Dear Alejandra:
Thank you for the references.
Victor Margolin
Professor Emeritus of Design History
Department of Art History
University of Illinois, Chicago







On Oct 2, 2014, at 6:00 PM, PHD-DESIGN automatic digest system wrote:

> There are 21 messages totaling 4524 lines in this issue.
> 
> Topics of the day:
> 
>  1. Researching user's unconscious (2)
>  2. Grettings (2)
>  3. Agents and agency (14)
>  4. Oxford English Dictionary -- Thing 1/2
>  5. P.M.S. Blackett (2)
> 
> 
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> ----------------------------------------------------------------------
> 
> Date:    Wed, 1 Oct 2014 21:33:39 -0400
> From:    Priscila Mendoza <[log in to unmask]>
> Subject: Re: Researching user's unconscious
> 
> Fiona, Dan, Charles and members of the list,
> 
> Thank you so much for your responses. I'm excited and grateful for all
> the resources you are sharing with me. I'm taking a deep look to all
> your recommendations. These past days have been very estimulating and
> enriching to my thesis process.
> 
> 
> Thanks for sharing!
> 
> Best regards,
> 
> -- 
> Priscila Mendoza
> MFA Design Management Candidate
> 
> http://priscilamendoza.mx
> 
> 
> 
> 2014-10-01 5:40 GMT-04:00 Dan Lockton <[log in to unmask]>:
>> Hi Priscilla,
>> 
>> Your project looks extremely interesting and I'm really looking forward to
>> seeing your outcomes.
>> 
>> I'm not sure we'd quite classify it as the 'unconscious', but my colleague
>> Flora Bowden and I have been using a very simple approach of asking people
>> to draw abstract concepts such as 'energy' (e.g.
>> http://suslab.rca.ac.uk/wp-content/uploads/2014/09/Drawing-Energy-02.09.14_1.pdf
>> ) as part of interviews, co-creation processes and also at public events
>> such as the V&A's Digital Design Weekend in London. The diversity of
>> representations, visual metaphors and imagery
>> <https://www.dropbox.com/s/5ugirvv2827ae8l/DSC_0794.JPG> produced is
>> helping us (in this case) with the design of new forms of interface for
>> energy monitoring, but we have also done it with concepts such as 'clean'
>> and 'dirty'
>> <https://www.dropbox.com/s/b3n4wthmqeyc1g0/laundry_hackathon_01.jpg> for a
>> workshop around redesigning laundry.
>> 
>> Of course this method is well-known in lots of fields, and has plenty of
>> limitations, but it's consistently been a really good way of provoking
>> discussion and icebreaking with research participants, while also giving us
>> insights into people's perceptions and mental imagery (if not quite their
>> mental models).
>> 
>> I will email you off-list about another idea we are working on in this kind
>> of area that you might be interested in!
>> 
>> Best wishes
>> Dan
>> 
>> _____________
>> *Dr Dan Lockton *
>> Senior Associate, Helen Hamlyn Centre for Design, Royal College of Art
>> Age & Ability Lab and Work & City Lab http://hhcd.rca.ac.uk
>> http://danlockton.co.uk | @danlockton <https://twitter.com/danlockton> | +44
>> (0)7754 211389
>> 
>> SusLab UK http://suslab.rca.ac.uk | Creative Citizens
>> http://creativecitizens.co.uk
>> Creating Sustainable Innovation through Design for Behaviour Change
>> http://behaviourchange.eu | Design with Intent toolkit
>> http://designwithintent.co.uk
>> 
>> 
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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> 
> 
> 
> -- 
> Priscila Mendoza
> MFA Design Management Candidate
> 
> http://priscilamendoza.mx
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 09:27:53 +0200
> From:    Martin Luccarelli <[log in to unmask]>
> Subject: Re: Grettings
> 
> Hi Fernando,
> I'm currently studying the impact of electromobility on automotive design. In other words, understanding how the usage of new technology is affecting the proportions of a complex product (car).I'm convinced that fostering the team work between engineers and designers is a must to improve the automotive design process.
> Kind regards,
> ___________________________________________________________________
> Martin Luccarelli
> Industrial Designer | Research Fellow in Production Technologies and Systems
> 
> Room SER F2.01.b | Faculty of Design and Art
> Free University of Bozen - Bolzano
> Piazza Università 1 | 39100 Bozen - Bolzano
> 
> T: +39 0471 015225
> F: +39 0471015009
> e-mail: [log in to unmask]
>> Date: Mon, 29 Sep 2014 15:07:46 -0500
>> From: [log in to unmask]
>> Subject: Grettings
>> To: [log in to unmask]
>> 
>> Hello;
>> Recently I enrolled on a PhD course  named Design and Creation at the
>> Caldas University of Manizales-Colombia. I am working  the subject about
>> the relation between technology and design at the enterprise. Establish
>> some clue factors to get patents is the purpose. I checked the topics at
>> PHD-DESIGN  JISC, but I noticed that very few topics uses technology as a
>> title. Are you considering the idea that technology is not a complex system
>> in conjunction with design.? at the contrary, are you understand that
>> technology is same as design. Or a topic that you are not interested in? I
>> hope talking about friendly and share with you my research.
>> -- 
>> 
>> *Msc DI Fernando A. Álvarez R..*
>> *Profesor Asociado II - **Programa de Diseño Industrial*
>> *Facultad de Artes y Diseño*
>> *Universidad Jorge Tadeo Lozano*
>> *Bogotá, Colombia*
>> 
>> *Associate Professor of Industrial Design Program*
>> 
>> *Faculty of Arts and DesignJorge Tadeo Lozano UniversityBogotá - Colombia,
>> S.A.Grupo Investigación "Diseño, Pensamiento, Creación"COL0080293*
>> 
>> -- 
>> 
>> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 12:05:04 +0300
> From:    Asta Raami <[log in to unmask]>
> Subject: Re: Researching user's unconscious
> 
> Hi Priscila,
> 
> You might find useful reading some texts by Katherine Hayles where she is talking about the collective nonconscious and the cost of consciousness. According to her, understanding and cognition about oneself is like any shared knowledge building, it comes out of the interaction with the environment, which is not limited to human unconscious but includes environment in large, including technology.
> 
> She also argues that the human consciousness aims at constant coherence, therefore even the trivial and everyday situations are screened to fit the customary expectations. This is worth conscidering when researching users intuition. Sometimes the requirement of this coherence leads to a situation, where consciousness edits and modifies reality to fit personal expectations, on a cost of reality, by misinterpreting anomalous or strange situations.
> 
> These arguments have been very useful to me with my intuition research over the past seven years. Although my focus has been on the application and development of intuition in the creative process, i.e. how designers can better tap and benefit their intuition, it overlaps with some of the issues you are handling.
> 
> At the moment, when handling the faculties of unconscious (including the processes or nonconscious as a wider phenomenon), the concepts, vocabulary and models presented are incomplete, they vary depending on the domain and are even contradicting. This has led to a situation where there does not exist any shared taxonomy over the area. The more I have oriented myself to the topic of intutive faculties of human mind, the more multidimensional it has become. In nonconscious (or unconscious) there are many aspects we are not able to understand at the moment, like pre-reflective processes, pre-sentiments or how we can intuitively know something that "we possibly should not know". All this happens in the unconscious faculties, which -- most likely -- are not limited to human brain or even to skin.
> 
> I am not quite convinced that with the questionnaire you are able to tap your research question, since the phenomenon (unconscious/nonconscious) is somehow beyond our current understanding. With designers, I have faced the challenge that many of these nonconscious (unconscious) processes - even if being partly conscious - are extremely hard to "crab" in the first place and very difficult to verbalize -- before even being able to share them.
> 
> Anyway, I hope these references help. As I mentioned you earlier, the research made with Nobel laureates opens up the multidimensionality of unconscious/subconscious/nonconscious especially the book by Evelyn Fox Keller.
> 
> Hayles, N. K. (2014). Cognition Everywhere: The Rise of the Cognitive Nonconscious and the Costs of Consciousness. New Literary History, 45(2), 199–220. doi:10.1353/nlh.2014.0011
> 
> Keller, E. F. (1983). A feeling for the organism: the life and work of Barbara McClintock. San Francisco: W.H. Freeman.
> 
> 
> Good luck with your work! It is an important area you are researching.
> 
> BR, Asta
> 
> 
> Asta Raami
> Doctoral Candidate, designer, M.A.
> Aalto University
> School of Arts, Design and Architecture
> Department of Media
> tel. +358 50 56 26 555
> [log in to unmask]
> PL 31000, 00076 Aalto
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 12:24:22 +0100
> From:    Francesco Galofaro <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> It is really an interesting discussion. Don wrote that the term "actant" is different from the term "agent", but Latour is confused on the subject due to his post-modernistic language. Nevertheless, I'd like to explain why the concept of agent can't be confused with the one of actant.
> 
> The concept of actant is related to syntax. Lucien Tesnière developed it in the '30. Unfortunately, his seminal book Éléments de syntaxe structurale, has been published only after his death, two years after Chomsky's Syntactic Structures. Basically, Tesnière discovered that every verb is distinguished by a valency: a number, which range is 0-3, which connotes its actants. In every language, the involved actants are always the same:
> 
> 0 - impersonal verbs (it rains)
> 1 - subject (I walk). 
> 2 - object (She hits me)
> 3 - indirect object (Adam gave me a pen).
> 
> As you can see, only the first actant can be considered an "agent" - not to speak of the passive diathesis. 
> Now, a verb denotes an action (doing) or a state (being). This way, working on actantial syntax means to work on a theory of the action. This is how Greimas developed Tesnière's actantial syntax, in the opinion of Umberto Eco.
> 
> According to Greimas and Courtès (Semiotics and Language: An Analytical Dictionary: a really useful book) there are basically six different actants involved in an action: 
> 
> sender/receiver; 
> object/subject; 
> helper/opponent; 
> 
> The object carries one or more semantic values, and actantial syntax describes how this valuable object circulates, becoming conjoint to/disjoint from the involved subjects. Again, it is difficult to identify the "agent" with a precise actant; one should always specify if the considered "agent" is the sender, who transfers the object to the receiver; is the subject, which become conjoint to the value carried by the object; is the helper, which incarnates the ability of the subject to perform an action … Actantial syntax is this: a net of relationships and function, far different from the net of real people involved in the process: one can use the first to describe the second, explaining the function that the different individual or collective actors play in the action. In the light of Semiotic theory, the concept of "agent" is vague and confused and can be analyzed with precision, in each different context.
> 
> It is a good question whether these categories are just relevant to describe literature or not. It is funny how you Americans consider this theory as part of post-modernist literary criticism. Here, in Europe, it is just Semiotics. It is a theory of meaning, and there's nothing strange to use it to analyze the interaction between real people and between people and technical artifacts or other "things", if we find that this relation is meaningful. Let's see an example of how all this can be interesting in relation to Design.
> 
> I use the world "thing" and "technical artifact" because I want to avoid confusions with the Actant - Object, which is, as I said, a syntactic function. From the point of view of the theory, the Actant - Object can be a "person" (Adam, Sarah). The same way, a "technical artifact" can be the Actant - helper (Let's think to a tool), or the Actant - Sender. How technical artifact play the role of the actant-sender is Michela Deni's research theme ("Oggetti in azione", Franco Angeli, Milano, 2003): she uses semiotics to analyze and describe the way in which each technical artifact transfers us some values in terms of abilities or knowledge; or, it forbids us some possibilities; or, it sanction the result of our work with a feedback. This way it is possible to analyze and describe precisely the unique "factitiveness" of each artifact, how it determines our subjectivity as it is realized in our actions (to do) and states (to be), how it programs our actions, our spaces, our time. The richness of semiotic categories allow to write analyses in a shared technical language, to avoid vagueness and let the researcher work without having to trust only her/his fertile intuitions. 
> 
> Obviously, there are many philosophical implications as it concerns our relationship with "things", which I'm not supposed to develop here; nevertheless, in my opinion, all this is not just a futile complication, and my students in Design & Engineering at the Politecnico of Milano usually find useful to think their work in these terms. 
> 
> Francesco Galofaro
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 08:20:36 -0400
> From:    CAMERON TONKINWISE <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Since definitions are definitive on this list:
> 
> Latour's project is characterized by him as amodern. Latour has nothing to do with the art/architecture/literature movements and theory/criticism that was many years ago called postmodernism.
> 
> sent while distractedly mobile
> 
> On Oct 2, 2014, at 7:24 AM, Francesco Galofaro <[log in to unmask]> wrote:
> 
>> Latour is confused on the subject due to his post-modernistic language.
> 
> 
> -----------------------------------------------------------------
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 20:42:20 +0800
> From:    Terence Love <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Hi Francesco,
> 
> Great post. Thank you for the clarification and the heads up on using semiotic analyses as a universal language to clarify issues and for communication of ideas. 
> 
> Can you recommend a simple straightforward text in English?
> 
> A question (possibly very naive) comes to mind about how does semiotic analysis go with the idea that the use of  nouns and verbs (objects and actions, entities and causes) isn't universal across all languages? Rather, it seems more to be a kind of structure that fits an entity relationship model that happens to be common to many of the languages of the developed world and also fits well with the idea of sequential causality. Some languages are  exceptions both to use of verbs and nouns (and hence agents and actants) (e.g. Riau - which sounds like something my cat speaks) and some do not assume sequential causality (on which the idea of action depends).  
> 
> Another question (perhaps even more naïve),  from the realm of maths and computer languages, is the potential to exchange verbs and nouns and maintain representative accuracy. What I mean is the same event can be described by making the verb parts of relationships into objects that have certain adjectivally described properties, and giving the noun objects properties  that are active. Does the role of actant (and agent/agency) flow with the change in linguistic structure to attach differently depending on which at that moment are phrased as verbs or nouns. 
> If so, doesn't this imply that the role of agent or actant is not a property of the real world entities , rather it is a property of the linguistic representation in whatever form it is made?
> 
> Best wishes,
> Terry
> 
> ---
> Dr Terence Love
> PhD(UWA), BA(Hons) Engin. PGCEd, FDRS, AMIMechE, MISI
> Director,
> Love Services Pty Ltd
> PO Box 226, Quinns Rocks
> Western Australia 6030
> Tel: +61 (0)4 3497 5848
> Fax:+61 (0)8 9305 7629
> [log in to unmask] 
> --
> 
> 
> 
> 
> -----Original Message-----
> From: [log in to unmask] [mailto:[log in to unmask]] On Behalf Of Francesco Galofaro
> Sent: Thursday, 2 October 2014 7:24 PM
> To: [log in to unmask]; [log in to unmask]
> Cc: Francesco Galofaro
> Subject: Re: Agents and agency
> 
> It is really an interesting discussion. Don wrote that the term "actant" is different from the term "agent", but Latour is confused on the subject due to his post-modernistic language. Nevertheless, I'd like to explain why the concept of agent can't be confused with the one of actant.
> 
> The concept of actant is related to syntax. Lucien Tesnière developed it in the '30. Unfortunately, his seminal book Éléments de syntaxe structurale, has been published only after his death, two years after Chomsky's Syntactic Structures. Basically, Tesnière discovered that every verb is distinguished by a valency: a number, which range is 0-3, which connotes its actants. In every language, the involved actants are always the same:
> 
> 0 - impersonal verbs (it rains)
> 1 - subject (I walk). 
> 2 - object (She hits me)
> 3 - indirect object (Adam gave me a pen).
> 
> As you can see, only the first actant can be considered an "agent" - not to speak of the passive diathesis. 
> Now, a verb denotes an action (doing) or a state (being). This way, working on actantial syntax means to work on a theory of the action. This is how Greimas developed Tesnière's actantial syntax, in the opinion of Umberto Eco.
> 
> According to Greimas and Courtès (Semiotics and Language: An Analytical Dictionary: a really useful book) there are basically six different actants involved in an action: 
> 
> sender/receiver;
> object/subject;
> helper/opponent; 
> 
> The object carries one or more semantic values, and actantial syntax describes how this valuable object circulates, becoming conjoint to/disjoint from the involved subjects. Again, it is difficult to identify the "agent" with a precise actant; one should always specify if the considered "agent" is the sender, who transfers the object to the receiver; is the subject, which become conjoint to the value carried by the object; is the helper, which incarnates the ability of the subject to perform an action … Actantial syntax is this: a net of relationships and function, far different from the net of real people involved in the process: one can use the first to describe the second, explaining the function that the different individual or collective actors play in the action. In the light of Semiotic theory, the concept of "agent" is vague and confused and can be analyzed with precision, in each different context.
> 
> It is a good question whether these categories are just relevant to describe literature or not. It is funny how you Americans consider this theory as part of post-modernist literary criticism. Here, in Europe, it is just Semiotics. It is a theory of meaning, and there's nothing strange to use it to analyze the interaction between real people and between people and technical artifacts or other "things", if we find that this relation is meaningful. Let's see an example of how all this can be interesting in relation to Design.
