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DESIGN RESEARCH NEWS Volume 24 Number 1, Jan2019 ISSN 1473-3862
o In Memoriam -- Tomas Maldonaldo
o MinD conference
o EKSIG conference
o IASDR conference
o DRN search
o Digital Services
o Subscribing and unsubscribing to DRN
o Contributing to DRN
IN MEMORIAM -- TOMAS MALDONADO
He was born 1922 at Buenos Aires/Argentina where he studied Art. He
became a member of the Asociacin Arte Concreto-Invencin and was a
co-editor of the The Manifiesto Invencionista, a avantguardia movement
in the 1940s.
The Swiss architect, artist and designer Max Bill, who was a student the
Bauhaus in the 1920s, designed the building of the new Ulm Design
School and was the first rector. He invited T.M. to come to Ulm/Germany
for a cooperation of a new book on concrete art.
Although T.M. had little knowledge in the German language, Bill engaged
him as a lecturer at the new Design School where he was teaching from
1955 until 1967. From 1964 until 1966 he was the rector of the School.
Afterwards he was teaching Architecture at Princeton/USA, Environmental
Design at the University of Bologna and later he became a co-founder of
the Industrial Design department at the Polytechnico di Milano.
T.M. was the intellectual leader of Industrial Design, not only in
Germany but for many other countries. For him (as an artist) it was
obvious, that after the Second World War it was necessary not to
concentrate on Art but in the Design of functional and aesthetic
products. From 1967-1969 he was the president of ICSID. For him it was
necessary to develop Industrial Design as a tool for the growing
The Ulm Design School was not founded on the heritage of Art and Crafts
neither on Art itself. T.M. was responsible for the scientific
foundation of Design and brought a lot of new disciplines into the
curriculum. Sciences and Technology became important for the students:
ergonomics, mathematical techniques, economy, physics, politics,
psychology and others more have been established for the students. The
Ulm Design School was the first Design School in the world, where
semiotics became an important part of the curriculum.
For T.M. it was important not to teach only scientific disciplines but
he always kept in mind how to transfer the new knowledge into Design
(Gestaltung). Therefore he did himself many industrial projects, e.g.
for the German company ERBE (medical equipment), La Rinascente Milano,
Olivetti and others more. In 1960 he cooperated with Ettore Sottsass,
who was responsible for Olivetti Design. He came to Ulm and they worked
together for TEKNE 3, a new electric typewriter, in the laboratories of
the Ulm Design School they built together the model.
From 1962 until 1968 T.M. was together with Gui Bonsiepe the editor of
the bi-lingual magazine ulm where they published students and diploma
projects but also research projects from the Institutes at the Ulm
Design School. The theoretical output of German Design Schools in these
days was very poor, therefore Ulm gave important influences in many
countries all over the world especially in Latin America.
In 2007 Gui Bonsiepe edited the book Tomas Maldonado: Digitale Welt und
Gestaltung published by the Zurich Design School/Switzerland. The book
includes a lot of highly important essays by T.M. In the last years T.M.
concentrated again on concrete painting, therefore his life-cycle has
closed finally. He was the Grandseigneur of Design in the 20th century,
and the motto Il faut tre absolument modern was his credo. Tomas
Maldonado passed away november 26, 2018 at Milano - two months after the
death of his partner Inge Feltrinelli. T.M. is the author of many
important books and numerous articles and essays.
-- Bernhard E. Burdeck
19-20 September 2019 - Final call MinD conference 2019
Designing with and for People with Dementia: Wellbeing, Empowerment and
International Conference 2019 of the MinD consortium, the DRS Special
Interest Group on Behaviour Change and the DRS Special Interest Group on
Wellbeing and Happiness
1 February 2019: Final date for Submissions
Venue: TU Dresden, Germany
Conference chairs: Dr Christian Wlfel, Prof Kristina Niedderer, Dr
Rebecca Cain, Dr Geke Ludden
The conference submission system for MinD 2019 is now open and we now
have a wonderful set of keynote speakers. Please see below and visit our
website for more details.
Dr Natalie Marchant, Alzheimers Society Senior Research Fellow,
University College London, UK
Dr. Ir. Helma van den Berg-van Rijn, service designer at Muzus, The
A member of the European Working Group of People with dementia - details
MinD invites papers and design contributions for the first international
MinD conference 2019 on Designing for People with Dementia.
The conference will provide a trans-disciplinary forum for researchers,
practitioners, end-users and policy makers from the design and health
care professions to exchange and discuss new findings, approaches and
methods for using design to improve dementia care and to support people
with dementia and their carers.
With ca. 10.9 million people affected by dementia in Europe, with
numbers set to double by 2050 (Prince, Guerchet and Prina 2013), with 20
million carers, and with no cure in sight, research into care to improve
the quality of life of people with dementia is essential, to encourage
and enable them to engage in activities that are in line with their
interests and experiences (Alcove 2013; Alzheimers Society 2013).
Characterised by progressive memory and cognitive degeneration, people
who are affected by Alzheimers disease or other dementias often face
cognitive, behavioural and psychosocial difficulties, including
impairment and degeneration of memory and of perceptions of identity
(Alcove 2013). As a result, many have reduced physical activities or
social engagement, or are unable to work. Emotionally, this can lead to
uncertainty, anxiety and depression and a loss of sense of purpose.
In this light, it is becoming increasingly apparent that it is not just
care that is required but support for how to live well with dementia,
whether in the own home or in residential care. This includes managing
ones own care and every day tasks, as well as leisure activities, social
engagement. Even small things such as whether and when to go out or what
to wear can have important effects on peoples sense of self and
wellbeing, contentment and happiness. Key to this is having choices and
the ability to decide. Acknowledging the agency of people with dementia
and understanding what can be done to support this is therefore a key
Design-based non-pharmacological interventions are increasingly
recognised as having great potential to help. Design can offer novel
ways of complementing care and independent living to empower people with
dementia in everyday situations because of its ubiquitous nature and its
affordances. Much focus has so far been on physical and cognitive tasks
and on safe-keeping and reducing risks. For example, design can help
accomplish physical tasks and offer guidance or reminders, e.g. for time
or orientation, or alert to behavioural changes. While there are some
approaches towards emotional and social aspects of living with dementia,
more could and should be done to focus on enabling people with dementia
and acknowledging their agency.
