this is a good start for thinking through phenomenological way.
https://www.interaction-design.org/literature/book/
the-encyclopedia-of-human-computer-interaction-2nd-ed/phenomenology
2017-02-09 0:51 GMT+07:00 jean schneider <[log in to unmask]>:
> Apologies,
> for some odd reason, Heidegger was replaced by Heiddeger !
> and there are a couple of typos.
>
> Sorry for that.
>
> Jean
>
> > Le 8 févr. 2017 à 15:49, jean schneider <[log in to unmask]> a écrit
> :
> >
> > Dear Jude,
> >
> > Here are some of my thoughts regarding your investigation. I haven’t
> reopened my copy of Heiddeger’s conferences, and I have always found the
> text difficult (on technique, on art) to understand, as I am not familiar
> enough with greek philosophy and the early Heiddeger either. So my comments
> are debatable.
> >
> > First, regarding the « artifact », as a single result of an intentional
> act. This is because it seems wise to divide the reasoning on how an object
> is made by a craftsmen (greek time) and the « gesell », the modern
> technique (a system) that appears under the eye of Heiddeger, and that he
> tries to analyse.
> > It is difficult to decide whether the split is even possible ? Because
> the crafter makes the thing appear while AND by doing it, we can say that
> there could be three factors intertwined : the intention (e.g. : to make a
> table), the material (the piece of wood), and the competence, which I would
> prefer to the word knowledge or know-how. I mean by competence the
> individual ability to judge the appropriateness of the individual piece of
> wood to making the table. Or, to sound more Heiddegerian, whether this
> table may emerge from within this given tree.
> > The key notion (in my view) is how the path develops. There is a
> substantial uncertainty at the greek time, which probably is what
> fascinates Aristotle : there re no « standard » materials, meaning e.g.
> that the sculptor mays discover halfway through a crack in the stone that
> annihilates the ending. The skillful sculptor is able to either anticipate
> by finding the right material, or to tweak the « design » so that the crack
> becomes « part » of it. (this approach remains valid today, there is a
> substantial body of evidence to support that).
> >
> > Second : if we move to contemporary technique/technology. What I think
> Heiddeger sees in common with the greek technè is that what I called the
> competence of the craftsmen is replaced by the mesh of scientific knowledge
> and technical know-how that allow to systematically turn natural elements
> into potential and actual resources. Therefore, something like « planning
> », organisation, comes into replacement of what I name « competence ». But
> I would not map this distinction toward explicit vs. tacit knowledge.
> >
> > Third : you mention of the self-evidence, possibly « gleaming » or «
> awesome ».
> > I would have to get back to what Heiddeger says regarding the work of
> art to grasp this better. Nevertheless, it seems to me that what is
> important is the evidence : it is (without any judgment). Gleaming or
> awesome require a (human) Being in front, no ? And I should try to check
> one day whether Heiddeger uses Bildung or Gestaltung. One being more
> towards the apparition of the thing to come, the other being more towards
> the integrity of the thing there.
> >
> > Finally, if the connection was to be made to design, at this moment I
> would say the following. If we consider design as a planning activity (even
> it to make an object), then we sit with Heiddeger on the side of the
> essence of technology. If we look at it as a shaping material process, then
> we would be much on the Aristotelian technè. This is very roughly the old
> distinction between design and crafts. And I don’t think that the metaphor
> is valid, meaning by that, as an example : assuming that social design
> would be some kind of technè. This because there are two prerequisites :
> one is that there is a bodily engagement, second is that it is not an «
> experimental » process (I try, doesn’t work, I redo…: each piece of wood is
> in fact unique).
> >
> > I’ll stop here for a while.
> >
> > Jean
> >
> >
> >
> >> Le 6 févr. 2017 à 08:10, CHUA Soo Meng Jude (PLS) <[log in to unmask]>
> a écrit :
> >>
> >> Perhaps this designerly-production in techne is a special kind of
> thinking, that we have lost sight of?
> >>
> >> Design-thinking in techne becomes a way to attend to, or to think, the
> awesome?
> >>
> >> Jude
> >>
> >> -----Original Message-----
> >> From: CHUA Soo Meng Jude (PLS)
> >> Sent: Monday, February 6, 2017 11:00 AM
> >> To: [log in to unmask]
> >> Subject: RE: Being and Design
> >>
> >> Thankyou everyone for all your remarks
> >>
> >> There's the suggestion that when Heidegger talks about "techne" it's
> not about mere skillful doing, but, like the ancient greeks (Aristotle
> included), its more than that. In its excellent form, techne includes a
> kind of thinking, perhaps designerly, prior to and during the production of
> what one crafts.
> >>
> >> And in that ?designing? production something awesome shows.
> >>
> >> Sounds crude, of course, to use the word "awesome". Kids say
> everything is awesome. But I think in the original greek experience, when
> things are done well, we are shown something awesome. I wonder what
> precisely that is? I suspect it could be something normative.
> >>
> >> The other thing is, for the longest time, we speak of Aristotle's first
> principles as self evident, but if it is true that the original meaning was
> mistranslated (from Greek to Latin - per se nota) into the static notion of
> the evident, the original ought to have meant something like "gleaming". I
> am getting this from Richard Capobianco's readings of Heidegger. So the
> practical first principles, say, ought to be spoken of not as self-evident,
> but perhaps, self-gleaming, showing us something awesome and hence very
> compelling.
> >>
> >> Perhaps also, in techne, and in skillful designing-crafting-production,
> such self-gleaming truths show.
> >>
> >> Jude
> >>
> >> -----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 Jinan K B
> >> Sent: Saturday, February 4, 2017 12:52 AM
> >> To: [log in to unmask]
> >> Subject: Re: Being and Design
> >>
> >> I find some of this self contradicting.
> >>
> >> One is about embodied knowledge and the other is the usage 'knowing by
> being'
> >>
> >>
> >> National Institute of Education (Singapore) http://www.nie.edu.sg
> >>
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> >>
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--
Sincerely Yours,
Karna Mustaqim
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http://k4rna.deviantart.com/
http://k4rnacomics.blogspot.com/
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The intuitive mind is a sacred gift;
the rational mind is faithful servant.
We have created a society that honors the servant and has forgotten the
gift.
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