Thanks Jeffrey
This sounds as a better way forward than discussing D-day :)
And again it is the EBDers who need to answer what they think so that we get clarity of what they stand for.
I was thinking that the returning dichotomy between art and design here is superficial. From what I learned at least some in the EBD camp have very wide and tolerant conceptions of the term evidence. To me the consequence is that many artist are conducting EBD.
I know a few arts and craft people and all of them are highly educated knowledgable people. Typically they are experts in their field. For instance they know a lot about material technology even down to the molecular level. A former colleague of mine, a jewelery smith did his PhD on the chemical manipulation of metals. Many of them are also very knowledgeable in the field of cultural history and contemporary culture. Some of them are also very knowledgable in the art marked place the economics of how it works etc.
If you look at an artist like Christo I think it is obvious that he is working on many levels, cultural, political (Reichstag was great) societal (his projects are designed as social interventions) government related (his projects are disruptive to local government and this is part of it.) etc.
But obviously the artists go beyond what is evidence based. But this is just to challenge the artificial dichotomy between art and design drawn up here. Not everything is evidence based as well as not everything is evidence based in design.
Well just to rethink. To me EBD creates some boundaries that seem pretty artificial. I think it is about degrees of orientation and gradients between poles and not principal differences.
I subscribe to the call that many fields in design need to be better at using information and data to support their work.
Birger Sevaldson (PhD)
Professor at Institute of Design
Oslo School of Architecture and Design
Norway
Phone (0047) 9118 9544
www.birger-sevaldson.no
www.systemsorienteddesign.net
www.ocean-designresearch.net
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From: PhD-Design - This list is for discussion of PhD studies and related research in Design <[log in to unmask]> on behalf of Bardzell, Jeffrey S <[log in to unmask]>
Sent: 04 January 2016 16:43
To: [log in to unmask]
Subject: What is *not* evidence?
All,
I have been reading this thread on evidence with interest, and most contributions have made an assertion of the form that "X in my process counts as evidence," and I read it and think, "yep, that sounds like evidence to me."
So maybe one constructive way to get at what Birger is asking for--and hopefully without devolving into tired and misguided art vs. science wars--is to ask:
What forms of evidence, recognized at least by some design practitioners, would EBD *exclude* as non-evidence?
For example, the logical positivists excluded all non-verifiable statements as nonsense and offered criteria for judging the verifiability of statements: the statement must be either logically deducible (all bachelors are single men) or empirically verifiable (oxygen consists of two parts hydrogen and one part oxygen).
So what is "nonsense" or non-evidence according to EBD, and what are EBD's criteria for making such a judgment? More precisely, are there forms of evidence regularly used in design that EBD would reject?
If we know that, we are better able to assess the extents to which EBD does/does not mix scientism in with its science, which I believe is one underlying question in this whole thread.
Jeffrey
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