Design can help to support social, leisure, creative activities. It can
help empower people with dementia offering choices and aiding
decision-making. Design can support the individual person, or change the
environment. This can take the form of a product, of systems or
services, of the built or natural environment. The importance is to use
design to help reduce stigma and exclusion, and instead to improve
well-being and social inclusion to create happiness.
While the aims may be clear, the way to achieve them still raises many
questions about the best approaches, ways and methods to achieve such
aims. This conference therefore seeks to explore the manifold areas and
approaches. This may include novel theoretical approaches, novel methods
in design development or in working with and including end-users, or
novel products, environments, services or systems. Or it may include
novel ways of working, collaboration and co-operation. The key aim is to
bring together and explore how we might impact positively and
sustainably on the personal, social, cultural and economic factors
within our communities to improve living with dementia.
To this end, we welcome a broad engagement with the field and invite
submissions from a diverse range of researchers and practitioners from
the various design and health disciplines, including product and
interior design, craft, information and communication technologies,
architecture and the built environment, psychiatry, psychology,
geriatrics and others who make a relevant to the field.
Themes may include, for example:
- Design approaches for the wellbeing/empowerment/happiness of elderly
- Design approaches for the wellbeing/empowerment/happiness of people
with mild cognitive impairment (MCI) or dementia
- New design frameworks and approaches for
- Mindful design approaches for wellbeing/empowerment/happiness
- Collaboration between designers, technologists, health professionals
and people with lived experience
- Data collection with and by people with MCI/dementia
- Co-design & co-creation with people with MCI/dementia
- Evaluation of design with people with lived experience
- Evaluation of the impact of design on people with lived experience
1 July 2018: First call for papers
1 October 2018: Online submission opens
1 February 2019: Final date for full paper submissions
1 February 2019: Final date for design proposal submissions
1 April 2019: Delegate registration opens
1 May 2019: Paper decision notifications
1 June 2019: Early bird registration closes
15 June 2019: Camera ready papers submission
15 August 2019: Late registration closes
19-20 September 2019: Conference
Contributions & Submission Information
MinD 2019 welcomes contributions in two formats:
1) Full Papers
We invite the submission of full papers (3000-4000 words) by 1 February
Papers are expected to offer new or challenging views on the subject,
novel approaches, working methods or design interventions or ideas, or
Papers will be selected subject to a double blind review process by an
international review team. Paper will be reviewed for
relevance/significance, novelty/originality, quality/rigour and clarity.
2) Design-based submissions
We invite the submission of designs in analog or digital format,
including e.g. physical artefacts, digital artefacts, films/video.
Contributions are expected to offer new or challenging ideas, novel
approaches, working methods or design interventions, or similar.
Submissions will be exhibited during and as part of the conference.
In the first instance proposals should be submitted by 1 February 2019,
including an image or visualisation and a verbal description of the
design, and a 300 word statement of the underpinning research detailing
its originality, significance and rigour.
Design submissions will be selected subject to a double blind review
process by an international review team. Submissions will be reviewed
for relevance/significance, novelty/originality, and quality.
If selected, submissions are expected to arrive by the organisers by 15
August 2019, free of charge. Insurance is the responsibility of the
All contributions must be submitted by 1 February 2019 at the latest
through the conference submission system, which you can access from the
For the full submission guidelines and templates as well as the link to
the Submission System, please follow the link to this conference
Publication of conference submissions:
Paper submissions will in the first instance be published as online
proceedings, archived in an open access repository with a DOI number,
and also available as an abstract / programme booklet and memory stick
with the proceedings.
In a second step, paper authors will be invited to submit their extended
papers (6000-8000 words) for inclusion in a journal special issue.
Available journals will be publicised on the conference website as soon
as the are confirmed.
Design submissions will be included in the abstract booklet and
published in an online-based catalogue accompanying the exhibition.
23-24 September 2019 - EKSIG 2019: KNOWING TOGETHER EXPERIENTIAL
KNOWLEDGE AND COLLABORATION
International Conference of the DRS Special Interest Group on
Experiential Knowledge at Estonian Academy of Arts, 2019
EKSIG 2019 will address the theme of Knowing Together experiential
knowledge and collaboration.
With the theme Knowing Together experiential knowledge and
collaboration the conference aims to provide a forum for debate about
knowledge generation in collaboration by professionals and academic
researchers in the creative disciplines and beyond.
Creative practice has transformed from one based on the production of
material artefacts to one that engages expertise and knowledge from
multiple disciplines. Recent research in the creative disciplines has
revolved around the changing territorial context of making and has
increasingly involved professionals and academic researchers working
collaboratively to explore an interdisciplinary inquiry. Collaboration
in such research has therefore become vital. A research team may
comprise different disciplinary experts, such as scientists,
technologists, artists, designers, architects, psychologists, business
strategists and policy makers, working across academic, commercial and
public sectors. They may work with materials and/or non-materials.
Examples include research the fields of New Materials, Smart Textiles,
Virtual Materiality, Material Innovation, Embodied Ideation, and
Participatory Practices in Business in which various partners are in
dialogue with one another, developing, consolidating and enhancing
knowledge while generating new opportunities for interdisciplinary
EKSIG 2019 aims to examine collaboration within research and commercial
teams that comprise creative professionals/researchers (such as
designers, artists, architects, etc.) and members with other diverse
disciplinary expertise. This is to understand how individual
experiential knowledge, or knowledge gained by practice, is shared, how
collective experiential knowledge is accumulated and communicated in and
through collaboration, and how it is embodied in the outputs and may be
traced back to the origin of the practice. The conference also aims to
illuminate making as the action of change in which matter and materials
are transformed through collaboration, interaction or negotiation
between the collaborative team and their material and non-material
This conference welcomes contributions exploring and discussing
experiential knowledge generated when researchers and practitioners
collaborate with experts in other fields. We interpret collaboration
here in the widest possible sense to include any kind of working
together. We are interested in building a rich collection of case
studies that illuminate the relationships built within the
collaboration, the approaches used and the new knowledge gained and
transferred within the team. This is expected to contribute to a more
systematic approach for studying and integrating experiential knowledge
into collaborative practice and research.
Questions of interest are for example:
- What are the current understandings of collaboration and
- How can collaboration be utilised within the framework of research?
- How can a researchers disciplinary expertise benefit collaborative
research and practice?
- How can we articulate material (and immaterial) knowledge which are
tacit and embodied within the process of research?