> 
> I use the world "thing" and "technical artifact" because I want to avoid confusions with the Actant - Object, which is, as I said, a syntactic function. From the point of view of the theory, the Actant - Object can be a "person" (Adam, Sarah). The same way, a "technical artifact" can be the Actant - helper (Let's think to a tool), or the Actant - Sender. How technical artifact play the role of the actant-sender is Michela Deni's research theme ("Oggetti in azione", Franco Angeli, Milano, 2003): she uses semiotics to analyze and describe the way in which each technical artifact transfers us some values in terms of abilities or knowledge; or, it forbids us some possibilities; or, it sanction the result of our work with a feedback. This way it is possible to analyze and describe precisely the unique "factitiveness" of each artifact, how it determines our subjectivity as it is realized in our actions (to do) and states (to be), how it programs our actions, our spaces, our time. The richness of semiotic categories allow to write analyses in a shared technical language, to avoid vagueness and let the researcher work without having to trust only her/his fertile intuitions. 
> 
> Obviously, there are many philosophical implications as it concerns our relationship with "things", which I'm not supposed to develop here; nevertheless, in my opinion, all this is not just a futile complication, and my students in Design & Engineering at the Politecnico of Milano usually find useful to think their work in these terms. 
> 
> Francesco Galofaro
> 
> 
> -----------------------------------------------------------------
> PhD-Design mailing list  <[log in to unmask]> Discussion of PhD studies and related research in Design Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
> -----------------------------------------------------------------
> 
> 
> -----------------------------------------------------------------
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 14:55:36 +0200
> From:    Ken Friedman <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Dear Francesco,
> 
> Thanks for a truly illuminating post. By and large, I agree with these lucid distinctions.
> 
> Allow me to make one note: not all Americans treat this material as part of post-modern literary theory. It depends on whose work you are discussing, and it depends on the uses to which it is put.
> 
> Don’s comment was not that this is a postmodern literary theorist, but rather than he finds much of the work “written in such a post-post modernistic language , that I not only cannot grasp it, I have trouble finishing the paragraph. Any paragraph.”
> 
> Algirdas Greimas was a semiotician. Some of his work does have impact in literary theory as well as other fields in which semiotics can be useful. 
> 
> In explaining why I do not use the word “actant,” I used a definition of the term actant from the OED. It is based in part on the usage in Greimas’s work, and the first usage examplar comes from a 1968 article in the journal Yale French Studies.
> 
> These are minor points. I offer them to say that I agree with you while making clear that many of us are aware that the term actant is used in several fields. The first definition in the OED is based on the grammatical issues you describe. I’ll add that Don wasn’t confusing the ANT literature with post-modern literary theory. He was critiquing the post-postmodern way in which much of it is written.
> 
> Yours,
> 
> Ken
> 
> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015 
> 
> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology 
> 
> —
> 
> Reference
> 
> Greimas, A. J., and François Rastier. 1968. “The Interaction of Semiotic Constraints.” Yale French Studies, No. 41, Game, Play, Literature (1968), pp. 86-105
> 
> Stable URL: http://www.jstor.org/stable/2929667
> 
> Accessed: 2014 October 2
> 
> --
> 
> Francesco Galofaro wrote:
> 
> —snip--
> 
> It is really an interesting discussion. Don wrote that the term "actant" is different from the term "agent", but Latour is confused on the subject due to his post-modernistic language. Nevertheless, I'd like to explain why the concept of agent can't be confused with the one of actant.
> 
> The concept of actant is related to syntax. Lucien Tesnière developed it in the '30. Unfortunately, his seminal book Éléments de syntaxe structurale, has been published only after his death, two years after Chomsky's Syntactic Structures. Basically, Tesnière discovered that every verb is distinguished by a valency: a number, which range is 0-3, which connotes its actants. In every language, the involved actants are always the same:
> 
> 0 - impersonal verbs (it rains)
> 1 - subject (I walk). 
> 2 - object (She hits me)
> 3 - indirect object (Adam gave me a pen).
> 
> As you can see, only the first actant can be considered an "agent" - not to speak of the passive diathesis. 
> Now, a verb denotes an action (doing) or a state (being). This way, working on actantial syntax means to work on a theory of the action. This is how Greimas developed Tesnière's actantial syntax, in the opinion of Umberto Eco.
> 
> According to Greimas and Courtès (Semiotics and Language: An Analytical Dictionary: a really useful book) there are basically six different actants involved in an action: 
> 
> sender/receiver; 
> object/subject; 
> helper/opponent; 
> 
> The object carries one or more semantic values, and actantial syntax describes how this valuable object circulates, becoming conjoint to/disjoint from the involved subjects. Again, it is difficult to identify the "agent" with a precise actant; one should always specify if the considered "agent" is the sender, who transfers the object to the receiver; is the subject, which become conjoint to the value carried by the object; is the helper, which incarnates the ability of the subject to perform an action … Actantial syntax is this: a net of relationships and function, far different from the net of real people involved in the process: one can use the first to describe the second, explaining the function that the different individual or collective actors play in the action. In the light of Semiotic theory, the concept of "agent" is vague and confused and can be analyzed with precision, in each different context.
> 
> It is a good question whether these categories are just relevant to describe literature or not. It is funny how you Americans consider this theory as part of post-modernist literary criticism. Here, in Europe, it is just Semiotics. It is a theory of meaning, and there's nothing strange to use it to analyze the interaction between real people and between people and technical artifacts or other "things", if we find that this relation is meaningful. Let's see an example of how all this can be interesting in relation to Design.
> 
> I use the world "thing" and "technical artifact" because I want to avoid confusions with the Actant - Object, which is, as I said, a syntactic function. From the point of view of the theory, the Actant - Object can be a "person" (Adam, Sarah). The same way, a "technical artifact" can be the Actant - helper (Let's think to a tool), or the Actant - Sender. How technical artifact play the role of the actant-sender is Michela Deni's research theme ("Oggetti in azione", Franco Angeli, Milano, 2003): she uses semiotics to analyze and describe the way in which each technical artifact transfers us some values in terms of abilities or knowledge; or, it forbids us some possibilities; or, it sanction the result of our work with a feedback. This way it is possible to analyze and describe precisely the unique "factitiveness" of each artifact, how it determines our subjectivity as it is realized in our actions (to do) and states (to be), how it programs our actions, our spaces, our time. The richness of semiotic categories allow to write analyses in a shared technical language, to avoid vagueness and let the researcher work without having to trust only her/his fertile intuitions. 
> 
> Obviously, there are many philosophical implications as it concerns our relationship with "things", which I'm not supposed to develop here; nevertheless, in my opinion, all this is not just a futile complication, and my students in Design & Engineering at the Politecnico of Milano usually find useful to think their work in these terms. 
> 
> —snip—
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 13:56:41 +0100
> From:    Carlos Pires <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Like Barthes duly noted, the author is a guest in his own house after his work is published.
> Placing something in modern/postmodern categories is not up to the author.
> Furthermore, nothing is created in a vaccum. Nobody can get away with the audacity of removing himself from culture, while making cultural artifacts.
> 
> On 02/10/2014, at 13:20, CAMERON TONKINWISE wrote:
> 
>> Latour's project is characterized by him as amodern. Latour has nothing to do with the art/architecture/literature movements and theory/criticism that was many years ago called postmodernism.
> 
> 
> ==================================
> Carlos Pires
> 
> [log in to unmask]
> [log in to unmask]
> -------------------------------------------------------------
> Design & New Media MFA // Communication Design PhD Student @ FBA-UL
> 
> Check the project blog:
> http://thegolemproject.com
> 
> 
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 13:10:22 +0000
> From:    Keith Russell <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Dear Terry,
> You might usefully look at ergative and accusative aspects in different languages. English is accusative. That is, the primary presumption is that some one did something. For example, Keith broke the glass. In ergative languages there is a primary notion that something happened or some state has come to pass, but there is no upfront need to find an actor/cause. Maori, for example, is more ergative than any other Polynesian language.
> Keith
> 
> 
> 
>> On 2 Oct 2014, at 11:01 pm, Terence Love <[log in to unmask]> wrote:
>> 
>> 
>> Can you recommend a simple straightforward text in English?
>> 
>> A question (possibly very naive) comes to mind about how does semiotic analysis go with the idea that the use of  nouns and verbs (objects and actions, entities and causes) isn't universal across all languages? Rather, it seems more to be a kind of structure that fits an entity relationship model that happens to be common to many of the languages of the developed world and also fits well with the idea of sequential causality. Some languages are  exceptions both to use of verbs and nouns (and hence agents and actants) (e.g. Riau - which sounds like something my cat speaks) and some do not assume sequential causality (on which the idea of action depends).
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 14:42:29 +0100
> From:    Carlos Pires <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Dear Terry,
> 
> On 02/10/2014, at 13:42, Terence Love wrote:
> 
>> A question (possibly very naive) comes to mind about how does semiotic analysis go with the idea that the use of  nouns and verbs (objects and actions, entities and causes) isn't universal across all languages? Rather, it seems more to be a kind of structure that fits an entity relationship model that happens to be common to many of the languages of the developed world and also fits well with the idea of sequential causality. Some languages are  exceptions both to use of verbs and nouns (and hence agents and actants) (e.g. Riau - which sounds like something my cat speaks) and some do not assume sequential causality (on which the idea of action depends).  
> 
> I don't think that question is useful.
> It's like when talking about cars someone asks how many miles per gallon a mule does.
> You are talking about primitive dialects that convey very little information and depend heavily on context for interpretation.
> 
> Try to write your definition of design in Riau Malay.
> We would then need a Riau version of the Oxford Dictionary to interpret it, so I guess these exchanges would become more interesting but undoubtedly harder. 
> 
> Best regards,
> 
> ==================================
> Carlos Pires
> 
> [log in to unmask]
> [log in to unmask]
> -------------------------------------------------------------
> Design & New Media MFA // Communication Design PhD Student @ FBA-UL
> 
> Check the project blog:
> http://thegolemproject.com
> 
> 
> 
> 
> -----------------------------------------------------------------
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 09:54:55 -0400
> From:    CAMERON TONKINWISE <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> The guest and his colleague once made their own dictionary for their house which later readers should feel postmodernly free to miscategorize:
> http://www.conceptlab.com/notes/akrich-latour-1992-convenient-vocabulary.html
> 
> sent while distractedly mobile
> 
> On Oct 2, 2014, at 8:56 AM, Carlos Pires <[log in to unmask]> wrote:
> 
>> Placing something in modern/postmodern categories is not up to the author.
> 
> 
> -----------------------------------------------------------------
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> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 09:59:17 -0400
> From:    Charles Burnette <[log in to unmask]>
> Subject: Re: Oxford English Dictionary -- Thing 1/2
> 
> On Sep 22, 2014, at 5:51 PM, Ken Friedman <[log in to unmask]> wrote: (In a copy of the OED definition of “thing”)
> 
> II. An entity of any kind.
> 
> 8. That which exists individually (in the most general sense, in fact or in idea); that which is or may be in any way an object of perception, knowledge, or thought; an entity, a being. (Including persons, in contexts where personality is not significant.)
> 
> 
> So Ken, What reality do you choose? Or more to the point, what is your point? 
> 
> Never mind. My apologies for upsetting you so. 
> 
> Chuck
> 
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 23:03:04 +0800
> From:    Terence Love <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Hi Carlos,
> Yes, I appreciate usability is potentially a problem. But that is primarily
> a matter of scale of use and Riau is not  widely used.
> 
> The idea of subject verb object is (in my very limited understanding)
> typical of inflected languages and relatively absent of conceptual
> languages.
> 
> Chinese languages seem to be more conceptual and is more common perhaps than
> the inflected languages.
> 
> My question though was straight up epistemological. 
> It appears some languages (and everyday maths and ready to hand
> representational computer languages are examples) indicate the concepts of
> agent and  actant are primarily dependent on choice of language rather than
> being tied to actual real world entities (like humans). 
> What implications does this have for interpreting agency and its application
> to things.
> Perhaps  the validity of the idea of agents being human is an artefact of
> particular languages  as implied by the Sapir-Whorf hypothesis.
> Cheers,
> terry
> 
> -----Original Message-----
> From: [log in to unmask]
> [mailto:[log in to unmask]] On Behalf Of Carlos Pires
> Sent: Thursday, 2 October 2014 9:42 PM
> To: PhD-Design - This list is for discussion of PhD studies and related
> research in Design
> Subject: Re: Agents and agency
> 
> Dear Terry,
> 
> On 02/10/2014, at 13:42, Terence Love wrote:
> 
>> A question (possibly very naive) comes to mind about how does semiotic
> analysis go with the idea that the use of  nouns and verbs (objects and
> actions, entities and causes) isn't universal across all languages? Rather,
> it seems more to be a kind of structure that fits an entity relationship
> model that happens to be common to many of the languages of the developed
> world and also fits well with the idea of sequential causality. Some
> languages are  exceptions both to use of verbs and nouns (and hence agents
> and actants) (e.g. Riau - which sounds like something my cat speaks) and
> some do not assume sequential causality (on which the idea of action
> depends).  
> 
> I don't think that question is useful.
> It's like when talking about cars someone asks how many miles per gallon a
> mule does.
> You are talking about primitive dialects that convey very little information
> and depend heavily on context for interpretation.
> 
> Try to write your definition of design in Riau Malay.
> We would then need a Riau version of the Oxford Dictionary to interpret it,
> so I guess these exchanges would become more interesting but undoubtedly
> harder. 
> 
> Best regards,
> 
> ==================================
> Carlos Pires
> 
> [log in to unmask]
> [log in to unmask]
> -------------------------------------------------------------
> Design & New Media MFA // Communication Design PhD Student @ FBA-UL
> 
> Check the project blog:
> http://thegolemproject.com
> 
> 
> 
> 
> -----------------------------------------------------------------
> PhD-Design mailing list  <[log in to unmask]> Discussion of PhD
> studies and related research in Design Subscribe or Unsubscribe at
> https://www.jiscmail.ac.uk/phd-design
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> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 16:37:41 +0100
> From:    Carlos Pires <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Thanks for the link!
> This is very helpful.
> 
> Since we're on the subject of postmodernism, here's something that some people on this list might not yet know of and find interesting:
> http://www.elsewhere.org/journal/pomo/
> 
> Best regards,
> 
> ==================================
> Carlos Pires
> 
> [log in to unmask]
> [log in to unmask]
> -------------------------------------------------------------
> Design & New Media MFA // Communication Design PhD Student @ FBA-UL
> 
> Check the project blog:
> http://thegolemproject.com
> 
> On 02/10/2014, at 14:54, CAMERON TONKINWISE wrote:
> 
>> The guest and his colleague once made their own dictionary for their house which later readers should feel postmodernly free to miscategorize:
>> http://www.conceptlab.com/notes/akrich-latour-1992-convenient-vocabulary.html
>> 
>> sent while distractedly mobile
>> 
>> On Oct 2, 2014, at 8:56 AM, Carlos Pires <[log in to unmask]> wrote:
>> 
>>> Placing something in modern/postmodern categories is not up to the author.
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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> 
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 17:04:35 +0100
> From:    Carlos Pires <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> On 02/10/2014, at 16:03, Terence Love wrote:
> 
>> My question though was straight up epistemological. 
>> It appears some languages (and everyday maths and ready to hand
>> representational computer languages are examples) indicate the concepts of
>> agent and  actant are primarily dependent on choice of language rather than
>> being tied to actual real world entities (like humans). 
>> What implications does this have for interpreting agency and its application
>> to things.
>> Perhaps  the validity of the idea of agents being human is an artefact of
>> particular languages  as implied by the Sapir-Whorf hypothesis.
> 
> 
> Hi Terry,
> 
> I think there's no denying that language has a bearing on how you relate to the world.
> It's no doubt the prime way of developing internal models of phenomena.
> However, if you throw a rock at a window and the glass breaks, it breaks regardless of how you spell it.
> You can say something like "rock window" or "rock breaks window" or "I broke the window because I threw a rock aimed straight at it."
> The latter just conveys more information about the phenomenon.
> It doesn't make it happen. Actors, agents, actants... the traits are there before you put names on them.
> You choose the language that better models the phenomenon.
> 
> And I don't see how the Sapir-Whorf hypothesis has to do with the idea of agents being human. Besides, if it actually is implied, I don't see how that has to do with choosing a language that conveys more information about phenomena.
> 
> Best regards,
> 
> ==================================
> Carlos Pires
> 
> [log in to unmask]
> [log in to unmask]
> -------------------------------------------------------------
> Design & New Media MFA // Communication Design PhD Student @ FBA-UL
> 
> Check the project blog:
> http://thegolemproject.com
> 
> 
> 
> 
> -----------------------------------------------------------------
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> 
> ------------------------------
> 
> Date:    Fri, 3 Oct 2014 00:32:23 +0800
> From:    Terence Love <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Hi Carlos,
> 
> Thanks for your message. 
> 
> You wrote,
> 'if you throw a rock at a window and the glass breaks, it breaks regardless
> of how you spell it. You can say something like "rock window" or "rock
> breaks window" or "I broke the window because I threw a rock aimed straight
> at it."
> The latter just conveys more information about the phenomenon. It doesn't
> make it happen. '
> 
> Good so far, and then you wrote, 
> 
> 'Actors, agents, actants... the traits are there before you put names on
> them.'
> 
> ???
> 
> Hmm? Is that what you really meant to say?
