Dear Don,
Interesting article by Kirsh. He says: ³Manipulating external things,
even when we do not appreciate it, is a form of simulation².
As a performing language artist, is my manipulating of external things
(people) a form of simulation? That is, what do we do when the THINGS
being manipulated, for the purposes of extending our being-as-thinking,
are OTHERS?
This question is further complexified by a possible distinction between
the aesthetic manipulation of people (at a distance - they know they are
being manipulated aesthetically) and the manipulation of an other
intimately - they too know that they are being manipulated and they are
possibly manipulating reciprocaly.
Each of these circumstances is obviously a form of thinking extension - my
poetry is altered by its reception in terms of a capacity on my part to
think my poetry differently and, in the case of the intimate example,
lovers think differently after they have simulated their desires by
manipulating their beloved.
Cheers
keith
On 30/01/2014 1:14 pm, "Don Norman" <[log in to unmask]> wrote:
>We need to stop designing isolated
>things (or even services) and recognize that they are all part of larger,
>more comprehensive systems (and we should be designing the entire system).
>And the tools are part math, part science/engineering, and part art,
>intuition, and creativity.
>
>As an aside, just got off the phone with a good friend (David Kirsh) who
>explained how he was trying to develop the science of thinking by doing.
>Designers claim that they (we) think by drawing and by making: David is
>showing why this is true.
>
>Kirsh, D. (2013). Embodied cognition and the magical future of interaction
>design. *ACM Transaction of Computer-Human Interaction, 20*(1), 1-30.
>https://quote.ucsd.edu/cogs1/files/2012/09/Kirsh-Final-acm_reading.pdf
>
>
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