- How can skills and embodied knowledge in different professional
disciplines be shared and/or applicable to one another in a
- How can we gain and communicate individual and collective experiential
knowledge in and through collaboration, and how is it embodied in the
outputs and may be traced back to the origin of the practice?
- What means and methods can be utilised to transfer and replicate tacit
knowledge accumulated in collaborative practice?
We wish to bring together engaged professionals and scholars from
various disciplinary backgrounds, fields of knowledge production and
methodological approaches to explore these issues. We invite
contributions from creative subjects and other disciplines, e.g. design,
architecture, engineering, craft, media, HCI, performance, music, fine
art, curation, museology, archaeology, philosophy, knowledge management,
education, health, cognitive science, gastronomy, oenology, sensory
studies, etc., that are concerned with collaboration in research and in
creative and professional practice.
For EKSIG 2019, we invite submission of full papers (4000-5000 words)
which offer new or challenging views on the subject. Papers will be
selected subject to a double-blind peer-review process by an
international review team.
Authors Guide for the EKSIG2019 can be found on the conference
Submission of full papers 5 April 2019
Notification of acceptance of papers 10 June 2019
Submission of final revised papers 19 July 2019
Conference 23-24 September 2019
2-5 September 2019 - IASDR 2019 CONFERENCE
REMINDER OF DEADLINE call for papers 15 February 2019
International Association of Societies of Design Research (IASDR) 2019
Conference will be hosted by Manchester School of Art, Manchester
Metropolitan University, UK on 02-05 September 2019. The conference
theme DESIGN REVOLUTIONS will explore how design drives and responds
to revolutionary thinking through questioning the norm, probing the now
and embracing the new.
For the first time IASDR will be held in the UK and will foster new
thinking towards a compelling, meaningful and radical dialogue regarding
the role that design plays in addressing societal and organisational
issues. The biannual conference enables academics, practitioners and
students join together to explore contemporary agendas, emerging
directions and future challenges that are at the forefront of design
research. IASDR 2019 will provide opportunities for the presentation and
publication of a collection of high-quality peer reviewed research
papers alongside the space to discuss and debate the evolution and
revolution of design.
IASDR 2019 is organised under 10 parallel tracks that reflect the
breadth and opportunities of the norm, the now and the new of design
- Change revolution and evolution of design as it responds to the
context in which it operates
- Learning design as a part of the learning process that supports
creativity within the current education system
- Living design shaping the way we live through our consumption of
products, the services we use and the cities we inhabit impacting the
environment, health and wellbeing of all
- Making harnessing of the creative possibilities of materials and
processes by design and making,
- People social and cultural connection with design for, and with,
people to meet the needs of citizens today and in the future
- Technology from digital automation to machine learning and artificial
intelligence to the Internet of Things, the engagement of design in an
increasingly complex technology landscape
- Value management of design to maximise the economic value and
communicate the relationship between design and business effectively
- Voices diversity in design voices to break the boundary of power and
hierarchal socio-political systems
- Open other critical debate in design research with out of the box
thinking, challenging conventions and probe the norm
15 February 2019 - Final deadline for full paper submission
01 April 2019 - Delegate registration opens
30 April 2019 - Announcement of paper decisions
31 May 2019 - Early bird registration closes
15 June 2019 - Camera ready paper submission
15 August 2019 - Late registration closes
02 September 2019 IASDR 2019 Conference
Full papers should be 4000-5000 words in length excluding abstract and
references. Authors should directly address one of the conference track
themes demonstrating a high-degree of academic scholarship, clearly
articulate their research focus, provide a concise synthesis of the
research context, describe the methods used to undertake the research,
present the findings of the research and summarise the key contribution
to the field.
Papers will be selected through a blind review process conducted by
international review panel based on the quality, significance, novelty
and rigour of the research. Accepted papers will be published once at
least one author registers for the conference.
1-3 July 2019 - DOES DESIGN CARE?... Workshop - Call for Contributions
Chiba University, Chiba, JAPAN Workshop for 30 Participants (maximum)
Does Design Care? is a workshop/seminar for academics and practitioners
from various disciplines at any level of experience who are involved
and/or interested in the gesture and/or practice of Care at large. In
the Autumn of 2017, the first Does Design Care? workshop took place at
Imagination, Lancaster University, UK. A group of 28 researchers and
practitioners from 16 nations across 5 continents discussed, acted and
reflected upon Care. These activities led to the collaborative essay The
Lancaster Care Charter, published recently in Design Issues which was
written in response to the vital question Does Design Care? Via a series
of conversations, stimulated by a range of presentations that explored a
range of provocations, insights and more questions, the group provided
answers for the contemporary context of Care, The Lancaster Care Charter
presents a collective vision and sets out new pragmatic encounters for
the design of Care and the care of Design. Following on from this hugely
successful international Does Design Care? workshop, we wish to extend
the conversations, presentations, insights, more questions and are now
ready for the second act of our long and difficult journey towards a
better understanding and future visions of what Care is and could be.
The challenges in care systems have become apparently intractable. There
have been divide and conquer approaches to responsibility and
accountability in care that act to cripple our ability to engage with
the speculative and systemic approaches that design offers. Imagination
has been cauterised by a risk-averse, Neo-liberal culture, the same
culture that also profits enormously from turning care into a
transaction.Therefore, we propose the following 4 conditions for the
design of possible futures:
1. We call the first condition Care of Complexity to design-with-care
being sensitive and responsive to the boundaries between human and
non-human (i.e. artefacts, animals, nature), local, global, and temporal
contexts, and the value in both the commonality and diversity in
post-global, post-national, and post-individual contexts.
2. The second condition is Care of the Project to design-with-care
acknowledging the complex network of relationships between the material
and immaterial, and challenging the dichotomy between human and
non-human worlds. To achieve this, design must shift its existing
paradigm and lead fundamental shifts in other disciplines.
3. The third condition is Care of Relations to design-with-care
asserting that people today must repair, instead of cutting off, the
relationship between people, things, environments, and ecology, not only
to maintain a good balance, but also to emphasise the interdependence
between these entities.