> 
> Best wishes,
> Terry
> 
> ---
> Dr Terence Love
> PhD(UWA), BA(Hons) Engin. PGCEd, FDRS, AMIMechE, MISI
> Director,
> Love Services Pty Ltd
> PO Box 226, Quinns Rocks
> Western Australia 6030
> Tel: +61 (0)4 3497 5848
> Fax:+61 (0)8 9305 7629
> [log in to unmask] 
> --
> 
> 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 18:38:13 +0100
> From:    Carlos Pires <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> On 02/10/2014, at 17:32, Terence Love wrote:
> 
>> Hi Carlos,
>> 
>> Thanks for your message. 
>> 
>> You wrote,
>> 'if you throw a rock at a window and the glass breaks, it breaks regardless
>> of how you spell it. You can say something like "rock window" or "rock
>> breaks window" or "I broke the window because I threw a rock aimed straight
>> at it."
>> The latter just conveys more information about the phenomenon. It doesn't
>> make it happen. '
>> 
>> Good so far, and then you wrote, 
>> 
>> 'Actors, agents, actants... the traits are there before you put names on
>> them.'
>> 
>> ???
>> 
>> Hmm? Is that what you really meant to say?
> 
> 
> Hi Terry,
> 
> Yes.
> I will try to make myself more clear:
> What I mean is that the causality, the relations and the linearity of action is already there, in reality, before you come up with the concepts of "action", "actor", "subject", "object", "verb", "noun", "adjective", whatever.
> You throw the rock. The window gets broken. The window is breakable. You did it. You have the volution to do it. Etc.
> 
> I can come up and say "You broke the window on purpose because you threw a rock at it."
> A Riau native speaker can come up and say "You rock window."
> You choose which is epistemological healthier.
> 
> Best regards,
> 
> ==================================
> Carlos Pires
> 
> [log in to unmask]
> [log in to unmask]
> -------------------------------------------------------------
> Design & New Media MFA // Communication Design PhD Student @ FBA-UL
> 
> Check the project blog:
> http://thegolemproject.com
> 
> 
> 
> 
> -----------------------------------------------------------------
> PhD-Design mailing list  <[log in to unmask]>
> Discussion of PhD studies and related research in Design
> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 15:39:10 -0500
> From:    Fernando Alberto Alvarez Romero <[log in to unmask]>
> Subject: Re: Grettings
> 
> Hi Martin,
> I consider your job very important, Is remarkable that the proportions
> again, after decades, newly are changing. Perhaps in the past twice
> constraints must have affected proportions in vehicles: human factors and
> the engine.
> As you noticed, shape again have less constraints. So I agree with you at
> all. We need more interdisciplinary work not only to design but also to
> understant the changes and assume the challenge in automotive design.
> As Buchanan  stated (in: design and the new rethoric; 2001), logos, pathos
> and ethos in design needs a balance. So in the automotive design,
> technology argument changed. Consecuently we need to work in a new balance.
> How put our hands on?
> 
> Kind regards,
> 
> 
> -- 
> *Msc DI Fernando A. Álvarez R.*
> 
> *Candidato a PhD. en Diseño y Creación.*
> *Profesor Asociado II - **Programa de Diseño Industrial*
> *Facultad de Artes y Diseño*
> *Universidad Jorge Tadeo Lozano*
> *Bogotá, Colombia*
> 
> *Lecturer of Industrial Design Program*
> 
> *Faculty of Arts and DesignJorge Tadeo Lozano UniversityBogotá -
> Colombia.Grupo Investigación "Diseño, Pensamiento, Creación"COL0080293*
> 
> 2014-10-02 2:27 GMT-05:00 Martin Luccarelli <[log in to unmask]>:
> 
>> Hi Fernando,
>> I'm currently studying the impact of electromobility on automotive design.
>> In other words, understanding how the usage of new technology is affecting
>> the proportions of a complex product (car).I'm convinced that fostering the
>> team work between engineers and designers is a must to improve the
>> automotive design process.
>> Kind regards,
>> ___________________________________________________________________
>> Martin Luccarelli
>> Industrial Designer | Research Fellow in Production Technologies and
>> Systems
>> 
>> Room SER F2.01.b | Faculty of Design and Art
>> Free University of Bozen - Bolzano
>> Piazza Università 1 | 39100 Bozen - Bolzano
>> 
>> T: +39 0471 015225
>> F: +39 0471015009
>> e-mail: [log in to unmask]
>>> Date: Mon, 29 Sep 2014 15:07:46 -0500
>>> From: [log in to unmask]
>>> Subject: Grettings
>>> To: [log in to unmask]
>>> 
>>> Hello;
>>> Recently I enrolled on a PhD course  named Design and Creation at the
>>> Caldas University of Manizales-Colombia. I am working  the subject about
>>> the relation between technology and design at the enterprise. Establish
>>> some clue factors to get patents is the purpose. I checked the topics at
>>> PHD-DESIGN  JISC, but I noticed that very few topics uses technology as a
>>> title. Are you considering the idea that technology is not a complex
>> system
>>> in conjunction with design.? at the contrary, are you understand that
>>> technology is same as design. Or a topic that you are not interested in?
>> I
>>> hope talking about friendly and share with you my research.
>>> --
>>> 
>>> *Msc DI Fernando A. Álvarez R..*
>>> *Profesor Asociado II - **Programa de Diseño Industrial*
>>> *Facultad de Artes y Diseño*
>>> *Universidad Jorge Tadeo Lozano*
>>> *Bogotá, Colombia*
>>> 
>>> *Associate Professor of Industrial Design Program*
>>> 
>>> *Faculty of Arts and DesignJorge Tadeo Lozano UniversityBogotá -
>> Colombia,
>>> S.A.Grupo Investigación "Diseño, Pensamiento, Creación"COL0080293*
>>> 
>>> --
>>> 
>>> 
>>> *ADVERTENCIA SOBRE CONFIDENCIALIDAD*
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> 
> -- 
> 
> 
> *ADVERTENCIA SOBRE CONFIDENCIALIDAD*
> 
> Las opiniones expresadas en el presente mensaje no representan 
> necesariamente la opinión oficial de La Universidad de Bogotá Jorge Tadeo 
> lozano. La información contenida en este correo electrónico, incluyendo sus 
> anexos, está dirigida exclusivamente a su destinatario y puede contener 
> datos de carácter confidencial protegidos por la ley. Si usted no es el 
> destinatario de este mensaje por favor infórmenos y elimínelo a la mayor 
> brevedad. Cualquier retención, difusión, distribución, divulgación o copia 
> de éste mensaje es prohibida y será sancionada por la ley.
> 
> Este mensaje ha sido sometido a programas antivirus. No obstante, La 
> Universidad de Bogotá Jorge Tadeo lozano no asume ninguna responsabilidad 
> por eventuales daños generados por el recibo y uso de este material, siendo 
> responsabilidad del destinatario verificar con sus propios medios de la 
> existencia de virus u otros defectos.
> 
> *WARNING ABOUT CONFIDENTIAL INFORMATION*
> 
> The opinions expressed herein do not necessarily reflect the positions of 
> the Universidad de Bogotá Jorge Tadeo Lozano. The information contained in 
> this electronic mail and attachments is confidential and intended only for 
> the use of the individual or entity to whom it is addressed and may have 
> confidential data. If you are not the intended recipient, you are hereby 
> notified that any disclosure, copying, distribution, or any other use of 
> the information is strictly prohibited and has legal repercussions. 
> Therefore, if you have received this document by mistake, please notify the 
> sender immediately and destroy this document and attachments without making 
> any copy of any kind.
> This message has been tested by antivirus software. Nonetheless, the 
> Universidad de Bogotá Jorge Tadeo Lozano assumes no liability for any 
> damages or loss of any kind that might arise from the use of, misuse of, or 
> the inability to use the materials contained on this electronic message. It 
> is the responsibility of the recipient to verify by his own means the 
> presence of a virus or any other harmful components, defects or errors.
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> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 15:48:13 -0500
> From:    Fernando Alberto Alvarez Romero <[log in to unmask]>
> Subject: Re: Agents and agency
> 
> Dear Cameron,
> I tried to follow your idea and I would like to say that entities are flow,
> as  in andean philosophy -Runa- is a part of beings with the world.
> 
> 
> -- 
> *Msc DI Fernando A. Álvarez R.*
> 
> *Candidato a PhD. en Diseño y Creación.*
> *Profesor Asociado II - **Programa de Diseño Industrial*
> *Facultad de Artes y Diseño*
> *Universidad Jorge Tadeo Lozano*
> *Bogotá, Colombia*
> 
> *Lecturer of Industrial Design Program*
> 
> *Faculty of Arts and DesignJorge Tadeo Lozano UniversityBogotá -
> Colombia.Grupo Investigación "Diseño, Pensamiento, Creación"COL0080293*
> 
> 2014-10-02 7:20 GMT-05:00 CAMERON TONKINWISE <[log in to unmask]>:
> 
>> Since definitions are definitive on this list:
>> 
>> Latour's project is characterized by him as amodern. Latour has nothing to
>> do with the art/architecture/literature movements and theory/criticism that
>> was many years ago called postmodernism.
>> 
>> sent while distractedly mobile
>> 
>> On Oct 2, 2014, at 7:24 AM, Francesco Galofaro <
>> [log in to unmask]> wrote:
>> 
>>> Latour is confused on the subject due to his post-modernistic language.
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
> 
> -- 
> 
> 
> *ADVERTENCIA SOBRE CONFIDENCIALIDAD*
> 
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> *WARNING ABOUT CONFIDENTIAL INFORMATION*
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> The opinions expressed herein do not necessarily reflect the positions of 
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> this electronic mail and attachments is confidential and intended only for 
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> Therefore, if you have received this document by mistake, please notify the 
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> This message has been tested by antivirus software. Nonetheless, the 
> Universidad de Bogotá Jorge Tadeo Lozano assumes no liability for any 
> damages or loss of any kind that might arise from the use of, misuse of, or 
> the inability to use the materials contained on this electronic message. It 
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 16:01:40 -0500
> From:    Margolin Victor <[log in to unmask]>
> Subject: Re: P.M.S. Blackett
> 
> Does anyone have a pdf of  P. M. S. Blackett's 1941 paper "A Note on Certain Aspects of the Methodology of Operations Research" or else know where the article was first published?
> Thanks,
> Victor Margolin
> 
>> ------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ----------------------------------------------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 09:13:22 +1000
>> From:    "[log in to unmask]" <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Priscilla,
>> 
>> While it's a little outside your current range, the work on Appreciative Dialogue might be useful. Come to think of it, some on this list might find Appreciative Dialogue methods useful for list conversations.
>> 
>> David
>> -- 
>> 
>> 
>> 
>> 
>> blog: http://communication.org.au/blog/
>> web: http://communication.org.au
>> 
>> Professor David Sless BA MSc FRSA
>> CEO • Communication Research Institute •
>> • helping people communicate with people •
>> 
>> Mobile: +61 (0)412 356 795
>> Phone: +61 (0)3 9005 5903
>> Skype: davidsless
>> 
>> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>> 
>> 
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Tue, 30 Sep 2014 19:43:13 -0400
>> From:    Priscila Mendoza <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Thank you David, I'll definitely take a look at it.
>> 
>> Have a great day!
>> 
>> 
>> 
>> 2014-09-30 19:13 GMT-04:00 [log in to unmask]
>> <[log in to unmask]>:
>>> Priscilla,
>>> 
>>> While it's a little outside your current range, the work on Appreciative Dialogue might be useful. Come to think of it, some on this list might find Appreciative Dialogue methods useful for list conversations.
>>> 
>>> David
>>> --
>>> 
>>> 
>>> 
>>> 
>>> blog: http://communication.org.au/blog/
>>> web: http://communication.org.au
>>> 
>>> Professor David Sless BA MSc FRSA
>>> CEO • Communication Research Institute •
>>> • helping people communicate with people •
>>> 
>>> Mobile: +61 (0)412 356 795
>>> Phone: +61 (0)3 9005 5903
>>> Skype: davidsless
>>> 
>>> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>>> 
>>> 
>>> 
>>> 
>>> -----------------------------------------------------------------
>>> PhD-Design mailing list  <[log in to unmask]>
>>> Discussion of PhD studies and related research in Design
>>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>>> -----------------------------------------------------------------
>> 
>> 
>> 
>> -- 
>> Priscila Mendoza
>> MFA Design Management Candidate
>> 
>> http://priscilamendoza.mx
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Tue, 30 Sep 2014 19:49:51 -0400
>> From:    Gunnar Swanson <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> On Sep 30, 2014, at 10:28 AM, Priscila Mendoza <[log in to unmask]> wrote:
>> 
>>> to the Freudian unconscious, to Jung's collective
>>> unconscious, and to the latest postures in psychology, neuroscience, and
>>> economics -Wilson, Bargh, Damasio, Kahneman, etc-. there has been always
>>> room to debate and contradiction in this realm. 
>> 
>> I've wondered how much of this conversation was like the one about "agency," "actant," etc. The word "unconscious" carries various baggage so each of us is probably affirming or rejecting a different set of ideas. Does anyone remember Charles Reich's 'The Greening of America'? He had "consciousness 1," "consciousness 2," etc. Maybe describing "unconsciousness 1, "unconsciousness 2," and so on would bring different results. Daniel Kahneman and Sigmund Freud both supported a notion of "unconscious thought" but hardly the same one.
>> 
>> 
>> Gunnar
>> 
>> Gunnar Swanson
>> East Carolina University 
>> graphic design program
>> 
>> http://www.ecu.edu/cs-cfac/soad/graphic/index.cfm
>> [log in to unmask]
>> 
>> Gunnar Swanson Design Office
>> 1901 East 6th Street
>> Greenville NC 27858
>> USA
>> 
>> http://www.gunnarswanson.com
>> [log in to unmask]
>> +1 252 258-7006
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 10:42:42 +0100
>> From:    Fiona Candy <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Hi Priscilla and List members
>> 
>> I wonder if you will be aware of the work of Robert D Romanyshyn? Particularly his book : 'The Wounded Researcher: Research with Soul in Mind.’
>> 
>> I have found his approach very interesting and useful. I attended a presentation he gave earlier this year when he spoke very compellingly to explain how he believes that the "unconscious is real” and therefore is everywhere and in all human activity. Including research. Which I found very thought provoking.  
>> 
>> It’s very interesting to consider how life experiences may bring each of us to to particular research topics. Awareness of unconscious motivations and ‘wounds’, allows researchers to take their own unconscious processes seriously and to be more attune to possible shortcomings and opportunities of their findings.
>> 
>> http://www.amazon.co.uk/The-Wounded-Researcher-Research-Soul/dp/1882670477
>> 
>> Fiona 
>> 
>> Fiona Candy
>> www.a-brand.co.uk
>> www.vimeo.com/fionacandy
>> [log in to unmask]
>> 
>> 
>> 
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 10:40:27 +0100
>> From:    Dan Lockton <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Hi Priscilla,
>> 
>> Your project looks extremely interesting and I'm really looking forward to
>> seeing your outcomes.
>> 
>> I'm not sure we'd quite classify it as the 'unconscious', but my colleague
>> Flora Bowden and I have been using a very simple approach of asking people
>> to draw abstract concepts such as 'energy' (e.g.
>> http://suslab.rca.ac.uk/wp-content/uploads/2014/09/Drawing-Energy-02.09.14_1.pdf
>> ) as part of interviews, co-creation processes and also at public events
>> such as the V&A's Digital Design Weekend in London. The diversity of
>> representations, visual metaphors and imagery
>> <https://www.dropbox.com/s/5ugirvv2827ae8l/DSC_0794.JPG> produced is
>> helping us (in this case) with the design of new forms of interface for
>> energy monitoring, but we have also done it with concepts such as 'clean'
>> and 'dirty'
>> <https://www.dropbox.com/s/b3n4wthmqeyc1g0/laundry_hackathon_01.jpg> for a
>> workshop around redesigning laundry.
>> 
>> Of course this method is well-known in lots of fields, and has plenty of
>> limitations, but it's consistently been a really good way of provoking
>> discussion and icebreaking with research participants, while also giving us
>> insights into people's perceptions and mental imagery (if not quite their
>> mental models).
>> 
>> I will email you off-list about another idea we are working on in this kind
>> of area that you might be interested in!
