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Dear all:

Thanks to Jude's son, I feel free to misuse the words (no as sign user but
as designer, even as dilettante one), and join myself to you from Bogotá,
to have the honor of drink a virtual beer with all of you (cheers for the
proposal of Harold Nelson!?) following the example that gave to us Ken and
Ben, here's my contribution, but I guess all of you already know this:

[How beer saved the world] http://www.youtube.com/watch?v=PdwYjFnFoJU

Well when I was reading and enjoying this mail string... and after within a
framework of epistemological lightness , I remember and advice Ken Friedman
gave, in a post about design philosophy, to the  then members of this list:
Whatever one's interests may be, it seems to me most useful to say, "This
is my interest among these many possibilities", well here comes mine:

When I read the part in that Jude gave praise to the decision of Nigel
Cross to coin the phrase "designerly ways of knowing", and I started to
think about if it would be possible to speak over  "designerly ways of
feeling" or kind of, because when the matter of the beer made its
appearance, all the participants in this written conversation  entered a
state of good feeling, fellowship and endearing amity that did the meeting
of ideas a warm one, characterized by a link between the design of fire,
with the design of language and finally with the design of the beer (or the
design of the language over the beer).

so I would like your opinion on two queries:

1. Since I am opposed to any superiority of mind over body, emotion over
reason, thinking over emotion, and male over female, do you know about any
studies of an approach to design, analogous to what has been theorized as
"design thinkig" that we could call "design feeling" (to explain the kind
of human merrymaking approach that appeared in this very string with the
issue of beer)? Do you know any academic paper about it?

2. On the subject of if fire was discovered of designed, there is a passage
of Willemien Visser's work, that I want to share with you:

"In the comparison between design and discovery, Cagan et al. (2001)
advance that "[highly creative] design activities are often labeled *
invention*." The authors explain how the seemingly disparate activities" of
discovery and invention are surprisingly similar (p. 442). The author's
"major conclusion" of this comparison is that "at a deep level, the
cognitive and computational processes that accomplish [design and
discovery] are virtually identical" (p. 463). Their "real simlarity" is
made up by "the underlying cognitive activities base on problem solving,
pattern recognition, analogical reasoning, ant the cognitive knowledge
retrieval mechanisms" (pp. 452-453).

"The fundamental difference between the two is "the *goal *of the process:
Scientific explanation versus creation of new artifact... Deisgn starts
with a desired function and tries to synthesize a device that produces the
function. Science starts with and exisiting function and tries to
synthesize a mechanism that can plausibly accomplish or account for that
function" (Cagan et. al., 2001, pp. 452-453). However 'their cognitive
models of search, once the problem are defined, are the same"

By the way, I know about Klaus' concerns about the cognitivism as you
express in 8.2 of your *Semantic Turn *(pp. 278-279) but the above
mentioned part makes sense to me, and intrigues me also.

And, since, also, somehow, I share this notion:

The core of phenomenology as Merleau-Ponty (2002) describes it is *'être au
monde'*, which means not only being in the world but also belonging to it,
having a relationship with it, interacting with it, perceiving it in all
dimensions. Perceiving is an activity and our body and skills are an
inextricable part of our perception. We perceive the world in terms of what
we can do with it, and by physically interacting with it we access and
express this meaning. Perception, through action, precedes cognition:
reflection is a consequence of action. Moreover, we do not perceive
ourselves as one more object in the world; we perceive ourselves as the
point of view from which we perceive other objects. (Troto et. al 2011, no
page number, [academia.edu version]).

I can not stop thinking about this sentence:

"Perception, through action, precedes cognition: reflection is a
Consequence of action"

Well in some way (forced, I admit) I connect *Perception, through action
with design and invention*; and *cognition-reflection* with discovery and
science...

Then, the phrases can be "science follows design" or "discovery follows
invention"?

Please, gentlemen, give me some light, forgive my misuses of the words, and
tell me what do you think?

A drink to your health with a beer on your behalf,

Greetings from Bogotá.

References:

Cagan, J., Kotovsky, K. & Simon H. A. (2001) Scientific discovery and
inventive engineering design: Cognitive and computational similarities. In
E. K. Antonsson & J. Cagan (Eds), Formal engineering design synthesis (pp.
442-465). Cambridge, England: Cambridge University Press.

Krippendorff, K. (2006). *The semantic turn: A new foundation for design*.
Boca Raton: CRC/Taylor & Francis.

Trotto, A., Hummels, C.C.M. & Cruz Restrepo, M. (2011). Towards
design-driven innovation: designing for points of view, using intuition
through skills. In C. Cautela, A. Deserti, F. Rizzo & F. Zurlo (Eds.),
Proceeding of the Proceedings of the Designing Pleasurable Products and
Interfaces Conference 2011 (DPPI 2011), 22-25 June 2011, Milan, Italy, (pp.
3-9). Milan: Politecnico di Milano.
http://www.academia.edu/1414922/Towards_design-driven_innovation_designing_for_points_of_view_using_intuition_through_skills

Visser, W. (2006). *The cognitive artifacts of designing*. Mahwah, N.J: L.
Erlbaum Associates.

*MSc.** **Alfredo Gutiérrez Borrero
*
*(571) 2427030 ext 1739
*

*http://www.utadeo.edu.co/programas/pregrados/diseno_industri/index.php

*
*Profesor Asociado Programa de Diseño Industrial*
*Facultad de Artes y Diseño*
*Universidad Jorge Tadeo Lozano*
*Bogotá - Colombia, S.A.*
*
*
*Lecturer Grade B (Britain equivalent)
Instructor (USA equivalent) of Industrial Design
*
*
School of Arts and Design
Jorge Tadeo Lozano University
Bogotá - Colombia, S.A.
*


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