4. The fourth condition about the future of care and care for the
future, that we have to live with, is Care of Carelessness. We are
inevitably careless and we need to be careful about our carelessness. To
be care-full, care cannot be designed easily (e.g. into a service). Care
must remain distinctive from commerce and care cannot be an optional
The capital of Japan, Tokyo, finds itself in the difficult position of
having to face one of the most severe demographic emergencies in human
history, with a population that is ageing at a very fast pace, and rural
areas seeing their younger citizens depart to the cities. In the past,
the elderly were taken care of by families and communities, now they
face loneliness and regular struggles with running their lives. In
Japan, this situation has led to an unusual trend. Many elderly Japanese
women are committing petty crimes in the hopes of being sent to prison,
because they have nowhere else to go. But Japan is also the home of
omotenashi, arguably the best hospitality manners, in the world; of
karoshi, literally the death from overwork; of kodokushi, the Japanese
phenomenon of people dying alone and remaining undiscovered for a long
period of time; of amae, the sense of loyalty and shared responsibility
that allows - for example - young children to take the train and run
errands in complete safety.
Like the manufacture of things, Japan is moving aged-care offshore where
the labour for care is cheap and abundant (like any raw material) by
designing and building facilities for the elderly. In the midst of such
extreme contradictions, Tokyo seemed to us like the best place to host
the next edition of Does Design Care? Tokyo has been chosen as the
location for the second Does Design Care? workshop, which will again see
a group of inexperienced and experienced researchers, novice and expert
practitioners, thinking, discussing, prototyping and actualising new
visions of Care. And we want you to join us!
We know we all Care or claim to Care. We know that we dont quite know
why we Care. We admit readily to Caring for meaningless things. But we
dont want to admit that we know what we should be caring for. Just as we
dont want to admit to what we really Care about. So if you are
interested in joining us, please submit a one-page Does Design Care?
proposal to [log in to unmask] that clearly articulates the
- What do you care about?
- What do you not care about?
- Why is this important?
- What can design do here?
- What difference(s) will design make here?
- Who or what are you caring for?
- What are the consequences of this care?
One outcome planned as part of this workshop, will be a
publication/catalogue of participants contributions that documents the
second step in the Does Design Care? series of workshops. Organisers
Professor Paul Rodgers (Imagination, Lancaster University, UK) Dr
Giovanni Innella (AIIT, Tokyo Metropolitan University, JAPAN) Adjunct
Professor Craig Bremner (Charles Sturt University, AUSTRALIA)
Who can apply?
- Academic and non-academic researchers of any discipline currently
working on Care.
- Practitioners and representatives of any industry currently working on
- Anyone concerned with Care.
Does Design Care?Call-for-proposals launched18 January 2019.
Deadline for one-pageDoes Design Care? proposal -18 March 2019.
Notice of acceptance and feedback - 18 April 2019.
Does Design Care?Workshop dates 1 to 3 July 2019.
Does Design Care?is supported by the Arts and Humanities Research
Council (UK) under the AHRCs Design Priority Area Leadership Fellowship
scheme (Award Ref: AH/P013619/1).
[log in to unmask]
4-5 May 2019 - CHI 2019 Workshop "Doing Things with Research Through
With What, Whom, and Towards What Ends?
2ND CALL FOR PARTICIPATION
While still growing, design research has become an established mode of
research within the HCI community. Within design research and HCI,
Research through Design (RtD) has emerged as a key approach that
involves practicing design and producing artifacts as a way of
generating knowledge. However, there is a danger of assuming a canonical
form of RtD research in which well-finished artefacts are produced for
field tests. As a way to discuss and reflect upon the various methods,
forms, and processes employed in RtD and how they relate to the broader
fields of HCI, Design, and Design Research, this workshop gathers
researchers and practitioners whose work involves practicing design as a
way of generating knowledge.
This one-day workshop will provide an opportunity to present a variety
of mixed-methods approaches to practicing RtD, with the intention of
expanding forms and practices of RtD and its relationship to broader HCI
methods. Those approaches might, that include, but are not limited to:
- Participatory RtD: Reflecting on who we work with, who we dont, and
thinking through relations and impacts
- RtD without conventional users: Practicing RtD without users (e.g.,
autobiographical design, design fictions)
- Empirical RtD: Using quantitative, qualitative, and other empirical
methods (usability, eye-tracking, surveys) to assess or disseminate RtD
processes and outcomes
- Conceptual RtD: RtD as a way of developing and communicating ideas
- Speculative RtD: RtD as a way of exploring possible futures and
- Finished and unfinished RtD forms: Designing the degree of finish and
development with which we create, distribute, and present RtD finalized
artifacts, in-progress, working forms and prototypes
- RtD with singular or multiple forms: textual design, video scenarios,
performances, lab studies, living labs, prototype deployments, etc.
- RtD in new contexts: Applying RtD in new contexts, such as the smart
home, civic life and public policy, or emerging technologies, such as
This workshop will combine hands-on examination of design objects,
comparison of design experiences, and discussion about the underlying
methods, forms, goals, and disciplinary perspectives.
Interested participants are invited to submit examples of their work to
bring to this workshop. This should include:
- A position paper in CHI archival format (1-4 pages) describing the
research object under consideration
- Digital documentation, such as photos, video, or any other type of
Submissions will be accepted based on quality and interest and will
represent a spectrum of practices, materials, backgrounds, and concerns.
Submissions may be sent to [log in to unmask]
At least one author of each accepted position paper must register and
attend the workshop. All workshop participants must register for both
the workshop and for at least one day of the ACM SIGCHI conference.
Submission Date: 12 February 2019
Notification Date: 1 March 2019
Workshop Date: Saturday or Sunday, 4-5 May 2019
[log in to unmask]
Graphic Communication Design Research
Call for submissions
What are the politics of your design and what is the design of your
politics? In this issue we aim to provoke a dialectic in order to
question, interrogate and if possible, suggest alternatives to the
raison d'etre and practice of our discipline within broader social,
economic and political contexts. We would like to challenge the
fundamental role and agency of Graphic Communication Design by asking:
How do (or indeed should) Graphic Communication Designers
- engage with and change the broader social, economic, and political
- address cultural colonisation, systemisation and appropriation?
- counter misdirection and falsehoods through illuminating meaning,
knowledge and facts?
The largest proportion of Graphic Communication Design aims to
indirectly or directly sell more products, services and experiences. We
would suggest that this demonstrates the disciplines key role in
underpinning the unsustainable Western model of production and
consumption and as a consequence, Graphic Communication Design has a
responsibility for the problems that may be attributed to this model.
