorial work, and the like. In volunteering for a project
>> like this, I’m not sure you know how much work is involved. One thing
>> is certain, anyone who is qualified to write for such a work will
>> generally have published a couple of critical literature reviews in
>> peer-reviewed journals or a bibliographic essay or two in a monograph or
>> reference book from a major international academic publisher.
>>
>> If you really wish to see such a work, I’ll make a public promise: I
>> will take on such a project and produce it with a respected academic
>> press on three conditions
>>
>> 1) 50 volunteers must agree to write,
>>
>> 2) Each of these 50 volunteers must have published at least one
>> critical literature review in one of 14 leading design journals listed
>> in the article that Design Studies will publish in January,
>>
>> 3) At least 25 of these volunteers must have published reference book
>> articles with an international academic publisher such as Blackwell,
>> Oxford, Cambridge, Sage, The MIT Press, University of Chicago Press,
>> Routledge or other publishers at that level.
>>
>> Having struggled with edited volumes in the past from authors who want
>> to write but do not deliver, I can tell you that calling for a good book
>> is a long way from the work it takes to produce one. Without at least 50
>> authors who meet these criteria, the idea of A Companion to Design
>> Research will be little more than a conversation on this list.
>>
>> The place to start is with Victor’s challenge. Critical literature
>> reviews in peer-reviewed journal is where this work starts.
>>
>> Warm wishes,
>>
>> Ken
>>
>> Professor Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished
>> Professor | Dean, Faculty of Design | Swinburne University of Technology
>> | Melbourne, Australia | [log in to unmask] | Ph: +61
>> 39214 6078 | Faculty
>>
>>
>> On Wed, 2 Nov 2011 16:33:31 +0000, Eduardo Corte Real
>> <[log in to unmask]> wrote:
>>
>>
>>
>>>>> Eduardo Corte Real <[log in to unmask]> 11/3/2011 3:33 AM
>>>>>
>> Dear Ken, and all,
>>
>> A couple of years ago, I remember have thrown at you the idea of a “A
>> Companion to Design Research”. Such book would address most of the
>> issues this thread and other ongoing threads in this discussion list.
>>
>> The encyclopedia format of it could encompass several design fields.
>> I’m a particular fan of “A Companion to Aesthetics”, if you
>> care to take a look at it you would know what I mean.
>>
>> Embarking in a project like this would make us think properly about
>> mapping this field at the university level. Deciding which entries
>> should be part of it, would be a valuable work, not to mention writing
>> the entries. If there are of you interested in doing it, I’m in for
>> some entries or for being part of the editorial team. It would be a
>> great topic of discussion in this list. So if you are interested, please
>> step forward.
>>
>> Discussing a project like this in an open forum might be very
>> interesting.
>>
>> Eduardo
>>
>> Eduardo Corte-Real
>> Doctor Arch
>> Scientific Board President
>> IADE - Creative University Lisbon
>>
>
> ------------------------------
>
> Date: Fri, 4 Nov 2011 09:42:40 +1100
> From: Keith Russell <[log in to unmask]>
> Subject: Re: word for walked path
>
> Dear Jeremy,
>
> it is also probably NOT "drift" but drift, as the path taken by animals, when drovers drive animals is an excellent equivalent, if you get my drift. (Good set of English words: drift, drive, drove.)
>
> cheers
>
> keith
>
>>>> jeremy hunsinger <[log in to unmask]> 11/04/11 7:20 AM >>>
> There is a design concept or an architectural term that means 'the path that people walk, not the path they were supposed to walk. So as designers, we design a way for people to proceed through a space, but people as a whole wear their own path that is different' I've heard this used once and did not note it clearly, I'm wondering if people know this term. It may have been a french, german, or greek derived term.
>
> it is not:
> path
> trace
> cowpath
>
>
> Jeremy Hunsinger
> Communication Studies
> Wilfrid Laurier University
> Center for Digital Discourse and Culture
> Virginia Tech
>
>
>
> Imagination is the one weapon in the war against reality.
> -Jules de Gaultier
>
> () ascii ribbon campaign - against html mail
> /\ - against microsoft attachments
>
> ------------------------------
>
> End of PHD-DESIGN Digest - 2 Nov 2011 to 3 Nov 2011 (#2011-272)
> ***************************************************************
>
|