>> 
>> Best wishes
>> Dan
>> 
>> _____________
>> *Dr Dan Lockton *
>> Senior Associate, Helen Hamlyn Centre for Design, Royal College of Art
>> Age & Ability Lab and Work & City Lab http://hhcd.rca.ac.uk
>> http://danlockton.co.uk | @danlockton <https://twitter.com/danlockton> | +44
>> (0)7754 211389
>> 
>> SusLab UK http://suslab.rca.ac.uk | Creative Citizens
>> http://creativecitizens.co.uk
>> Creating Sustainable Innovation through Design for Behaviour Change
>> http://behaviourchange.eu | Design with Intent toolkit
>> http://designwithintent.co.uk
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 20:25:20 +0800
>> From:    Terence Love <[log in to unmask]>
>> Subject: Latest issues of journal, Interacting with Computers
>> 
>> FYI
>> Best wishes,
>> Terry
>> ___________________________________________________
>> Articles:
>> 
>> Volume 26 Issue 5 September 2014
>> 
>> Benoît Bossavit, Asier Marzo, Oscar Ardaiz, and Alfredo Pina Hierarchical
>> Menu Selection with a Body-Centered Remote Interface
>> 
>> Esther Loeliger and Tony Stockman
>> Wayfinding without Visual Cues: Evaluation of an Interactive Audio Map
>> System
>> 
>> Paul Dunphy, Andrew Monk, John Vines, Mark Blythe, and Patrick Olivier
>> Designing for Spontaneous and Secure Delegation in Digital Payments
>> 
>> Montserrat Sendín, Juan-Miguel López-Gil, and Víctor López-Jaquero
>> Validation of a Framework for Enriching Human–Computer–Human Interaction
>> with Awareness in a Seamless Way
>> 
>> Chun-Cheng Hsu and Ming-Chuen Chuang
>> The Relationship Between Design Factors and Affective Response in
>> Personalized Blog Interfaces
>> 
>> Tao Yang and Davide Bolchini
>> Branded Interactions: Predicting Perceived Product Traits and User Image
>> from Interface Consistency and Visual Guidance
>> 
>> Bogdan Vasilescu, Andrea Capiluppi, and Alexander Serebrenik Gender,
>> Representation and Online Participation: A Quantitative Study
>> ________________________________________________________________________
>> 
>> Volume 26 Issue 6 November 2014
>> 
>> An Embodied View of Flow
>> Pablo Romero and Eduardo Calvillo-Gámez
>> 
>> Anxiety Induction in Virtual Environments: An Experimental Comparison of
>> Three General Techniques Luca Chittaro
>> 
>> Formative Evaluation of IT-based Services: A Case Study of a Meal Planning
>> Service Johan Blomkvist, Johan Åberg, and Stefan Holmlid
>> 
>> Measuring Anxiety Towards Wiki Editing: Investigating the Dimensionality of
>> the Wiki Anxiety Inventory-Editing Benjamin R. Cowan and Mervyn A. Jack
>> 
>> Determining the Efficacy of Multi-Parameter Tactons in the Presence of
>> Real-world and Simulated Audio Distractors Huimin Qian, Ravi Kuber, Andrew
>> Sears, and Elizabeth Stanwyck
>> 
>> Evaluation of a Mobile Projector-Based Indoor Navigation Interface Ming Li,
>> Katrin Arning, Oliver Sack, Jiyoung Park, Myoung-Hee Kim, Martina Ziefle,
>> and Leif Kobbelt
>> 
>> Online Disclosure of Personally Identifiable Information with Strangers: 
>> Effects of Public and Private Sharing
>> Jayant Venkatanathan, Vassilis Kostakos, Evangelos Karapanos, and Jorge
>> Gonçalves
>> 
>> --
>> Dianne Murray
>> Editor-in-Chief,
>> Interacting with Computers
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 09:59:01 -0400
>> From:    Charles Burnette <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> On Sep 30, 2014, at 12:47 AM, Don Norman <[log in to unmask]> wrote:
>> 
>> ...the unconscious, like consciousness, is not a thing that can be seen: it is a state of mental
>> processing.  When people act or make decisions of which they are unaware,
>> that is by definition being done unconsciously.  Consciousness implies
>> awareness.
>> 
>> Dear colleagues,
>> I have written a paper that attempts to describe pre-conscious processes that enter awareness as we design. I have identified seven pre-conscious to conscious transitions that I relate to modes of thought in the theory. Any comments about the paper would be appreciated, especially research that seeks to explain the transition between unconscious and conscious thought.
>> 
>> The paper “Intuition, Imagination and Insight in A Theory of Design Thinking” may be accessed at www.independent.academia.edu/charlesburnette along with other papers about the theory.
>> 
>> We owe Priscila a debt of thanks for bringing this subject to the list.
>> 
>> Or, so I believe,
>> Chuck
>> 
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 16:19:06 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Free Guide to Scientific Writing in English, Chinese, Spanish, Portuguese, Russian, and Japanese
>> 
>> Dear Colleagues,
>> 
>> Maria Camacho recently drew my attention to the free Guide to Scientific Writing published by the journal Clinical Chemistry. Much of the material in this guide also applies to design research.
>> 
>> The guide is available in English, Chinese, Spanish, Portuguese, Russian, and Japanese. 
>> 
>> You’ll find the full guide with links at:
>> 
>> http://www.aacc.org/publications/clin_chem/ccgsw/Pages/default.aspx
>> 
>> The guide is useful to authors, educators, researchers, training program directors, and doctoral students. The focus is clear and effective writing for improved publications.
>> 
>> Yours,
>> 
>> Ken Friedman
>> 
>> -- 
>> 
>> Contents: Guide to Scientific Writing:
>> 
>> 1. The Title Says It All
>> 2. The Abstract and the Elevator Talk: A Tale of Two Summaries
>> 3. "It was a cold and rainy night": Set the Scene with a Good Introduction
>> 4. Who, What, When, Where, How, and Why: The Ingredients in the Recipe for a Successful Methods Section
>> 5. Show Your Cards: The Results Section and the Poker Game
>> 6. If an IRDAM Journal Is What You Choose, Then Sequential Results Are What You Use
>> 7. Put Your Best Figure Forward: Line Graphs and Scattergrams
>> 8. Bars and Pies Make Better Desserts than Figures
>> 9. Bring Your Best to the Table
>> 10. The Discussion Section: Your Closing Argument
>> 11. Giving Credit: Citations and References
>> 12. How to Write a Rave Review
>> 13. Top 10 Tips for Responding to Reviewer and Editor Comments
>> 14. Passing the Paternité Test
>> 
>> --
>> 
>> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015 
>> 
>> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 12:07:19 -0400
>> From:    Gunnar Swanson <[log in to unmask]>
>> Subject: academic writing article
>> 
>> Ken,
>> 
>> Steven Pinker has an article on academic prose in the Chronicle of Higher Education that's worth reading:
>> 
>> http://chronicle.com/article/Why-Academics-Writing-Stinks/148989/
>> 
>> He notes that "a writer who explains technical terms can multiply his readership a thousandfold at the cost of a handful of characters, the literary equivalent of picking up hundred-dollar bills on the sidewalk." I sometimes think we are like the old joke about the economists walking down the street. One says "Look! There's a hundred dollar bill lying there" and the other says "It couldn't be real or someone else would have already picked it up."
>> 
>> 
>> Gunnar
>> 
>> Gunnar Swanson
>> East Carolina University 
>> graphic design program
>> 
>> http://www.ecu.edu/cs-cfac/soad/graphic/index.cfm
>> [log in to unmask]
>> 
>> Gunnar Swanson Design Office
>> 1901 East 6th Street
>> Greenville NC 27858
>> USA
>> 
>> http://www.gunnarswanson.com
>> [log in to unmask]
>> +1 252 258-7006
>> 
>> 
>> On Oct 1, 2014, at 10:19 AM, Ken Friedman <[log in to unmask]> wrote:
>>> Maria Camacho recently drew my attention to the free Guide to Scientific Writing published by the journal Clinical Chemistry. Much of the material in this guide also applies to design research.
>> [snip]
>>> http://www.aacc.org/publications/clin_chem/ccgsw/Pages/default.aspx
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 12:39:27 -0400
>> From:    Filippo Salustri <[log in to unmask]>
>> Subject: CFPs on DesignCalls blog for Sep 2014
>> 
>> Hi everyone,
>> Below is a summary of design-related CFPs posted to
>> http://designcalls.wordpress.com/ in September.
>> 
>> \V/_  /fas
>> 
>> *Prof. Filippo A. Salustri, Ph.D., P.Eng.*
>> Email: [log in to unmask]
>> http://deseng.ryerson.ca/~fil/
>> 
>> 19th Congress of the Intl Ergonomics Association (Aug 2015,
>> Melbourne Australia)
>> <http://designcalls.wordpress.com/2014/09/29/19th-congress-of-the-intl-ergonomics-association-aug-2015-melbourne-australia/>
>> 
>> SEPTEMBER 29, 2014
>> 
>> Dates: 9-14 August 2015
>> Location: Melbourne, Australia
>> Website: http://iea2015.org/
>> Deadline for submission of abstracts: 30 November 2014
>> 
>> We invite contributions on all topics related to ergonomics and human
>> factors including practical, technical, empirical and theoretical aspects.
>> Case studies of the latest technology design and/or practical cases for all
>> domains of use and practice will be given particular attention. Also
>> company case studies, discussing the application of human factors in actual
>> cases, are highly appreciated.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/29/19th-congress-of-the-intl-ergonomics-association-aug-2015-melbourne-australia/#more-2222>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH
>> ERGONOMICS <http://designcalls.wordpress.com/tag/ergonomics/>, HUMAN FACTORS
>> <http://designcalls.wordpress.com/tag/human-factors/>
>> craft+design enquiry #8: Global Parallels: Production and Craft in Fashion
>> and Industrial Design Industries (2016)
>> <http://designcalls.wordpress.com/2014/09/28/craftdesign-enquiry-8-global-parallels-production-and-craft-in-fashion-and-industrial-design-industries-2016/>
>> 
>> SEPTEMBER 28, 2014
>> 
>> Website: http://craftdesignenquiry.blogspot.com.au/p/blog-page_13.html
>> Deadline for expressions of interest: 30 April 2015
>> 
>> The craft + design enquiry Editorial Board welcomes Tiziana Ferrero-Regis,
>> Rafael Gomez and Kathleen Horton, from Queensland University of Technology,
>> as the Guest Editors of c+de#8 with the theme of ‘Global Parallels:
>> Production and Craft in Fashion and Industrial Design Industries’.
>> 
>> Contributors to c+de#8 are invited to submit Expressions of Interest for
>> either the Themed Section or the Open Section by following the Steps to
>> Submitting a Paper outlined at the website.
>> 
>> Expressions of Interest close on 30 April 2015. For contributors invited to
>> submit papers, the deadline for full papers is 30 June 2015. c+de#8 will be
>> published in mid-2016.
>> 
>> Please refer to the website for further details.
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH CRAFT <http://designcalls.wordpress.com/tag/craft/>, FASHION
>> <http://designcalls.wordpress.com/tag/fashion/>, INDUSTRIAL DESIGN
>> <http://designcalls.wordpress.com/tag/industrial-design/>, PRODUCTION
>> <http://designcalls.wordpress.com/tag/production/>
>> MODE 2015 – Motion Design Education Summit (June 2015, Dublin Ireland)
>> <http://designcalls.wordpress.com/2014/09/25/mode-2015-motion-design-education-summit-june-2015-dublin-ireland/>
>> 
>> SEPTEMBER 25, 2014
>> 
>> Date: June 3-5, 2015
>> Location: Dublin, Ireland
>> Website: http://www.modesummit.com/index.html
>> Deadline for abstracts: 05 January 15
>> 
>> The University of Notre Dame, The Ohio State University, Kent State
>> University and Michigan State University jointly present the 2nd MODE
>> Summit. This international event brings together motion design educators
>> from different areas of expertise to present work and discuss motion and
>> how it enhances, effects, changes messages, meaning, and communication. The
>> conference takes place in Dublin, Ireland, 03–05 June 2015 at the O’Connell
>> House and the Royal Irish Academy.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/25/mode-2015-motion-design-education-summit-june-2015-dublin-ireland/#more-2217>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH
>> EDUCATION <http://designcalls.wordpress.com/tag/education/>, MOTION
>> <http://designcalls.wordpress.com/tag/motion/>
>> Call for Proposals: FIU’s 2015 Interior Design Emerging Symposium
>> <http://designcalls.wordpress.com/2014/09/19/call-for-proposals-fius-2015-interior-design-emerging-symposium/>
>> 
>> SEPTEMBER 19, 2014
>> 
>> Date: 10th April 2015
>> Location: Miami Beach, Florida
>> Website: http://fiu2015intdesignsymposium.wordpress.com/
>> Deadline for abstracts: 15 January 2015
>> 
>> Join us in Miami Beach, Florida on April 10th, 2015, for FLORIDA
>> INTERNATIONAL UNIVERSITY’S 2015 INTERIOR DESIGN EMERGING SYMPOSIUM.
>> 
>> [image: 51] <https://designcalls.files.wordpress.com/2014/09/51.gif>
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/19/call-for-proposals-fius-2015-interior-design-emerging-symposium/#more-2207>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH INTERIOR
>> DESIGN <http://designcalls.wordpress.com/tag/interior-design/>
>> PAD #12 CALL deadline postponed on September 29, 2014
>> <http://designcalls.wordpress.com/2014/09/16/pad-12-call-deadline-postponed-on-september-29-2014/>
>> 
>> SEPTEMBER 16, 2014
>> 
>> www.padjournal.net <http://www.padjournal.net/about/>
>> 
>> *PAD *(Pages on Arts and Design) is an international, open access, and
>> peer-reviewed e-journal published twice a year. PAD publishes original and
>> qualified intellectual production in all area of design and arts
>> research. It provides an international and interactive forum for the
>> exchange of ideas, debate and criticism. PAD findings from researchers and
>> professionals across different countries and cultures of the Mediterranean
>> areas and encourages research on the impact of cultural factors on design
>> theory and practice.
>> The publication of each issue will coincide with the publication of the
>> call for papers for the following monographic issue on Call page.
>> The journal is identified by an International Standard Serial Number (ISSN
>> 1972-7887) and each its article carries an Article Number (AN). All the
>> articles are freely available online upon publication. They are published
>> under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0
>> International (CC BY-NC-ND 4.0)
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/16/pad-12-call-deadline-postponed-on-september-29-2014/#more-2203>
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH ARTS <http://designcalls.wordpress.com/tag/arts/>, RESEARCH
>> <http://designcalls.wordpress.com/tag/research/>
>> Unmaking Waste:  Transforming Production and Consumption in Time and Place
>> (May 2015, Adelaide Australia)
>> <http://designcalls.wordpress.com/2014/09/14/unmaking-waste-transforming-production-and-consumption-in-time-and-place-may-2015-adelaide-australia/>
>> 
>> SEPTEMBER 14, 2014
>> 
>> Dates: 21-24 May 2015
>> Location: Zero Waste SA Research Centre for Sustainable Design and
>> Behaviour, University of South Australia, Adelaide
>> Website: www.unmakingwaste2015.org
>> <http://designcalls.wordpress.com/www.unmakingwaste2015.org>
>> Deadline for submission of abstracts: 17 October 2014
>> 
>> Waste is created when we no longer value something we create, possess or
>> use. Barriers to prematurely discarding goods and resources have steadily
>> fallen in recent years. Easy credit, low prices, instant online access, and
>> a 24 hour promotional media all reinforce an expanding consumerism.
>> 
>> While much effort has gone into researching and implementing successful
>> technical strategies for reducing waste and emissions, accelerating rates
>> of consumption are undermining these efforts. It is clear that we need new
>> systems-based approaches to reduce this excess consumption, including the
>> excesses of our ‘waste-making’, to generate a more sustainable circular
>> economy.
>> 
>> This conference invites participants to explore new approaches to reduce
>> the speed, volume and impacts of ‘waste-ready’ global consumerism.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/14/unmaking-waste-transforming-production-and-consumption-in-time-and-place-may-2015-adelaide-australia/#more-2200>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH
>> CONSUMPTION <http://designcalls.wordpress.com/tag/consumption/>, PRODUCTION
>> <http://designcalls.wordpress.com/tag/production/>, SUSTAINABILITY
>> <http://designcalls.wordpress.com/tag/sustainability/>
>> Fashion and Gender (May 2015, University of Minnesota USA)
>> <http://designcalls.wordpress.com/2014/09/13/fashion-and-gender-may-2015-university-of-minnesota-usa/>
>> 
>> SEPTEMBER 13, 2014
>> 
>> Dates: 1-2 May 2015
>> Location: University of Minnesota, USA
>> Website: http://design.umn.edu/fashionand/gender/
>> Deadline for proposals: 9 January 2015.
>> 
>> The University of Minnesota [USA] is organizing a symposium entitled
>> Fashion and Gender to be held May 1-2, 2015. This symposium is the fourth
>> in a symposium series entitled “Fashion And … ” connecting fashion with
>> other themes of importance in today’s world. Members attending the symposia
>> of Fashion And… examine the interconnections and intersections of fashion
>> in today’s world.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/13/fashion-and-gender-may-2015-university-of-minnesota-usa/#more-2198>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH FASHION
>> <http://designcalls.wordpress.com/tag/fashion/>, GENDER
>> <http://designcalls.wordpress.com/tag/gender/>
>> IASDR INTERPLAY 2015 (Nov 2015, Brisbane Australia)
>> <http://designcalls.wordpress.com/2014/09/13/iasdr-interplay-2015-nov-2015-brisbane-australia/>
>> 
>> SEPTEMBER 13, 2014
>> 
>> Dates: 2-5 November 2015
>> Location: Brisbane, Australia
>> Website: http://www.iasdr2015.com
>> Deadline for submissions: 6 April 2015
>> 
>> IASDR 2015 invites papers, posters, workshops, exhibitions and doctoral
>> colloquium submissions from any area of design research that explores the
>> interplay between design research, science, technology and the arts. All
>> submissions will be double blind reviewed. Submissions must be in English
>> and submitted through the online submission system. All submissions should
>> comply with IASDR 2015 guidelines. IASDR 2015 will explore the interaction
>> of design research with science, technology and the arts. This continual
>> INTERPLAY provides opportunities to explore interaction between
>> cross-disciplinary knowledge and various design research approaches. IASDR
>> 2015 aims to establish trans-disciplinary research platforms across diverse
>> domains to foster new research and education opportunities and stimulate
>> innovation. Call for Papers: We invite papers which offer original research
>> and application across all domains of design: architecture,
>> planning, industrial design, engineering design, software,
>> interaction design, fashion or media design. The papers should
>> demonstrate collaborative research and application with science or
>> technology or the arts. Papers should be 3000 – 5000 words
>> excluding abstracts and references and comply with IASDR 2015 guidelines.