The global adoption, adaptation and corporatisation of the Western model
of production and consumption, plus its modes of presentation and
coordination could not only be described as a form of colonisation, but
also in particular a form of visual colonisation.
The language of being human, i.e. having and expressing needs, desires,
and aspirations, as well as traditions and ties to situation and place,
can be said to have been hijacked by marketing and salesmanship and as a
consequence, has this led to a point where communication is on the verge
of a semiotic collapse? If so, are we at a time the early Anthropocene
when clarity and quality of Graphic Communication Design could very well
be called upon to enable humanity to address their growing and
irrevocable damage to the planet?
Whilst Hermans and Chomskys Manufacturing of Consent (1988) also begs
for us, not only to question Graphic Communication Designs role as a key
instrument that mediates falsehoods and is employed to misdirect and
veil the consequences of relentless production, consumption and waste,
but also to question its role in the illumination and mass dissemination
of knowledge and facts. Does contemporary Graphic Communication Design
have public secrets in and of itself, and can it unveil its own public
secrets as well as those powers others may have?
Graphic Communication Designers have a history of engaging with social,
economic and political issues, from William Morris and his support for
womens suffrage, socialism, heritage preservation, workers rights &
conditions (not least his own employees), through to early Soviet,
subsequent Allied WW2 propaganda, to the First Things First Manifesto,
Kalmans Fuck Committees plus his works towards unity and Faireys Obama
posters. All of these aimed to engage with and change the broader
social, economic and political circumstances. Whilst the latter rather
obvious examples may demonstrate a progressive narrowing of focus, do
they also demonstrate the Graphic Communication Designers loss of agency
or are they our most popularised examples and as such obscure our view
of more valid and recent examples?
Inspired by Tony Frys Becoming human by design (2012) we would also like
to reflect upon the uncertainty and complexity in a relational world
consumed by systems that are serviced, supported and upheld by Graphic
While forming specialist disciplines and divisions of knowledge claiming
to produce universal knowledge, it [design] failed to make vital
horizontal connections. In so doing, it was blind not only to its own
and wider causality but also to the inhumanity that accompanied its
humanism and against which modern civilization was defined. (Fry, p. 25)
Frys words lead us to call for examples of deeper meaning and perception
in a world where ideas and resources are usurped and muddled into a
global system of consumption; where designs are made into shallow
material symbols of status and power that ignore, or even belittle,
other possible modes for human beings to achieve prosperity and a sense
In light of the above, we ask you to reflect upon and examine, mine,
unfold, and delve into where, why, and how diverse practitioners are
focusing their energies and expose, illuminate, and illustrate the
structures and configurations that lever and shape contemporary Graphic
Communication Design. Submissions may address the call at a macro or
micro level, from an international or national, contemporary or
historical, regional or local perspective. Indeed, submissions may be
based around an individual/group experience, intervention or practice.
Submissions that address the pedagogy of Graphic Communication Design
are also welcome.
The journal intends to capture contemporary and historical views and
examples relevant to a changing visual communication landscape both
nationally and internationally. An overarching aim of Message is to
provide context for, as well as drive new and future cultural
discussions and research alliances, together with capturing and
publishing new experiences, environments, methods and outputs. Message
should enhance our understanding of the nature of Visual Communication
and in particularly Graphic Communication Design, presenting opinions
across subjects, institutions, and boundaries.
To be published in March 2020
The Message journal welcomes contributions from national and
international Visual Communication researchers and practitioners from a
variety of perspectives - theoretical, conceptual, educational,
Contributions can take the form of:
A critical analysis and contextualisation of initial stages, on-going or
completed practice-based research projects (to include research
question(s), methods and where appropriate outcomes and findings).
Put forward and debate a position on a particular issue.
Reports that document advances in the field for example new
collaborations, technological developments, processes, methods etc. All
papers are considered with the understanding that they represent at
least 80% original material and have not been previously published.
Papers/reports that exceed the stated length should be discussed with
the editors prior to submission.
Scholarly submissions are invited for consideration in Message 4 an
international open access journal published by the University of
Plymouth Press. Message Open Access is an open access journal where all
materials, once published will be freely available. Published
papers/reports will remain the copyright of the author.
Abstract submission (300500 words) 22 March 2019
Notification of abstract acceptances 22 April 2019
Paper/report submission (40006000 words) 31 July 2019
Full submission must include: abstract, written paper or report, images
(with evidence of permissions), captions, and three-sentence biography
with contact details (affiliation, address, email).
When submitting a full paper/report, contact details from authors should
be included on a cover sheet only and have authors details (name/s etc.)
within the paper or report removed.
It is essential that all authors provide a thoroughly proofread and
Images within papers/reports should be 300 DPI and sent via
wetransfer.com or similar. - should be properly referenced plus proof of
copyright permissions cleared by the author. Evidence of this needs to
be sent via email to the Editors.
Submissions (abstracts/full paper/report), images, and permissions
should be emailed to the editors via: [log in to unmask] Receipt
of your submission will be made within 5 working days.
Papers and reports selected by the Editors will be peer-reviewed by
international professionals and scholarsall material will be blind read
and reviewed by at least, two reviewers.
The peer-review of each paper or report, will concentrate on whether the
research paper or report relates adequately to the call, is sufficiently
well conceived, has potential to be well executed, and is appropriate to
be included in Message 4.
- Reviewers will be invited to consider submitted papers and reports
within their expertise.
- Each submission will be reviewed against clear editorial criteria.
Feedback will be provided.
- After consideration by the Message editorial team a decision will be
sent to the author within a specified time frame.
Editors will respond to authors according to the following
- Accepted without revision
- Accepted with minor revision - Rejected
Selection of peer-reviewers
The Message editorial board will in the first instance identify
appropriate reviewers for a particular paper or report. Reviewers will
be chosen according to factors including their expertise, reputation and
knowledge. As part of our editorial procedure, the Message team will
brief potential reviewers before sending them papers/reports to review
and all correspondence will be treated confidentially. Reviewers will
remain anonymous during the peer-review process and impartiality will be
All comments from reviewers to the editors will be treated
confidentially. A good review would answer the following questions:
- What is the thematic relevance to the call for papers?
- Are the main aims of the paper/report clearly stated?
- Is the paper and its aims well situated and referenced in the context
of other research around the subject?
- Does the paper offer new insights and contribute to the development of
- Is the article clearly written and well organised?
- What are the potential directions for further research?
The review process will be seen as confidential by the Message editorial
board and reviewers. As the author may have chosen to exclude some
people from this process, the reviewer should not discuss nor consult
other colleagues or experts about the review unless this has been agreed
with the Message editorial team. Where appropriate we will request any
feedback that might help to strengthen the paper or report to send to
the author. The Message editors may edit comments made by reviewers. In
their comments to authors, reviewers are encouraged to be honest but not
offensive in their language. It will be the responsibility of the
Message editorial team to send the decision to the author with any
reviewers comments. The Message editorial team makes final publishing
decisions. In the event that these are different from the reviewers
recommendations this will have been the result of a robust process of
Message journal - background
Message is a peer-reviewed academic journal that consists of blind
reviewed academic papers plus occasional commissioned essays and
articles. It is dedicated to the development and discussion of
contemporary Visual Communication research particularly within Graphic
Communication Design with an emphasis on practice, outputs and
artefacts. The aim of the Message journal is to explore and expand the
boundaries of Graphic Communication Design through an experimental and
developmental ethos; challenging the practitioner, the development and
use of technology, as well as questioning the disciplines social,
ethical and sustainable practices and values.
The Message journal was established by founding members of the Message
research group at the University of Plymouth. We are also now very happy
to announce, the co-editorship of the journal has been expanded to
include colleagues Ase Huus and Dora Isleifsdottir, from the University
of Bergen. A warm welcome to Ase and Dora,
Victoria Squire, University of Plymouth, UK Peter Jones, University of
Plymouth, UK Ase Huus, University of Bergen, Norway Dora Isleifsdottir,
University of Bergen, Norway
Editorial Board Patrick Baglee, Design Consultant and Journalist Paul
Bailey, London College of Communication James Corazzo, Sheffield Hallam
University Dr James Dyer, Huddersfield University Professor Emeritus
Jorge Frascara, University of Alberta Dr Kirsten Hardy, Bournemouth
University Peter Lloyd, University Southampton Solent Maziar Raein, Oslo
National Academy of the Arts Professor Elizabeth Resnick, Massachusetts
College of Art and Design Lizzie Ridout, Falmouth University Aidan Rowe
- University of Alberta Professor Teal Triggs - Royal College of Art,
London Dr Anastasios Maragiannis - University of Greenwich
University of Plymouth Press
4 May 2019 - CHI 2019 Workshop
Troubling Innovation: Craft and Computation Across Boundaries
Call for Participation
Deadline: February 12 2019
The one-day CHI 2019 workshop Troubling Innovation: Craft and Computing
Across Boundaries aims to bring together practitioners and scholars
working at the intersection of craft and computation. In this workshop,
we gather a globally distributed group of craft contributors whose work
reflects crucial but under-valued HCI positions, practices, and
Whether through the study of maintenance, needlecraft, or computer-aided
design, we examine craft as a crucial site for reworking the artefacts,
tools, and settings through which long standing legacies of coloniality
and industrialization unfold. Through historically and politically
engaged craftwork, we seek to build community across boundaries and
meaningfully broaden what constitutes innovation in HCI to date and
possible futures of Craft and Computation.
We call for participants from diverse backgrounds including but not
limited to creative activity, technical research, and critical
scholarship in the social sciences interested in present, future and
speculative perspectives on:
- Artefacts: The Objects of HCI Craft
- Tools: The Implements, Devices, and Machines of HCI Craft
- Environments: The Sites of Craft and Computation
Please read the full workshop abstract for details about workshop
setting and goals.
To apply, please submit a 2-4 page position paper/ annotated object/
craft portfolio in any format by 12 February 2019 through our website.
Please also plan to bring a physical artefact (or documentation thereof)
related to your submission to the workshop.
At least one author of each accepted position paper must attend the
workshop and register for at least one day of the conference.
Please check http://craftcomputerinteraction.net for further information
and to join our newsletter.
Please direct any questions you might have to the organisers through the
workshop email address:
[log in to unmask]
18-19 June 2019 - Design-Tech 2019
International Conference on Design and Technology
Technion, Haifa, Israel
Abstract Submission Deadline: March 15, 2019
The Design-Tech 2019 conference is a new and unique platform for
researchers and practitioners in the field of design initiated to
showcase their work. Being held for the first time at the Technion,
Israel Institute of Technology, the conference will enable attendees to
visit one of the most vibrant start-up eco-systems in the world.
While design has always been an integral part of the technological
development process, in recent years it has been gaining a more
significant role. Today, a technological process that is not based on
design fundamentals is almost unheard of.
The design aspects of a technological R&D process raise unique questions
and concerns which are critical to the success and viability of the
technology itself. Design is no longer just a nice to have, beauty and
taste issue. Rather, it is a strategic resource for successful
technology companies; it is now seen as one of the key elements required
for differentiation and for technology expansion and adoption. Design
enhances technology and assists in making it accessible.
Yet, since design has become a primary lens through which we observe and
experience our surroundings, it has also become responsible for the
negative outcomes of technology. The Design-Tech conference wishes to
create a central platform for discussing such topics under the title of
the role of design and technology in multi-faceted crisis.
Design-Tech 2019 invites designers, researchers, educators and students
to be part of the conference by actively participating in the various
conference tracks. Design-Tech welcomes the submission of both academic
research papers and practice-based case studies. Design-Tech 2019 is an
international conference and all submissions will be reviewed by an
international panel of experts.
For complete details on the conference tracks and papers, please visit:
The five main themes of the conference are:
1. Design as a Hacker
While the prevalence of small, agile start-ups is growing, it often
seems as though the world is held hostage by certain monolithic
industries and technology giants. Design poses big questions that force
those in charge to probe the new systems and hack them by building
independent access routes into technology. New possibilities such as new
digital manufacturing tools, AI and block-chain concepts enable
designers to bypass the giants and support independence from the main
dominant systems and industries.
2. Design as a Protector
The accelerating demand for greater security, together with the
technological ability to monitor and collect data on every aspect of
ones life, raises moral, social and cultural issues. At the same time,
it also creates new opportunities for knowledge, ideas and tools.
Designers can play a huge role in this emerging field both for good and
for bad. Design can and does create tools that may benefit society by
providing safety and comfort, and it helps protect values such as
privacy, social awareness and self-preservation.
3. Design as a Healer
While designers and architects have long played an important shaping
hospitals and medical devices, their contributions to these fields has
expanded to account for peoples psychological and physical comfort.