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/13/iasdr-interplay-2015-nov-2015-brisbane-australia/#more-2196>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH ARTS
>> <http://designcalls.wordpress.com/tag/arts/>, IASDR
>> <http://designcalls.wordpress.com/tag/iasdr/>, RESEARCH
>> <http://designcalls.wordpress.com/tag/research/>, SCIENCE
>> <http://designcalls.wordpress.com/tag/science/>, TECHNOLOGY
>> <http://designcalls.wordpress.com/tag/technology/>
>> Progetto Grafico 28 International Graphic Design Magazine (IT) –
>> Topic: Publishing
>> <http://designcalls.wordpress.com/2014/09/12/progetto-grafico-28-international-graphic-design-magazine-it-topic-publishing/>
>> 
>> SEPTEMBER 12, 2014
>> 
>> Deadline for submissions: 15 January 2015
>> Contact: [log in to unmask]
>> 
>> *Progetto grafico 28: Publishing*
>> 
>> *Edited by Maria Rosaria Digregorio, Silvio Lorusso, Silvia Sfligiotti,
>> Stefano Vittori*
>> 
>> By devoting an issue to “Publishing,” which has always been a central theme
>> for people dealing with communication design, Progetto grafico has decided
>> to start by redefining and expanding upon the term, going beyond its
>> primarily editorial connotations to explore its significance as “making
>> public; disclosing; popularizing.” The latter seems to be a core issue for
>> both those who design/produce editorial material (professionally or
>> otherwise) as well as those who use it.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/12/progetto-grafico-28-international-graphic-design-magazine-it-topic-publishing/#more-2191>
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH COMMUNICATION
>> <http://designcalls.wordpress.com/tag/communication/>, GRAPHIC
>> DESIGN <http://designcalls.wordpress.com/tag/graphic-design/>, PUBLISHING
>> <http://designcalls.wordpress.com/tag/publishing/>
>> Conference on Product Lifetimes And The Environment (PLATE) June 2015,
>> Nottingham (UK)
>> <http://designcalls.wordpress.com/2014/09/10/conference-on-product-lifetimes-and-the-environment-plate-june-2015-nottingham-uk-2/>
>> 
>> SEPTEMBER 10, 2014
>> 
>> [image: PLATE_logo_Final]
>> <http://designcalls.files.wordpress.com/2014/07/plate_logo_final.png>
>> 
>> We’d like to inform you that the *deadline for abstracts for the PLATE
>> conference* has been extended to *Friday 19 September* 2014 at 12 noon.
>> 
>> Please check the website <http://www.ntu.ac.uk/plate_conference/index.html> for
>> further information.
>> 
>> FILED UNDER UNCATEGORIZED
>> <http://designcalls.wordpress.com/category/uncategorized/> TAGGED WITH ASIA
>> <http://designcalls.wordpress.com/tag/asia/>, BUSINESS
>> <http://designcalls.wordpress.com/tag/business/>, CONFERENCE
>> <http://designcalls.wordpress.com/tag/conference-2/>
>> CfP: Cumulus Conference Milan Italy 2015 – The Virtuous Circle
>> <http://designcalls.wordpress.com/2014/09/05/cfp-cumulus-conference-milan-italy-2015-the-virtuous-circle/>
>> 
>> SEPTEMBER 5, 2014
>> 
>> The Virtuous Circle of Design Culture and Experimentation
>> 
>> Cumulus Conference during EXPO Milan 2015
>> 
>> June 3 -6, 2015
>> 
>> Hosted by Politecnico di Milano, Milan, Italy
>> 
>> Deadline for submission: November 10, 2014
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/05/cfp-cumulus-conference-milan-italy-2015-the-virtuous-circle/#more-2177>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH CULTURE
>> <http://designcalls.wordpress.com/tag/culture/>, CUMULUS
>> <http://designcalls.wordpress.com/tag/cumulus/>, EXPERIMENTATION
>> <http://designcalls.wordpress.com/tag/experimentation/>, METHODS
>> <http://designcalls.wordpress.com/tag/methods/>
>> Special Issue of Materials & Design: Emerging Material Experiences
>> (Nov 2014)
>> <http://designcalls.wordpress.com/2014/09/01/special-issue-of-materials-design-emerging-material-experiences-nov-2014/>
>> 
>> SEPTEMBER 1, 2014
>> 
>> Website: http://www.journals.elsevier.com/materials-and-design/
>> Deadline for submissions: 1 November 2014
>> 
>> Please see attached PDF file for details: specialissue-material-experiences
>> <https://designcalls.files.wordpress.com/2014/09/specialissue-material-experiences.pdf>
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH MATERIALS <http://designcalls.wordpress.com/tag/materials/>
>> 
>> 
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 20:57:51 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Re: academic writing article
>> 
>> Dear Gunnar,
>> 
>> Thanks for your note and thanks for the article. I agree with Steven Pinker. You will find this same advice in the slides for the Research Writing Workshop (Friedman 2014: pp. 57-58, 101-104, 107).
>> 
>> You can get the workshop slides as a free PDF download from the "Research and Writing Skills” section of my Academia.edu page at URL:
>> 
>> https://swinburne.academia.edu/KenFriedman
>> 
>> People are free to use the slides in their own workshops and teaching.
>> 
>> Pinker is an excellent writer. He has written a book about writing that is earning serious praise as a model for academic writing: > The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century. < I have not yet read it, but it seems so interesting that I have ordered a copy. It is available on Amazon:
>> 
>> http://www.amazon.co.uk/Sense-Style-Thinking-Persons-Writing/dp/1846145503
>> 
>> There has been great deal of research on academic writing. There are many explanations for bad writing by scholars and scientists — I won’t get into it here, but whatever the causes, there are many examples of bad writing, especially in journals. University presses are struggling to survive, and they are paying more attention to interesting, readable prose than ever before. In contrast, journals have pages to fill. This is especially the case for the lesser journals — many of these journals seem to exist as a forum for writers who need to publish, as contrasted with journals whose purpose it is to publish serious and intelligent writing. This explains the massive number of published articles that attract no readers, no use, and no citations. 
>> 
>> Thanks for the fine Pinker article. I enjoyed it immensely.
>> 
>> Yours, 
>> 
>> Ken
>> 
>> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015 
>> 
>> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology 
>> 
>> --
>> 
>> References
>> 
>> Friedman, Ken. 2014. Research Writing Workshop. A Research Skills Working Paper. Melbourne, Australia: Centre for Design Innovation, Swinburne University of Technology.
>> 
>> Pinker, Steven. 2014. The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century. London: Allen Lane.
>> 
>> --
>> 
>> Gunnar Swanson wrote:
>> 
>> —snip—
>> 
>> Steven Pinker has an article on academic prose in the Chronicle of Higher Education that's worth reading:
>> 
>> http://chronicle.com/article/Why-Academics-Writing-Stinks/148989/
>> 
>> —snip—
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 15:07:00 -0400
>> From:    Charles Burnette <[log in to unmask]>
>> Subject: Re: Agents and agency
>> 
>> On Sep 27, 2014, at 6:12 PM, Ken Friedman <[log in to unmask]> wrote:
>> 
>> While the artifact or substance has effects in the world, these effects do not involve agency.
>> 
>> This is as contradictory as it sounds. If people understand that a "bleaching agent" has the capacity to bleach regardless of human agency, an “agent” in that sense, can act under the conditions that enable it to act without the need for human agency. 
>> 
>> By noting the second definition of “agent” without referring to the first in the OED definition of agent (not agency) I was trying to show that there was an accepted alternative to the view you insist on. I was focusing on the property of  an “agent" not “agency”.
>> 
>> You wrote: "The full second definition is “b. A person or thing that operates in a particular direction, or produces a specified effect; the cause of some process or change. Freq. with for, in, of. Sometimes difficult to distinguish from the means or agency by which an effect is produced: cf. sense A. 3.”
>> 
>> To speak of a “bleaching agent” does not mean that the bleach specifies what properties it has, nor does bleach specify that which it will bleach. In this sense, a principal or actor uses a bleaching agent for purpose that the principal or actor specifies. “Bleach” has properties that affect the world around it without regard to specifications. A “bleaching agent” uses those properties on the instructions of a principal or actor. As the OED notes, this is sometimes “difficult to distinguish from the means or agency by which an effect is produced.”
>> 
>> You are contradicting yourself in the bolded statement. OED notes your difficulty.
>> 
>> Or so I believe,
>> Chuck
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 16:49:55 -0300
>> From:    Marcio Dupont <[log in to unmask]>
>> Subject: UNIVERSAL DESIGN WORKSHOP - CURITIBA BRAZIL
>> 
>> Dear all:
>> 
>> I never know if I can post this kind of design initiative here, but here we
>> go again, my apologies, but is for the greater good!
>> 
>> To all brazilians designers, or designers in Curitiba, Brasil, I´m sharing
>> my Design Workshop about Market and Consumption  and the second one about
>> Universal Design.
>> 
>> Please, share the event, thanks!
>> 
>> Best!
>> 
>> *Marcio C. de C. Dupont  - Industrial Designer*
>> Innovation Analyst
>> Sustainability Analyst
>> Brasil / México / United States /
>> 
>> Follow me: Linkedi <http://www.linkedin.com/in/marciodupont>
>> n
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 22:48:31 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Re: Agents and agency
>> 
>> Dear Chuck,
>> 
>> I fail to see contradictions in my post. It seems to me that I explained my position clearly, consistently, and without contradictions. I am reposting my post of September 28 again. To make my meaning slightly more clear, I have added a few words in brackets.
>> 
>> Following this post, I repost the definitions of the words “agency” and “agent” from the Oxford English Dictionary.
>> 
>> If you will explain the contradictions in this post, I will do my best to respond.
>> 
>> Yours,
>> 
>> Ken 
>> 
>> --
>> 
>> Begin reposted message:
>> 
>> From: Ken Friedman <[log in to unmask]>
>> Subject: Re: Agents and agency
>> Date: 2014 Sep28 00:12:29 GMT+2
>> To: PhD-Design <[log in to unmask]>
>> 
>> Dear Chuck,
>> 
>> According to your post, the Oxford English Dictionary supports Terry.
>> 
>> To make this claim, you omit a key word from the OED definition. While you give your reason for removing the key word from a cited source, it changes the meaning of the definition.
>> 
>> The definition you provide for agency tends to support Klaus’s point, and mine, rather than Terry’s views. (Following this post, I am posting the definitions of the words “agency” and “agent” from the OED. Readers can decide for themselves which argument is most reasonable. If anyone wishes to study the usage exemplars, check the OED.)
>> 
>> The issue of agency involves motive power. That refers to the person or entity that “specifies” the specified effect in the second definition. Your post neglected the etymology of the word. And your [post] moved past the first definition: “a. A person who or thing which acts upon someone or something; one who or that which exerts power; the doer of an action. Sometimes contrasted with the patient (instrument, etc.) undergoing the action. Cf. actor n. 3a. Earliest in Alchemy: a force capable of acting upon matter, an active principle. Now chiefly in philosophical and sociological contexts.”
>> 
>> The power of agency is the power of an actor or principal.
>> 
>> The full second definition is “b. A person or thing that operates in a particular direction, or produces a specified effect; the cause of some process or change. Freq. with for, in, of. Sometimes difficult to distinguish from the means or agency by which an effect is produced: cf. sense A. 3.”
>> 
>> To speak of a “bleaching agent” does not mean that the bleach specifies what properties it has, nor does bleach specify that which it will bleach. In this sense, a principal or actor uses a bleaching agent for purpose that the principal or actor specifies. “Bleach” has properties that affect the world around it without regard to specifications. A “bleaching agent” uses those properties on the instructions of a principal or actor. As the OED notes, this is sometimes “difficult to distinguish from the means or agency by which an effect is produced.”
>> 
>> This is similar to my earlier comments stating that tools represent the agency of human creators or users.
>> 
>> It is true that Terry did not present his arguments particularly well, but the arguments are based on unclear concepts. The same is true of your reply. To make your point, you changed and distorted the definition you selected for the word agent.
>> 
>> An agent acts on behalf of a principal. The quality of agency is that quality that the principal delegates to the agent. To make your point, you removed the key issue that distinguishes the motive agency of the principal from the delegated agency of the agent.
>> 
>> I should state that words take on different uses in different context. Because of this, the term “agent” may sometimes be used instead of the term “principal” or “actor.”
>> 
>> There is an ambiguity to the term agent – but Klaus and I were not writing about “agents” – rather we were explaining why tools and artifacts do not possess “agency.”
>> 
>> Whether a principal or an agent has good effects or bad is a separate issue.
>> 
>> A principal may delegate authority to an agent for good ends. On occasion, the agent may not behave responsibly with the delegated authority. This specific issue occurs in philosophy and in social science as the “agency problem,” or the “principal-agent problem.” This does not change the fact that the principal possesses agency, and delegates this agency to the agent.
>> 
>> There are also examples of a principal delegating authority to an agent for evil ends. When the agent obeys the principal by doing evil, other problems arise. The core defense argument of the Nazi leaders convicted at Nuremberg was that they were obeying orders.
>> 
>> In both cases, agents are morally and ethically culpable for the bad they do.
>> 
>> In the case of a tool or object, this would not be the case. No matter the purpose for which one designs a car, a bottle of bleach, or a gun, we do not hold the agent responsible for the design or decisions of the principal. An artifact or tool may be an agent, but an artifact or tool does not possess agency.
>> 
>> While a principal may delegate agency to an agent, the agency or authority to act rests with the principal. The principal retains agency and authority. If the principal revokes the delegation of authority, the agent is no longer an agent.
>> 
>> The ways in which this may take place and the intricacies of delegation and authority are the stuff of law school debates and court cases. The basic philosophical principles remain the same.
>> 
>> Human beings – principals – possess agency. Tools do not. Human beings are responsible for their actions. Tools are not responsible for the uses to which people may put them.
>> 
>> Neither do we hold tools responsible for the intended or unintended consequences of their use. Poor specifications and unanticipated effects do not change the core philosophical issue.
>> 
>> Neither do natural calamities. There are specific clauses in many contracts that release contracting parties from their responsibilities when natural causes render performance impossible.
>> 
>> As I see it, you are confusing some of the issues that have made the conversation problematic.
>> 
>> It may be helpful to separate principal status from agency to understand cause and effect. This does not mean that it is possible to separate agency from the power to determine action.
>> 
>> Principals and actors possess agency. They delegate agency to agents. Some agents may be human. Others may not.
>> 
>> Because human agents possess agency of their own, they may deploy their own agency to act at variance to instructions of their principals.
>> 
>> Artifactual agents do not possess agency of their own. The action of artifacts may have consequences other than those intended by human principals. A car may roll downhill by itself, damaging life and property. A badly stored bottle of bleach may harm children or animals. While the artifact or substance has effects in the world, these effects do not involve agency.
>> 
>> Yours,
>> 
>> Ken
>> 
>> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015
>> 
>> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology ||| Adjunct Professor | School of Creative Arts | James Cook University | Townsville, Australia ||| Visiting Professor | UTS Business School | University of Technology Sydney University | Sydney, Australia
>> 
>> Email [log in to unmask] | Academia http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn
>> 
>> Telephone: International +46 480 51514 — In Sweden (0) 480 51514 — iPhone: International +46 727 003 218 — In Sweden (0) 727 003 218
>> 
>> —
>> 
>> Chuck Burnette wrote:
>> 
>> —snip—
>> 
>> Although Terry could have presented his arguments better, I think he got a bum wrap from Klaus and Ken, especially Ken who likes to chastise those who don’t follow his model of scholarship and discussion.
>> 
>> Both Ks seem to speak of human agency as the only agency worth thinking about overlooking that the words “human” and “agency” distinguish two aspects to what they are saying.
>> 
>> Happily The Oxford on line dictionary sets us straight with its second definition of agent:
>> 
>> “Agent: A person or thing that takes an active role or produces a specified effect,” giving “bleaching agent” as an example.
>> 
>> I don’t think the word “specified” is needed in this definition although Terry has argued that it is what designers do. In my view the effect doesn’t always need to be specified (an indication of intentional human agency) but may just happen due to the properties and circumstances of the thing, however created. Naturally toxic things come to mind. We designers like to believe that everything we do is a service to humankind, an agency we aspire to provide. But our efforts sometimes have unanticipated effects. It is also sometimes helpful to separate “human” from “agency” in order to understand cause and effect in the things we manipulate and transform.
>> 
>> —snip—
>> 
>> 
>> 
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 22:48:43 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agency
>> 
>> The complete definition of the word “agency” from the Oxford English Dictionary. Sent in full to the PhD-design list.
>> 
>> --
>> 
>> Begin reposted message:
>> 
>> From: Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agency
>> Date: 2014 Sep28 00:12:47 GMT+2
>> To: PhD-Design <[log in to unmask]>
>> 
>> Agency
>> 
>> —
>> 
>> From the Oxford English Dictionary, online edition:
>> 
>> --
>> 
>> “agency, n.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3851?redirectedFrom=agency& (accessed September 27, 2014).
>> 
>> --
>> 
>> agency, n.
>> 
>> Pronunciation: Brit.  /ˈeɪdʒ(ə)nsi/ , U.S. /ˈeɪdʒənsi/
>> Forms: 16 agencie, 16– agency.
>> Etymology: < post-classical Latin agentia action, activity (from 11th or 12th cent. in British sources; already in 8th cent. denoting a farm) < classical Latin agent- , agens , present participle of agere to do, act (see act v.) + -ia -y suffix3.
>> 
>> The semantic development of the English word has been considerably shaped by association with agent n.1 Compare also French agence trade office (1653, earliest denoting such an office in a foreign country), position or function of an agent (1697), Italian agenzia (1678 or earlier, originally in sense ‘position or function of an agent’).
>> 
>> I. A person or organization acting on behalf of another, or providing a particular service.
>> 1.
>> 
>> a. The process of acting as an agent (agent n.1 2); the position, role, or function of an agent, deputy, or representative; an instance of this. Now somewhat rare.
>> In earliest use: ambassadorship, embassy.
>> 
>> b. A business, body, or organization providing a particular service, or negotiating transactions on behalf of a person or group. Cf. agent n.1 2b.
>> Often with modifying word specifying the service provided, as advertising, detective, employment, escort, letting, tourist agency, etc.: see the first element. Also (with capital initials) in the names of such businesses or organizations.
>> 
>> 2. U.S. The position or office of an Indian agent; (concr.) the headquarters of such an agent; = Indian agency n. at Indian adj.and n. Special uses 2a. Cf. agent n.1 2c. Now hist.
>> 
>> 3. U.S. colloq. With the. Usu. with capital initial. The Central Intelligence Agency, the CIA. Cf. company n. 5e, bureau n. 2d.
>> 
>> II. Action, capacity to act.
>> 
>> 4. Ability or capacity to act or exert power; active working or operation; action, activity.
>> In quot. 1606 as a count noun: an action, a force.
>> 
>> 5.
>> 
>> a. Action or intervention producing a particular effect; means, instrumentality, mediation.
>> 
>> b. Such action embodied or personified; a being or thing that acts to produce a particular effect or result. Cf. agent n.1 3.
>> 
>> 6. Grammar. The fact or quality of being a grammatical agent (agent n.1 1c).
>> 
>> --
>> 
>> “agency, n.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3851?redirectedFrom=agency& (accessed September 27, 2014).
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 22:48:57 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agent
>> 
>> The complete definition of the word “agent” from the Oxford English Dictionary. Sent in full to the PhD-design list.
>> 
>> --
>> 
>> Begin forwarded message:
>> 
>> From: Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agent
>> Date: 2014 Sep28 00:12:56 GMT+2
>> To: PhD-Design <[log in to unmask]>
>> 
>> Agent
>> 
>> —
>> 
>> From the Oxford English Dictionary, online edition:
>> 
>> --
>> 
>> “agent, n.1 and adj.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3859?rskey=yJEJHI&result=1&isAdvanced=false (accessed September 27, 2014).
>> 
>> --
>> 
>> agent, n.1 and adj.
>> 
>> Pronunciation: Brit.  /ˈeɪdʒ(ə)nt/ , U.S. /ˈeɪdʒ(ə)nt/
>> Forms: lME– agent, 15–16 agente, 16 agentt.
>> Etymology: < (i) Middle French agent (French agent ) (noun) person acting on behalf of another, representative, emissary (1332 in an isolated attestation, subsequently (apparently after Italian) from 1578), person who or thing which acts upon someone or something (c1370, originally and frequently in philosophical contexts), substance that brings about a chemical effect or causes a chemical reaction (1612 (in the passage translated in quot. 1624 at sense A. 4) or earlier; rare before early 19th cent.), person who intrigues (1640), (adjective) that acts, that exerts power (1337; c1450 in grammar; second half of the 15th cent. in cause agent (compare quot. 1535 at sense B.)),
>> 
>> and its etymon (ii) classical Latin agent-, agēns acting, active, (masculine noun) pleader, advocate, in post-classical Latin also representative, official (4th cent.), administrator of an estate, employee of a church (6th cent.), (neuter noun) (in philosophy) instrumentality, cause (from 8th cent. in British sources; also in continental sources), uses as adjective and noun of present participle of agere to act, do (see act v.).
>> 
>> With sense A. 1a and corresponding adjectival use compare earlier patient n. and patient adj.
>> 
>> Parallels in other European languages.
>> 
>> Compare Catalan agent, adjective and noun (14th cent.), Spanish agente (late 14th cent. as noun, early 15th cent. as adjective), Portuguese agente, adjective and noun (15th cent.), Italian agente (a1294 as adjective, a1328 as noun). Compare also Dutch agent (noun) official, representative (1570), German Agent (masculine noun) representative, emissary (1546), spy (18th cent., now the usual sense), Agens (neuter noun) person who or thing which acts upon someone or something (1598).
>> 
>> A. n.1
>> 1.
>> a. A person who or thing which acts upon someone or something; one who or that which exerts power; the doer of an action. Sometimes contrasted with the patient (instrument, etc.) undergoing the action. Cf. actor n. 3a.
>> Earliest in Alchemy: a force capable of acting upon matter, an active principle. Now chiefly in philosophical and sociological contexts.
>> 
>> b. A person or thing that operates in a particular direction, or produces a specified effect; the cause of some process or change. Freq. with for, in, of.
>> Sometimes difficult to distinguish from the means or agency by which an effect is produced: cf. sense A. 3.
>> 
>> 
>> c. Grammar. The doer of an action, typically expressed as the subject of an active verb or in a by-phrase with a passive verb.
>> Cf. agent noun n. at Compounds 2.
>> 
>> d. Parapsychology. In telepathy: the person who originates an impression (opposed to the percipient who receives it).
>> 
>> 2. A person acting on behalf of another.
>> 
>> a. A person who acts as a substitute for another; one who undertakes negotiations or transactions on behalf of a superior, employer, or principal; a deputy, steward, representative; (in early use) an ambassador, emissary. Also fig. Now chiefly in legal contexts.
>> In Sc. Law: a solicitor, advocate (now rare).
>> 
>> army, crown, land, parliamentary agent, etc.: see the first element.
>> 
>> b. In commercial use: a person or company that provides a particular service, typically one that involves arranging transactions between two other parties; (also) a person or company that represents an organization, esp. in a particular region; a business or sales representative. Cf. agency n. 1b.
>> Freq. with modifying word or phrase specifying the product or service.
>> 
>> advertising, employment, estate, insurance, letting, railroad, shipping, tourist, travel agent, etc.: see the first element.
>> 
>> c. N. Amer. An official appointed to represent the government in dealing with an American Indian people; = Indian agent n. at Indian adj. and n. Special uses 2a. Now hist.
>> 
>> d. A person who works secretly to obtain information for a government or other official body; a spy.
>> double, secret, treble agent, etc.: see the first element.
>> 
>> e. A person who negotiates and manages business, financial, publicity, or contractual matters for an actor, performer, writer, etc.
>> In earliest use: a theatrical agent. literary, press, publicity, sports agent, etc.: see the first element.
>> 
>> f. U.S. A stagecoach robber; = road agent n. at road n.Compounds 6. Now hist.
>> 
>> 3. The means by which something is done; the material cause or instrument through which an effect is produced (often implying a rational employer or contriver).
>> Sometimes overlapping with sense A. 1b.
>> 
>> 4. Chem. A substance that brings about a chemical or physical effect or causes a chemical reaction. In later use chiefly with preceding modifying word specifying the nature of the effect or reaction. Cf. reagent n. 2.
>> alkylating, oxidizing, reducing, wetting agent, etc.: see the first element.
>> 
>> 5. Computing. A program that (autonomously) performs a task such as information retrieval or processing on behalf of a client or user. More fully software agent, user agent.
>> 
>> B. adj.
>> 
>> Acting, exerting power (sometimes contrasted with patient adj.2a).
>> † party agent n. Obs. Law the person or party bringing a suit.
>> 
>> --
>> 
>> “agent, n.1 and adj.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3859?rskey=yJEJHI&result=1&isAdvanced=false (accessed September 27, 2014).
>> 
>> --
>> 
>> -----------------------------------------------------------------
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>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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>> 
>> ------------------------------
>> 
>> End of PHD-DESIGN Digest - 30 Sep 2014 to 1 Oct 2014 (#2014-263)
>> ****************************************************************
>> 
> 
> 
> -----------------------------------------------------------------
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> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
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> 
> ------------------------------
> 
> Date:    Thu, 2 Oct 2014 21:27:33 +0000
> From:    Mary Catharine E Johnsen <[log in to unmask]>
> Subject: Re: P.M.S. Blackett
> 
> Victor,
> 
> The New York Times obituary notes his work in operations research and I get the idea that
> his book called "Studies of war, nuclear and conventional"  collects essays and articles and might
> have the essay you need.  We have a copy here at CMU that I'll check tomorrow.
> 
> (Three major science indices yielded nothing,  dear old New York Times...)
> 
> Yrsever,  Mary Kay in Pittsburgh
> 
> -----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 Margolin Victor
> Sent: Thursday, October 02, 2014 5:02 PM
> To: [log in to unmask]
> Subject: Re: P.M.S. Blackett
> 
> Does anyone have a pdf of  P. M. S. Blackett's 1941 paper "A Note on Certain Aspects of the Methodology of Operations Research" or else know where the article was first published?
> Thanks,
> Victor Margolin
> 
>> ------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ----------------------------------------------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 09:13:22 +1000
>> From:    "[log in to unmask]" <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Priscilla,
>> 
>> While it's a little outside your current range, the work on Appreciative Dialogue might be useful. Come to think of it, some on this list might find Appreciative Dialogue methods useful for list conversations.
>> 
>> David
>> -- 
>> 
>> 
>> 
>> 
>> blog: http://communication.org.au/blog/
>> web: http://communication.org.au
>> 
>> Professor David Sless BA MSc FRSA
>> CEO • Communication Research Institute •
>> • helping people communicate with people •
>> 
>> Mobile: +61 (0)412 356 795
>> Phone: +61 (0)3 9005 5903
>> Skype: davidsless
>> 
>> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>> 
>> 
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Tue, 30 Sep 2014 19:43:13 -0400
>> From:    Priscila Mendoza <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Thank you David, I'll definitely take a look at it.
>> 
>> Have a great day!
>> 
>> 
>> 
>> 2014-09-30 19:13 GMT-04:00 [log in to unmask]
>> <[log in to unmask]>:
>>> Priscilla,
>>> 
>>> While it's a little outside your current range, the work on Appreciative Dialogue might be useful. Come to think of it, some on this list might find Appreciative Dialogue methods useful for list conversations.
>>> 
>>> David
>>> --
>>> 
>>> 
>>> 
>>> 
>>> blog: http://communication.org.au/blog/
>>> web: http://communication.org.au
>>> 
>>> Professor David Sless BA MSc FRSA
>>> CEO • Communication Research Institute •
>>> • helping people communicate with people •
>>> 
>>> Mobile: +61 (0)412 356 795
>>> Phone: +61 (0)3 9005 5903
>>> Skype: davidsless
>>> 
>>> 60 Park Street • Fitzroy North • Melbourne • Australia • 3068
>>> 
>>> 
>>> 
>>> 
>>> -----------------------------------------------------------------
>>> PhD-Design mailing list  <[log in to unmask]>
>>> Discussion of PhD studies and related research in Design
>>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>>> -----------------------------------------------------------------
>> 
>> 
>> 
>> -- 
>> Priscila Mendoza
>> MFA Design Management Candidate
>> 
>> http://priscilamendoza.mx
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Tue, 30 Sep 2014 19:49:51 -0400
>> From:    Gunnar Swanson <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> On Sep 30, 2014, at 10:28 AM, Priscila Mendoza <[log in to unmask]> wrote:
>> 
>>> to the Freudian unconscious, to Jung's collective
>>> unconscious, and to the latest postures in psychology, neuroscience, and
>>> economics -Wilson, Bargh, Damasio, Kahneman, etc-. there has been always
>>> room to debate and contradiction in this realm. 
>> 
>> I've wondered how much of this conversation was like the one about "agency," "actant," etc. The word "unconscious" carries various baggage so each of us is probably affirming or rejecting a different set of ideas. Does anyone remember Charles Reich's 'The Greening of America'? He had "consciousness 1," "consciousness 2," etc. Maybe describing "unconsciousness 1, "unconsciousness 2," and so on would bring different results. Daniel Kahneman and Sigmund Freud both supported a notion of "unconscious thought" but hardly the same one.
>> 
>> 
>> Gunnar
>> 
>> Gunnar Swanson
>> East Carolina University 
>> graphic design program
>> 
>> http://www.ecu.edu/cs-cfac/soad/graphic/index.cfm
>> [log in to unmask]
>> 
>> Gunnar Swanson Design Office
>> 1901 East 6th Street
>> Greenville NC 27858
>> USA
>> 
>> http://www.gunnarswanson.com
>> [log in to unmask]
>> +1 252 258-7006
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 10:42:42 +0100
>> From:    Fiona Candy <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Hi Priscilla and List members
>> 
>> I wonder if you will be aware of the work of Robert D Romanyshyn? Particularly his book : 'The Wounded Researcher: Research with Soul in Mind.’
>> 
>> I have found his approach very interesting and useful. I attended a presentation he gave earlier this year when he spoke very compellingly to explain how he believes that the "unconscious is real” and therefore is everywhere and in all human activity. Including research. Which I found very thought provoking.  
>> 
>> It’s very interesting to consider how life experiences may bring each of us to to particular research topics. Awareness of unconscious motivations and ‘wounds’, allows researchers to take their own unconscious processes seriously and to be more attune to possible shortcomings and opportunities of their findings.
>> 
>> http://www.amazon.co.uk/The-Wounded-Researcher-Research-Soul/dp/1882670477
>> 
>> Fiona 
>> 
>> Fiona Candy
>> www.a-brand.co.uk
>> www.vimeo.com/fionacandy
>> [log in to unmask]
>> 
>> 
>> 
>> 
>> 
>> -----------------------------------------------------------------
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>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 10:40:27 +0100
>> From:    Dan Lockton <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> Hi Priscilla,
>> 
>> Your project looks extremely interesting and I'm really looking forward to
>> seeing your outcomes.
>> 
>> I'm not sure we'd quite classify it as the 'unconscious', but my colleague
>> Flora Bowden and I have been using a very simple approach of asking people
>> to draw abstract concepts such as 'energy' (e.g.
>> http://suslab.rca.ac.uk/wp-content/uploads/2014/09/Drawing-Energy-02.09.14_1.pdf
>> ) as part of interviews, co-creation processes and also at public events
>> such as the V&A's Digital Design Weekend in London. The diversity of
>> representations, visual metaphors and imagery
>> <https://www.dropbox.com/s/5ugirvv2827ae8l/DSC_0794.JPG> produced is
>> helping us (in this case) with the design of new forms of interface for
>> energy monitoring, but we have also done it with concepts such as 'clean'
>> and 'dirty'
>> <https://www.dropbox.com/s/b3n4wthmqeyc1g0/laundry_hackathon_01.jpg> for a
>> workshop around redesigning laundry.
>> 
>> Of course this method is well-known in lots of fields, and has plenty of
>> limitations, but it's consistently been a really good way of provoking
>> discussion and icebreaking with research participants, while also giving us
>> insights into people's perceptions and mental imagery (if not quite their
>> mental models).
>> 
>> I will email you off-list about another idea we are working on in this kind
>> of area that you might be interested in!