Additionally, the more we understand the impact of our surroundings on
our well-being, the more the designers role expands, and the
opportunities they have to help build a world that places peoples
wellness first grow. Design is a healer of the flora and fauna, putting
nature in the center and regulating the human impact on it. 4. Design
as a Visualizer
4. Design as a Visualizer
Recently developed tools of design such as parametric design and digital
sculpture help designers to visualize complex realities and apply those
to objects in the real world. New visions of aesthetics create new
objects that combine shapes and structures which have never been
conceived before with classic tools of design. Generative design and
autonomous designers will expand our vision into the future of almost
5. Design as a Leader
The field of design finds itself in the service of new territories that
were never previously open to the discipline. The role of Design with a
capital D, and Design-Thinking as its ambassador, gives design the
opportunity to be an integrator, forecaster, motivator and collaborator,
and act as a leader. These new capacities serve to connect design to
science, sociology, psychology, management and education.
Submission of Papers:
Reviewing process: peer reviewed (anonymous)
Chair: Prof. Ezri Tarazi
Program Committee: Prof. Barry Katz, Prof. Gabi Goldschmidt, Haim
Parnas, Dr. David Behar and Yoav Shterman.
Organization committee: Rachel-Getz Salomon, Noam Atias, Lior Arbel,
Marnina Herrmann Elozory, Ronen Eidelman, Alexander Geht and Ofer
Abstract Submission deadline: March 15, 2019
Abstract: Max 300-500 words
Submit your abstract: Submission Form
Acceptance is based on abstract review.
Notification: March 30, 2019
Full paper submission: April 15, 2019
No. of pages: Max 4500 words + Max 2 pages for references
Email: [log in to unmask]
9 April 2019 - Becoming Well Read - Keele University's inaugural
academic reading symposium
Keele's first academic reading symposium.The Call for Contributions for
Keele University's inaugural academic reading symposium is now open!
Please can you disseminate to interested colleagues as appropriate.
The Keele Institute of Innovation and Teaching Excellence (KIITE) would
like to welcome contributions toBecoming Well Read,our very first
academic reading symposium. This exciting, practice-focused day will
bring together experiences from a range of communities to explore
academic reading practices, reflect on the challenges of teaching
reading for academic purposes and share interesting and innovative
The symposium will explore this vital but often overlooked area of
academic literacy from both staff and student perspectives. It will be
valuable to anyone whose central focus is educational, learning or
academic development and to teaching staff who are looking for new ways
of supporting their students at undergraduate and postgraduate levels.
Proposals should be submitted by midnight on Friday 1st February
For more information, please visit theconference webpage and follow
discussions about this onTwitter using #WellReadHE.
If you have any queries or require any further information, please
contact Angela Rhead, [log in to unmask]
4 May 2019 - Designing for Outdoor Play at CHI2019
W01 Wantae Come Oot tae Play?: Designing for Outdoor Play at CHI2019
This workshop responds to an important societal problem of people
playing outside less and less, leading to reduced health, educational,
and social benefits. For adults, outdoor play can provide stress relief,
opportunity for social interactions and benefit physical health and
well-being. For children, unstructured play outdoors is important for
emotional, social and physical development.
Motivated by the opportunities and challenges in this area, we invite a
diverse set of practitioners and researchers who are interested in
technological, social and design aspects of outdoor play for all ages.
We will use participants insights, energies and expertise to explore the
challenges and focus on how we can build a community to share innovative
designs, generate knowledge and make actionable research in this
This one-day workshop will involve traditional games and play,
proprietary outdoor games / toys, making using to-hand materials, and
most importantly, people with diverse backgrounds exploring and
collecting insights through outdoor play in Glasgow.
To apply to the workshop, please submit a position paper in the CHI
Extended Abstract format (on or before) 12 February 2019 to
[log in to unmask]<mailto:[log in to unmask]>.
Submissions should be 4-pages (references do not count towards page
limit) and include:
1) A description of the authors past work and future work related to
2) A statement of the authors interest in this workshop.
Submissions will be evaluated by peer-review process. At least one
author from the accepted submission will be expected to register to the
CHI conference and workshop. This work will be used to build outdoor
play as an area of interest, a formal/informal network, and promote
- Submission for workshop position papers: February 12th, 2019 via
[log in to unmask]
- Notification of acceptance: on or before March 1st, 2019
- Workshop Day: Saturday (8:00-14:00), May 4th, 2019
19-21 June 2019 - Academy for Design Innovation Management International
Conference 2019 London
Research Perspectives in the Era of Transformations
Hosted by Loughborough University London, United Kingdom
ADIM Collective Research Development Workshop: 18 June 2019
ADIM 2019 Conference Dates: 19-21 June 2019
Calls and Deadlines for
Posters | Tuesday 5 February 2019
Bursaries Applications | Tuesday 5 February 2019
Workshop Proposals | Wednesday 20 February 2019
Full Papers | Tuesday 29 January 2019
Call for Posters: ADIM Collective 2019 Research Development Workshop|
Tuesday 5 February 2019
Call to Participate in the ADIM Collective 2019 Research Development
Workshop. One of the goals of the ADIM is to provide a support for early
career design researchers. An active intensive seminar in form of poster
session involving early researchers and experts from different
countries. The poster session will aim to facilitate active dialogue and
networking amongst the ADIM Collective 2019 Research Development
The information the Call for Posters available at
Call for Bursaries Application| Tuesday 5 February 2019
We have several ADIM 2019 Full Bursaries and Complementary Places
available for Early Career Researchers from Global South countries who
are planning to present papers at the upcoming Academy for Design
Innovation Management conference| 2019 London. ThinkPlace is kindly
supporting for one of the ADIM 2019 Full Bursaries.
The information about the Bursaries Application and Complementary Places
Call for Workshop Proposals| Wednesday 20 February 2019
The Academy for Design Innovation Management conference invites
proposals for workshops that will engage and reflect upon the conference
theme Research Perspectives In the era of Transformations. The workshop
proposals are due by Wednesday 20 February 2019.
The information and the full call can be accessed on
Call for Full Papers| Tuesday 29 January 2019
The Academy for Design Innovation Management invites the international
community of scholars to submit research papers. The FULL Paper
submissions are due by Tuesday 29 January 2019.