>> 
>> Best wishes
>> Dan
>> 
>> _____________
>> *Dr Dan Lockton *
>> Senior Associate, Helen Hamlyn Centre for Design, Royal College of Art
>> Age & Ability Lab and Work & City Lab http://hhcd.rca.ac.uk
>> http://danlockton.co.uk | @danlockton <https://twitter.com/danlockton> | +44
>> (0)7754 211389
>> 
>> SusLab UK http://suslab.rca.ac.uk | Creative Citizens
>> http://creativecitizens.co.uk
>> Creating Sustainable Innovation through Design for Behaviour Change
>> http://behaviourchange.eu | Design with Intent toolkit
>> http://designwithintent.co.uk
>> 
>> 
>> -----------------------------------------------------------------
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>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 20:25:20 +0800
>> From:    Terence Love <[log in to unmask]>
>> Subject: Latest issues of journal, Interacting with Computers
>> 
>> FYI
>> Best wishes,
>> Terry
>> ___________________________________________________
>> Articles:
>> 
>> Volume 26 Issue 5 September 2014
>> 
>> Benoît Bossavit, Asier Marzo, Oscar Ardaiz, and Alfredo Pina Hierarchical
>> Menu Selection with a Body-Centered Remote Interface
>> 
>> Esther Loeliger and Tony Stockman
>> Wayfinding without Visual Cues: Evaluation of an Interactive Audio Map
>> System
>> 
>> Paul Dunphy, Andrew Monk, John Vines, Mark Blythe, and Patrick Olivier
>> Designing for Spontaneous and Secure Delegation in Digital Payments
>> 
>> Montserrat Sendín, Juan-Miguel López-Gil, and Víctor López-Jaquero
>> Validation of a Framework for Enriching Human–Computer–Human Interaction
>> with Awareness in a Seamless Way
>> 
>> Chun-Cheng Hsu and Ming-Chuen Chuang
>> The Relationship Between Design Factors and Affective Response in
>> Personalized Blog Interfaces
>> 
>> Tao Yang and Davide Bolchini
>> Branded Interactions: Predicting Perceived Product Traits and User Image
>> from Interface Consistency and Visual Guidance
>> 
>> Bogdan Vasilescu, Andrea Capiluppi, and Alexander Serebrenik Gender,
>> Representation and Online Participation: A Quantitative Study
>> ________________________________________________________________________
>> 
>> Volume 26 Issue 6 November 2014
>> 
>> An Embodied View of Flow
>> Pablo Romero and Eduardo Calvillo-Gámez
>> 
>> Anxiety Induction in Virtual Environments: An Experimental Comparison of
>> Three General Techniques Luca Chittaro
>> 
>> Formative Evaluation of IT-based Services: A Case Study of a Meal Planning
>> Service Johan Blomkvist, Johan Åberg, and Stefan Holmlid
>> 
>> Measuring Anxiety Towards Wiki Editing: Investigating the Dimensionality of
>> the Wiki Anxiety Inventory-Editing Benjamin R. Cowan and Mervyn A. Jack
>> 
>> Determining the Efficacy of Multi-Parameter Tactons in the Presence of
>> Real-world and Simulated Audio Distractors Huimin Qian, Ravi Kuber, Andrew
>> Sears, and Elizabeth Stanwyck
>> 
>> Evaluation of a Mobile Projector-Based Indoor Navigation Interface Ming Li,
>> Katrin Arning, Oliver Sack, Jiyoung Park, Myoung-Hee Kim, Martina Ziefle,
>> and Leif Kobbelt
>> 
>> Online Disclosure of Personally Identifiable Information with Strangers: 
>> Effects of Public and Private Sharing
>> Jayant Venkatanathan, Vassilis Kostakos, Evangelos Karapanos, and Jorge
>> Gonçalves
>> 
>> --
>> Dianne Murray
>> Editor-in-Chief,
>> Interacting with Computers
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 09:59:01 -0400
>> From:    Charles Burnette <[log in to unmask]>
>> Subject: Re: Researching user's unconscious
>> 
>> On Sep 30, 2014, at 12:47 AM, Don Norman <[log in to unmask]> wrote:
>> 
>> ...the unconscious, like consciousness, is not a thing that can be seen: it is a state of mental
>> processing.  When people act or make decisions of which they are unaware,
>> that is by definition being done unconsciously.  Consciousness implies
>> awareness.
>> 
>> Dear colleagues,
>> I have written a paper that attempts to describe pre-conscious processes that enter awareness as we design. I have identified seven pre-conscious to conscious transitions that I relate to modes of thought in the theory. Any comments about the paper would be appreciated, especially research that seeks to explain the transition between unconscious and conscious thought.
>> 
>> The paper “Intuition, Imagination and Insight in A Theory of Design Thinking” may be accessed at www.independent.academia.edu/charlesburnette along with other papers about the theory.
>> 
>> We owe Priscila a debt of thanks for bringing this subject to the list.
>> 
>> Or, so I believe,
>> Chuck
>> 
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 16:19:06 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Free Guide to Scientific Writing in English, Chinese, Spanish, Portuguese, Russian, and Japanese
>> 
>> Dear Colleagues,
>> 
>> Maria Camacho recently drew my attention to the free Guide to Scientific Writing published by the journal Clinical Chemistry. Much of the material in this guide also applies to design research.
>> 
>> The guide is available in English, Chinese, Spanish, Portuguese, Russian, and Japanese. 
>> 
>> You’ll find the full guide with links at:
>> 
>> http://www.aacc.org/publications/clin_chem/ccgsw/Pages/default.aspx
>> 
>> The guide is useful to authors, educators, researchers, training program directors, and doctoral students. The focus is clear and effective writing for improved publications.
>> 
>> Yours,
>> 
>> Ken Friedman
>> 
>> -- 
>> 
>> Contents: Guide to Scientific Writing:
>> 
>> 1. The Title Says It All
>> 2. The Abstract and the Elevator Talk: A Tale of Two Summaries
>> 3. "It was a cold and rainy night": Set the Scene with a Good Introduction
>> 4. Who, What, When, Where, How, and Why: The Ingredients in the Recipe for a Successful Methods Section
>> 5. Show Your Cards: The Results Section and the Poker Game
>> 6. If an IRDAM Journal Is What You Choose, Then Sequential Results Are What You Use
>> 7. Put Your Best Figure Forward: Line Graphs and Scattergrams
>> 8. Bars and Pies Make Better Desserts than Figures
>> 9. Bring Your Best to the Table
>> 10. The Discussion Section: Your Closing Argument
>> 11. Giving Credit: Citations and References
>> 12. How to Write a Rave Review
>> 13. Top 10 Tips for Responding to Reviewer and Editor Comments
>> 14. Passing the Paternité Test
>> 
>> --
>> 
>> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015 
>> 
>> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 12:07:19 -0400
>> From:    Gunnar Swanson <[log in to unmask]>
>> Subject: academic writing article
>> 
>> Ken,
>> 
>> Steven Pinker has an article on academic prose in the Chronicle of Higher Education that's worth reading:
>> 
>> http://chronicle.com/article/Why-Academics-Writing-Stinks/148989/
>> 
>> He notes that "a writer who explains technical terms can multiply his readership a thousandfold at the cost of a handful of characters, the literary equivalent of picking up hundred-dollar bills on the sidewalk." I sometimes think we are like the old joke about the economists walking down the street. One says "Look! There's a hundred dollar bill lying there" and the other says "It couldn't be real or someone else would have already picked it up."
>> 
>> 
>> Gunnar
>> 
>> Gunnar Swanson
>> East Carolina University 
>> graphic design program
>> 
>> http://www.ecu.edu/cs-cfac/soad/graphic/index.cfm
>> [log in to unmask]
>> 
>> Gunnar Swanson Design Office
>> 1901 East 6th Street
>> Greenville NC 27858
>> USA
>> 
>> http://www.gunnarswanson.com
>> [log in to unmask]
>> +1 252 258-7006
>> 
>> 
>> On Oct 1, 2014, at 10:19 AM, Ken Friedman <[log in to unmask]> wrote:
>>> Maria Camacho recently drew my attention to the free Guide to Scientific Writing published by the journal Clinical Chemistry. Much of the material in this guide also applies to design research.
>> [snip]
>>> http://www.aacc.org/publications/clin_chem/ccgsw/Pages/default.aspx
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 12:39:27 -0400
>> From:    Filippo Salustri <[log in to unmask]>
>> Subject: CFPs on DesignCalls blog for Sep 2014
>> 
>> Hi everyone,
>> Below is a summary of design-related CFPs posted to
>> http://designcalls.wordpress.com/ in September.
>> 
>> \V/_  /fas
>> 
>> *Prof. Filippo A. Salustri, Ph.D., P.Eng.*
>> Email: [log in to unmask]
>> http://deseng.ryerson.ca/~fil/
>> 
>> 19th Congress of the Intl Ergonomics Association (Aug 2015,
>> Melbourne Australia)
>> <http://designcalls.wordpress.com/2014/09/29/19th-congress-of-the-intl-ergonomics-association-aug-2015-melbourne-australia/>
>> 
>> SEPTEMBER 29, 2014
>> 
>> Dates: 9-14 August 2015
>> Location: Melbourne, Australia
>> Website: http://iea2015.org/
>> Deadline for submission of abstracts: 30 November 2014
>> 
>> We invite contributions on all topics related to ergonomics and human
>> factors including practical, technical, empirical and theoretical aspects.
>> Case studies of the latest technology design and/or practical cases for all
>> domains of use and practice will be given particular attention. Also
>> company case studies, discussing the application of human factors in actual
>> cases, are highly appreciated.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/29/19th-congress-of-the-intl-ergonomics-association-aug-2015-melbourne-australia/#more-2222>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH
>> ERGONOMICS <http://designcalls.wordpress.com/tag/ergonomics/>, HUMAN FACTORS
>> <http://designcalls.wordpress.com/tag/human-factors/>
>> craft+design enquiry #8: Global Parallels: Production and Craft in Fashion
>> and Industrial Design Industries (2016)
>> <http://designcalls.wordpress.com/2014/09/28/craftdesign-enquiry-8-global-parallels-production-and-craft-in-fashion-and-industrial-design-industries-2016/>
>> 
>> SEPTEMBER 28, 2014
>> 
>> Website: http://craftdesignenquiry.blogspot.com.au/p/blog-page_13.html
>> Deadline for expressions of interest: 30 April 2015
>> 
>> The craft + design enquiry Editorial Board welcomes Tiziana Ferrero-Regis,
>> Rafael Gomez and Kathleen Horton, from Queensland University of Technology,
>> as the Guest Editors of c+de#8 with the theme of ‘Global Parallels:
>> Production and Craft in Fashion and Industrial Design Industries’.
>> 
>> Contributors to c+de#8 are invited to submit Expressions of Interest for
>> either the Themed Section or the Open Section by following the Steps to
>> Submitting a Paper outlined at the website.
>> 
>> Expressions of Interest close on 30 April 2015. For contributors invited to
>> submit papers, the deadline for full papers is 30 June 2015. c+de#8 will be
>> published in mid-2016.
>> 
>> Please refer to the website for further details.
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH CRAFT <http://designcalls.wordpress.com/tag/craft/>, FASHION
>> <http://designcalls.wordpress.com/tag/fashion/>, INDUSTRIAL DESIGN
>> <http://designcalls.wordpress.com/tag/industrial-design/>, PRODUCTION
>> <http://designcalls.wordpress.com/tag/production/>
>> MODE 2015 – Motion Design Education Summit (June 2015, Dublin Ireland)
>> <http://designcalls.wordpress.com/2014/09/25/mode-2015-motion-design-education-summit-june-2015-dublin-ireland/>
>> 
>> SEPTEMBER 25, 2014
>> 
>> Date: June 3-5, 2015
>> Location: Dublin, Ireland
>> Website: http://www.modesummit.com/index.html
>> Deadline for abstracts: 05 January 15
>> 
>> The University of Notre Dame, The Ohio State University, Kent State
>> University and Michigan State University jointly present the 2nd MODE
>> Summit. This international event brings together motion design educators
>> from different areas of expertise to present work and discuss motion and
>> how it enhances, effects, changes messages, meaning, and communication. The
>> conference takes place in Dublin, Ireland, 03–05 June 2015 at the O’Connell
>> House and the Royal Irish Academy.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/25/mode-2015-motion-design-education-summit-june-2015-dublin-ireland/#more-2217>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH
>> EDUCATION <http://designcalls.wordpress.com/tag/education/>, MOTION
>> <http://designcalls.wordpress.com/tag/motion/>
>> Call for Proposals: FIU’s 2015 Interior Design Emerging Symposium
>> <http://designcalls.wordpress.com/2014/09/19/call-for-proposals-fius-2015-interior-design-emerging-symposium/>
>> 
>> SEPTEMBER 19, 2014
>> 
>> Date: 10th April 2015
>> Location: Miami Beach, Florida
>> Website: http://fiu2015intdesignsymposium.wordpress.com/
>> Deadline for abstracts: 15 January 2015
>> 
>> Join us in Miami Beach, Florida on April 10th, 2015, for FLORIDA
>> INTERNATIONAL UNIVERSITY’S 2015 INTERIOR DESIGN EMERGING SYMPOSIUM.
>> 
>> [image: 51] <https://designcalls.files.wordpress.com/2014/09/51.gif>
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/19/call-for-proposals-fius-2015-interior-design-emerging-symposium/#more-2207>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH INTERIOR
>> DESIGN <http://designcalls.wordpress.com/tag/interior-design/>
>> PAD #12 CALL deadline postponed on September 29, 2014
>> <http://designcalls.wordpress.com/2014/09/16/pad-12-call-deadline-postponed-on-september-29-2014/>
>> 
>> SEPTEMBER 16, 2014
>> 
>> www.padjournal.net <http://www.padjournal.net/about/>
>> 
>> *PAD *(Pages on Arts and Design) is an international, open access, and
>> peer-reviewed e-journal published twice a year. PAD publishes original and
>> qualified intellectual production in all area of design and arts
>> research. It provides an international and interactive forum for the
>> exchange of ideas, debate and criticism. PAD findings from researchers and
>> professionals across different countries and cultures of the Mediterranean
>> areas and encourages research on the impact of cultural factors on design
>> theory and practice.
>> The publication of each issue will coincide with the publication of the
>> call for papers for the following monographic issue on Call page.
>> The journal is identified by an International Standard Serial Number (ISSN
>> 1972-7887) and each its article carries an Article Number (AN). All the
>> articles are freely available online upon publication. They are published
>> under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0
>> International (CC BY-NC-ND 4.0)
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/16/pad-12-call-deadline-postponed-on-september-29-2014/#more-2203>
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH ARTS <http://designcalls.wordpress.com/tag/arts/>, RESEARCH
>> <http://designcalls.wordpress.com/tag/research/>
>> Unmaking Waste:  Transforming Production and Consumption in Time and Place
>> (May 2015, Adelaide Australia)
>> <http://designcalls.wordpress.com/2014/09/14/unmaking-waste-transforming-production-and-consumption-in-time-and-place-may-2015-adelaide-australia/>
>> 
>> SEPTEMBER 14, 2014
>> 
>> Dates: 21-24 May 2015
>> Location: Zero Waste SA Research Centre for Sustainable Design and
>> Behaviour, University of South Australia, Adelaide
>> Website: www.unmakingwaste2015.org
>> <http://designcalls.wordpress.com/www.unmakingwaste2015.org>
>> Deadline for submission of abstracts: 17 October 2014
>> 
>> Waste is created when we no longer value something we create, possess or
>> use. Barriers to prematurely discarding goods and resources have steadily
>> fallen in recent years. Easy credit, low prices, instant online access, and
>> a 24 hour promotional media all reinforce an expanding consumerism.
>> 
>> While much effort has gone into researching and implementing successful
>> technical strategies for reducing waste and emissions, accelerating rates
>> of consumption are undermining these efforts. It is clear that we need new
>> systems-based approaches to reduce this excess consumption, including the
>> excesses of our ‘waste-making’, to generate a more sustainable circular
>> economy.
>> 
>> This conference invites participants to explore new approaches to reduce
>> the speed, volume and impacts of ‘waste-ready’ global consumerism.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/14/unmaking-waste-transforming-production-and-consumption-in-time-and-place-may-2015-adelaide-australia/#more-2200>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH
>> CONSUMPTION <http://designcalls.wordpress.com/tag/consumption/>, PRODUCTION
>> <http://designcalls.wordpress.com/tag/production/>, SUSTAINABILITY
>> <http://designcalls.wordpress.com/tag/sustainability/>
>> Fashion and Gender (May 2015, University of Minnesota USA)
>> <http://designcalls.wordpress.com/2014/09/13/fashion-and-gender-may-2015-university-of-minnesota-usa/>
>> 
>> SEPTEMBER 13, 2014
>> 
>> Dates: 1-2 May 2015
>> Location: University of Minnesota, USA
>> Website: http://design.umn.edu/fashionand/gender/
>> Deadline for proposals: 9 January 2015.
>> 
>> The University of Minnesota [USA] is organizing a symposium entitled
>> Fashion and Gender to be held May 1-2, 2015. This symposium is the fourth
>> in a symposium series entitled “Fashion And … ” connecting fashion with
>> other themes of importance in today’s world. Members attending the symposia
>> of Fashion And… examine the interconnections and intersections of fashion
>> in today’s world.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/13/fashion-and-gender-may-2015-university-of-minnesota-usa/#more-2198>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH FASHION
>> <http://designcalls.wordpress.com/tag/fashion/>, GENDER
>> <http://designcalls.wordpress.com/tag/gender/>
>> IASDR INTERPLAY 2015 (Nov 2015, Brisbane Australia)
>> <http://designcalls.wordpress.com/2014/09/13/iasdr-interplay-2015-nov-2015-brisbane-australia/>
>> 
>> SEPTEMBER 13, 2014
>> 
>> Dates: 2-5 November 2015
>> Location: Brisbane, Australia
>> Website: http://www.iasdr2015.com
>> Deadline for submissions: 6 April 2015
>> 
>> IASDR 2015 invites papers, posters, workshops, exhibitions and doctoral
>> colloquium submissions from any area of design research that explores the
>> interplay between design research, science, technology and the arts. All
>> submissions will be double blind reviewed. Submissions must be in English
>> and submitted through the online submission system. All submissions should
>> comply with IASDR 2015 guidelines. IASDR 2015 will explore the interaction
>> of design research with science, technology and the arts. This continual
>> INTERPLAY provides opportunities to explore interaction between
>> cross-disciplinary knowledge and various design research approaches. IASDR
>> 2015 aims to establish trans-disciplinary research platforms across diverse
>> domains to foster new research and education opportunities and stimulate
>> innovation. Call for Papers: We invite papers which offer original research
>> and application across all domains of design: architecture,
>> planning, industrial design, engineering design, software,
>> interaction design, fashion or media design. The papers should
>> demonstrate collaborative research and application with science or
>> technology or the arts. Papers should be 3000 – 5000 words
>> excluding abstracts and references and comply with IASDR 2015 guidelines.