The list of conference Tracks and information about the submission
process is available on
For any questions please contact the conference organisers via this
email address:[log in to unmask]
The registration fee information can be accessed at
The Winter 2018 issue of She Ji is now online at URL:
As always, all contents are fully accessible in open access format,
available for reading online and available for download in .pdf format.
The contents of this issue include:
Dialogue across Disciplines
by Ken Friedman
ImaginationLancaster: Open-Ended, Anti-Disciplinary, Diverse
by Rachel Cooper, Nick Dunn, Paul Coulton, Stuart Walker, Paul Rodgers,
Leon Cruikshank, Emmanuel Tsekleves, David Hands, Roger Whitham,
Christopher T. Boyko, Daniel Richards, Bijan Aryana, Serena Pollastri,
Maria Alejandra Lujan Escalante, Bran Knowles, Carlos Lopez-Galviz, Paul
Cureton, Claire Coulton
Designing Interactions to Counter Threats to Human Survival
by Yongqi Lou
Anthropocene Economics and Design: Heterodox Economics for Design
Tactics for Norm-Creative Innovation
by sa Wikberg Nilsson and Marcus Jahnke
Reconfiguring a New Normal: A Socio-Ecological Perspective for Design
Innovation in Sensitive Settings
by Patrizia DOlivo, Marco C. Rozendaal, Elisa Giaccardi, Martha A.
Grootenhuis and Jaap Huisman
Transforming research about evidence and its uses - TransformURE
This list is for academics, policy, practice and funder colleagues who
are interested in transforming how we think about, the use, production
and generation of evidence, regulation and infrastructure to support
evidence use, strategies and interventions which increase evidence use,
and associated domains of inquiry
Realist PhD Network
This is a list for PhD students using or considering using realist
methodology in their work, or interested in finding out more about
realist methodology. It's to find peer support, link with others in
similar geographical or topic areas, and discuss training, reading and
everything realist PhD.
20 March 2019 - Graphic Design Research Beyond REF 2021 Symposium
This symposium continues discussion and debate about 'Graphic Design
Research and the Research Excellence Framework' that began at Sheffield
Hallam University in October
2e0f65cf17c457e5431b6b158&id=ae14596d98&e=8c12242449>. It will, again,
bring together senior managers, researchers and graphic design educators
to define some important terms of reference for the future of graphic
design research. Building on recent scholarship, it will speculate on a
future for graphic design studies and the need for more coherence,
consensus, stability, and standards in graphic design research. Themes
will include REF criteria, research leadership challenges, field
formation, and views from graphic design educators.
Professor Teal Triggs
Professor Paul Wells
Professor Anne Boddington
The event is co-organised by the Graphic Design Educators Network
Register now for the RTD Conference 2019
Register now https://www.aanmelder.nl/rtd2019/subscribe for the RTD
The fourth biennial Research through Design Conference (RTD 2019)
"Method & Critique Frictions and Shifts in Research through Design"
19-22 March 2019 | Science Center, Delft & Het Nieuwe Instituut,
Rotterdam, The Netherlands
RTD is an experimental conference that supports the dissemination of
design-led research. RTD comprises a curated exhibition of design
research artifacts from all areas of design accompanied by in-depth,
roundtable discussions in Rooms of Interest. With this format, RTD aims
to present an alternative to the traditional conference presentation of
papers in darkened auditoriums, and supports a more discursive,
synergistic setting that places the sharing of designed artifacts
(whether tangible or not) at the heart of proceedings.
RTD 2019 will revolve around the theme Method & Critique and their
assumed incompatibility. We will address this friction productively by
exploring various contemporary shifts in design research and practice,
whether material, technological or socio-political, which either surface
such a friction as a necessary collision or call for
- Johan Redstrm (Ume Institute of Design, Sweden) | Design after
Dichotomies | Wednesday 20 March
- Elvin Karana (CARADT & TU Delft) | The Art and Science of Materials |
Friday 22 March
- New Agencies and Alignments in RTD | Science Center, Delft | Wednesday
- Policy and Governance for RTD | Het Nieuwe Instituut, Rotterdam |
Thursday 21 March
Check out also the list of accepted
papers https://www.researchthroughdesign.org/2019/interests.html and
workshops https://www.researchthroughdesign.org/2019/workshops.html in
program for this year!
Early Birds (January 11 February 18)
Regular: Euro 390 | Students: Euro 290
Regular tickets (February 19 March 15)
Regular: Euro 490 | Students: Euro 390
Workshop: Euro 45
Online registration closes on March 16. Accepted authors are kindly
requested to register before February 5.
You can register via
Global Sustainable Design and Ethical Trade Network
The Global Sustainable Design and Ethical Trade Network list is for
sustainability in interdisciplinary design and business.
3-4 April 2019 - Symposium 'Design Trouble'
We invite you to join us in reflecting on design through the lenses of
activism, ordinary ethics, decolonization, and the nonhuman.
The event will take place April 3 and 4, 2019, at University of
Fueled by the promise for innovation and social change, university
design programs are more popular than ever. Within the academy, design
has infiltrated not only the arts, where it has had considerable
influence and longevity, but also departments of engineering and
business where it promotes widespread forms of economic development and
entrepreneurship. This narrative of empowerment through commerce brings
with it underlying disjunctures between designs rhetoric of plurality
and the power structures design tends to reinforce. By separating their
work of imaging futures from production work on the factory floor, and
by reinforcing the idea that certain people and not others are more
suited to the world-building activity associated with design, designers
often further entrench the racial and socioeconomic inequalities they
often seek to upend.
But how can we as scholars, activists, artists, designers, engineers,
etc. imagine and do otherwise with and through design? What other pasts
and futures might we open, narrate or recover? How might we shift the
practice of design to focus on what has previously been marginalized or
SEARCHING DESIGN RESEARCH NEWS
Searching back issues of DRN is best done through the
customisable JISC search engine at:
Look under 'Search Archives'
o Design Research News communicates news about design
research throughout the world. It is emailed
approximately monthly and is free of charge. You may
subscribe or unsubscribe at the following site:
o Design Studies is the International Journal for Design
Research in Engineering, Architecture, Products and Systems,
which is published as a co-operation between Design Research
Society and Elsevier.
DRS members can subscribe to the journal at special rates.
Information to the editor, David Durling Professor of Design Research,
Coventry University, UK <[log in to unmask]>
PLEASE NOTE: contributions should be sent as plain text in the body of
an email. Do not send attachments. Do not copy and paste from Word
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