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/13/iasdr-interplay-2015-nov-2015-brisbane-australia/#more-2196>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH ARTS
>> <http://designcalls.wordpress.com/tag/arts/>, IASDR
>> <http://designcalls.wordpress.com/tag/iasdr/>, RESEARCH
>> <http://designcalls.wordpress.com/tag/research/>, SCIENCE
>> <http://designcalls.wordpress.com/tag/science/>, TECHNOLOGY
>> <http://designcalls.wordpress.com/tag/technology/>
>> Progetto Grafico 28 International Graphic Design Magazine (IT) –
>> Topic: Publishing
>> <http://designcalls.wordpress.com/2014/09/12/progetto-grafico-28-international-graphic-design-magazine-it-topic-publishing/>
>> 
>> SEPTEMBER 12, 2014
>> 
>> Deadline for submissions: 15 January 2015
>> Contact: [log in to unmask]
>> 
>> *Progetto grafico 28: Publishing*
>> 
>> *Edited by Maria Rosaria Digregorio, Silvio Lorusso, Silvia Sfligiotti,
>> Stefano Vittori*
>> 
>> By devoting an issue to “Publishing,” which has always been a central theme
>> for people dealing with communication design, Progetto grafico has decided
>> to start by redefining and expanding upon the term, going beyond its
>> primarily editorial connotations to explore its significance as “making
>> public; disclosing; popularizing.” The latter seems to be a core issue for
>> both those who design/produce editorial material (professionally or
>> otherwise) as well as those who use it.
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/12/progetto-grafico-28-international-graphic-design-magazine-it-topic-publishing/#more-2191>
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH COMMUNICATION
>> <http://designcalls.wordpress.com/tag/communication/>, GRAPHIC
>> DESIGN <http://designcalls.wordpress.com/tag/graphic-design/>, PUBLISHING
>> <http://designcalls.wordpress.com/tag/publishing/>
>> Conference on Product Lifetimes And The Environment (PLATE) June 2015,
>> Nottingham (UK)
>> <http://designcalls.wordpress.com/2014/09/10/conference-on-product-lifetimes-and-the-environment-plate-june-2015-nottingham-uk-2/>
>> 
>> SEPTEMBER 10, 2014
>> 
>> [image: PLATE_logo_Final]
>> <http://designcalls.files.wordpress.com/2014/07/plate_logo_final.png>
>> 
>> We’d like to inform you that the *deadline for abstracts for the PLATE
>> conference* has been extended to *Friday 19 September* 2014 at 12 noon.
>> 
>> Please check the website <http://www.ntu.ac.uk/plate_conference/index.html> for
>> further information.
>> 
>> FILED UNDER UNCATEGORIZED
>> <http://designcalls.wordpress.com/category/uncategorized/> TAGGED WITH ASIA
>> <http://designcalls.wordpress.com/tag/asia/>, BUSINESS
>> <http://designcalls.wordpress.com/tag/business/>, CONFERENCE
>> <http://designcalls.wordpress.com/tag/conference-2/>
>> CfP: Cumulus Conference Milan Italy 2015 – The Virtuous Circle
>> <http://designcalls.wordpress.com/2014/09/05/cfp-cumulus-conference-milan-italy-2015-the-virtuous-circle/>
>> 
>> SEPTEMBER 5, 2014
>> 
>> The Virtuous Circle of Design Culture and Experimentation
>> 
>> Cumulus Conference during EXPO Milan 2015
>> 
>> June 3 -6, 2015
>> 
>> Hosted by Politecnico di Milano, Milan, Italy
>> 
>> Deadline for submission: November 10, 2014
>> 
>> Read more of this post
>> <http://designcalls.wordpress.com/2014/09/05/cfp-cumulus-conference-milan-italy-2015-the-virtuous-circle/#more-2177>
>> 
>> FILED UNDER CONFERENCE
>> <http://designcalls.wordpress.com/category/conference/> TAGGED WITH CULTURE
>> <http://designcalls.wordpress.com/tag/culture/>, CUMULUS
>> <http://designcalls.wordpress.com/tag/cumulus/>, EXPERIMENTATION
>> <http://designcalls.wordpress.com/tag/experimentation/>, METHODS
>> <http://designcalls.wordpress.com/tag/methods/>
>> Special Issue of Materials & Design: Emerging Material Experiences
>> (Nov 2014)
>> <http://designcalls.wordpress.com/2014/09/01/special-issue-of-materials-design-emerging-material-experiences-nov-2014/>
>> 
>> SEPTEMBER 1, 2014
>> 
>> Website: http://www.journals.elsevier.com/materials-and-design/
>> Deadline for submissions: 1 November 2014
>> 
>> Please see attached PDF file for details: specialissue-material-experiences
>> <https://designcalls.files.wordpress.com/2014/09/specialissue-material-experiences.pdf>
>> 
>> FILED UNDER JOURNAL <http://designcalls.wordpress.com/category/journal/> TAGGED
>> WITH MATERIALS <http://designcalls.wordpress.com/tag/materials/>
>> 
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 20:57:51 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Re: academic writing article
>> 
>> Dear Gunnar,
>> 
>> Thanks for your note and thanks for the article. I agree with Steven Pinker. You will find this same advice in the slides for the Research Writing Workshop (Friedman 2014: pp. 57-58, 101-104, 107).
>> 
>> You can get the workshop slides as a free PDF download from the "Research and Writing Skills” section of my Academia.edu page at URL:
>> 
>> https://swinburne.academia.edu/KenFriedman
>> 
>> People are free to use the slides in their own workshops and teaching.
>> 
>> Pinker is an excellent writer. He has written a book about writing that is earning serious praise as a model for academic writing: > The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century. < I have not yet read it, but it seems so interesting that I have ordered a copy. It is available on Amazon:
>> 
>> http://www.amazon.co.uk/Sense-Style-Thinking-Persons-Writing/dp/1846145503
>> 
>> There has been great deal of research on academic writing. There are many explanations for bad writing by scholars and scientists — I won’t get into it here, but whatever the causes, there are many examples of bad writing, especially in journals. University presses are struggling to survive, and they are paying more attention to interesting, readable prose than ever before. In contrast, journals have pages to fill. This is especially the case for the lesser journals — many of these journals seem to exist as a forum for writers who need to publish, as contrasted with journals whose purpose it is to publish serious and intelligent writing. This explains the massive number of published articles that attract no readers, no use, and no citations. 
>> 
>> Thanks for the fine Pinker article. I enjoyed it immensely.
>> 
>> Yours, 
>> 
>> Ken
>> 
>> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015 
>> 
>> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology 
>> 
>> --
>> 
>> References
>> 
>> Friedman, Ken. 2014. Research Writing Workshop. A Research Skills Working Paper. Melbourne, Australia: Centre for Design Innovation, Swinburne University of Technology.
>> 
>> Pinker, Steven. 2014. The Sense of Style: The Thinking Person's Guide to Writing in the 21st Century. London: Allen Lane.
>> 
>> --
>> 
>> Gunnar Swanson wrote:
>> 
>> —snip—
>> 
>> Steven Pinker has an article on academic prose in the Chronicle of Higher Education that's worth reading:
>> 
>> http://chronicle.com/article/Why-Academics-Writing-Stinks/148989/
>> 
>> —snip—
>> 
>> 
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 15:07:00 -0400
>> From:    Charles Burnette <[log in to unmask]>
>> Subject: Re: Agents and agency
>> 
>> On Sep 27, 2014, at 6:12 PM, Ken Friedman <[log in to unmask]> wrote:
>> 
>> While the artifact or substance has effects in the world, these effects do not involve agency.
>> 
>> This is as contradictory as it sounds. If people understand that a "bleaching agent" has the capacity to bleach regardless of human agency, an “agent” in that sense, can act under the conditions that enable it to act without the need for human agency. 
>> 
>> By noting the second definition of “agent” without referring to the first in the OED definition of agent (not agency) I was trying to show that there was an accepted alternative to the view you insist on. I was focusing on the property of  an “agent" not “agency”.
>> 
>> You wrote: "The full second definition is “b. A person or thing that operates in a particular direction, or produces a specified effect; the cause of some process or change. Freq. with for, in, of. Sometimes difficult to distinguish from the means or agency by which an effect is produced: cf. sense A. 3.”
>> 
>> To speak of a “bleaching agent” does not mean that the bleach specifies what properties it has, nor does bleach specify that which it will bleach. In this sense, a principal or actor uses a bleaching agent for purpose that the principal or actor specifies. “Bleach” has properties that affect the world around it without regard to specifications. A “bleaching agent” uses those properties on the instructions of a principal or actor. As the OED notes, this is sometimes “difficult to distinguish from the means or agency by which an effect is produced.”
>> 
>> You are contradicting yourself in the bolded statement. OED notes your difficulty.
>> 
>> Or so I believe,
>> Chuck
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 16:49:55 -0300
>> From:    Marcio Dupont <[log in to unmask]>
>> Subject: UNIVERSAL DESIGN WORKSHOP - CURITIBA BRAZIL
>> 
>> Dear all:
>> 
>> I never know if I can post this kind of design initiative here, but here we
>> go again, my apologies, but is for the greater good!
>> 
>> To all brazilians designers, or designers in Curitiba, Brasil, I´m sharing
>> my Design Workshop about Market and Consumption  and the second one about
>> Universal Design.
>> 
>> Please, share the event, thanks!
>> 
>> Best!
>> 
>> *Marcio C. de C. Dupont  - Industrial Designer*
>> Innovation Analyst
>> Sustainability Analyst
>> Brasil / México / United States /
>> 
>> Follow me: Linkedi <http://www.linkedin.com/in/marciodupont>
>> n
>> 
>> 
>> -----------------------------------------------------------------
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>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 22:48:31 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Re: Agents and agency
>> 
>> Dear Chuck,
>> 
>> I fail to see contradictions in my post. It seems to me that I explained my position clearly, consistently, and without contradictions. I am reposting my post of September 28 again. To make my meaning slightly more clear, I have added a few words in brackets.
>> 
>> Following this post, I repost the definitions of the words “agency” and “agent” from the Oxford English Dictionary.
>> 
>> If you will explain the contradictions in this post, I will do my best to respond.
>> 
>> Yours,
>> 
>> Ken 
>> 
>> --
>> 
>> Begin reposted message:
>> 
>> From: Ken Friedman <[log in to unmask]>
>> Subject: Re: Agents and agency
>> Date: 2014 Sep28 00:12:29 GMT+2
>> To: PhD-Design <[log in to unmask]>
>> 
>> Dear Chuck,
>> 
>> According to your post, the Oxford English Dictionary supports Terry.
>> 
>> To make this claim, you omit a key word from the OED definition. While you give your reason for removing the key word from a cited source, it changes the meaning of the definition.
>> 
>> The definition you provide for agency tends to support Klaus’s point, and mine, rather than Terry’s views. (Following this post, I am posting the definitions of the words “agency” and “agent” from the OED. Readers can decide for themselves which argument is most reasonable. If anyone wishes to study the usage exemplars, check the OED.)
>> 
>> The issue of agency involves motive power. That refers to the person or entity that “specifies” the specified effect in the second definition. Your post neglected the etymology of the word. And your [post] moved past the first definition: “a. A person who or thing which acts upon someone or something; one who or that which exerts power; the doer of an action. Sometimes contrasted with the patient (instrument, etc.) undergoing the action. Cf. actor n. 3a. Earliest in Alchemy: a force capable of acting upon matter, an active principle. Now chiefly in philosophical and sociological contexts.”
>> 
>> The power of agency is the power of an actor or principal.
>> 
>> The full second definition is “b. A person or thing that operates in a particular direction, or produces a specified effect; the cause of some process or change. Freq. with for, in, of. Sometimes difficult to distinguish from the means or agency by which an effect is produced: cf. sense A. 3.”
>> 
>> To speak of a “bleaching agent” does not mean that the bleach specifies what properties it has, nor does bleach specify that which it will bleach. In this sense, a principal or actor uses a bleaching agent for purpose that the principal or actor specifies. “Bleach” has properties that affect the world around it without regard to specifications. A “bleaching agent” uses those properties on the instructions of a principal or actor. As the OED notes, this is sometimes “difficult to distinguish from the means or agency by which an effect is produced.”
>> 
>> This is similar to my earlier comments stating that tools represent the agency of human creators or users.
>> 
>> It is true that Terry did not present his arguments particularly well, but the arguments are based on unclear concepts. The same is true of your reply. To make your point, you changed and distorted the definition you selected for the word agent.
>> 
>> An agent acts on behalf of a principal. The quality of agency is that quality that the principal delegates to the agent. To make your point, you removed the key issue that distinguishes the motive agency of the principal from the delegated agency of the agent.
>> 
>> I should state that words take on different uses in different context. Because of this, the term “agent” may sometimes be used instead of the term “principal” or “actor.”
>> 
>> There is an ambiguity to the term agent – but Klaus and I were not writing about “agents” – rather we were explaining why tools and artifacts do not possess “agency.”
>> 
>> Whether a principal or an agent has good effects or bad is a separate issue.
>> 
>> A principal may delegate authority to an agent for good ends. On occasion, the agent may not behave responsibly with the delegated authority. This specific issue occurs in philosophy and in social science as the “agency problem,” or the “principal-agent problem.” This does not change the fact that the principal possesses agency, and delegates this agency to the agent.
>> 
>> There are also examples of a principal delegating authority to an agent for evil ends. When the agent obeys the principal by doing evil, other problems arise. The core defense argument of the Nazi leaders convicted at Nuremberg was that they were obeying orders.
>> 
>> In both cases, agents are morally and ethically culpable for the bad they do.
>> 
>> In the case of a tool or object, this would not be the case. No matter the purpose for which one designs a car, a bottle of bleach, or a gun, we do not hold the agent responsible for the design or decisions of the principal. An artifact or tool may be an agent, but an artifact or tool does not possess agency.
>> 
>> While a principal may delegate agency to an agent, the agency or authority to act rests with the principal. The principal retains agency and authority. If the principal revokes the delegation of authority, the agent is no longer an agent.
>> 
>> The ways in which this may take place and the intricacies of delegation and authority are the stuff of law school debates and court cases. The basic philosophical principles remain the same.
>> 
>> Human beings – principals – possess agency. Tools do not. Human beings are responsible for their actions. Tools are not responsible for the uses to which people may put them.
>> 
>> Neither do we hold tools responsible for the intended or unintended consequences of their use. Poor specifications and unanticipated effects do not change the core philosophical issue.
>> 
>> Neither do natural calamities. There are specific clauses in many contracts that release contracting parties from their responsibilities when natural causes render performance impossible.
>> 
>> As I see it, you are confusing some of the issues that have made the conversation problematic.
>> 
>> It may be helpful to separate principal status from agency to understand cause and effect. This does not mean that it is possible to separate agency from the power to determine action.
>> 
>> Principals and actors possess agency. They delegate agency to agents. Some agents may be human. Others may not.
>> 
>> Because human agents possess agency of their own, they may deploy their own agency to act at variance to instructions of their principals.
>> 
>> Artifactual agents do not possess agency of their own. The action of artifacts may have consequences other than those intended by human principals. A car may roll downhill by itself, damaging life and property. A badly stored bottle of bleach may harm children or animals. While the artifact or substance has effects in the world, these effects do not involve agency.
>> 
>> Yours,
>> 
>> Ken
>> 
>> Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | 设计 She Ji. The Journal of Design, Economics, and Innovation | Published by Elsevier in Cooperation with Tongji University Press | Launching in 2015
>> 
>> Chair Professor of Design Innovation Studies | College of Design and Innovation | Tongji University | Shanghai, China ||| University Distinguished Professor | Centre for Design Innovation | Swinburne University of Technology ||| Adjunct Professor | School of Creative Arts | James Cook University | Townsville, Australia ||| Visiting Professor | UTS Business School | University of Technology Sydney University | Sydney, Australia
>> 
>> Email [log in to unmask] | Academia http://swinburne.academia.edu/KenFriedman | D&I http://tjdi.tongji.edu.cn
>> 
>> Telephone: International +46 480 51514 — In Sweden (0) 480 51514 — iPhone: International +46 727 003 218 — In Sweden (0) 727 003 218
>> 
>> —
>> 
>> Chuck Burnette wrote:
>> 
>> —snip—
>> 
>> Although Terry could have presented his arguments better, I think he got a bum wrap from Klaus and Ken, especially Ken who likes to chastise those who don’t follow his model of scholarship and discussion.
>> 
>> Both Ks seem to speak of human agency as the only agency worth thinking about overlooking that the words “human” and “agency” distinguish two aspects to what they are saying.
>> 
>> Happily The Oxford on line dictionary sets us straight with its second definition of agent:
>> 
>> “Agent: A person or thing that takes an active role or produces a specified effect,” giving “bleaching agent” as an example.
>> 
>> I don’t think the word “specified” is needed in this definition although Terry has argued that it is what designers do. In my view the effect doesn’t always need to be specified (an indication of intentional human agency) but may just happen due to the properties and circumstances of the thing, however created. Naturally toxic things come to mind. We designers like to believe that everything we do is a service to humankind, an agency we aspire to provide. But our efforts sometimes have unanticipated effects. It is also sometimes helpful to separate “human” from “agency” in order to understand cause and effect in the things we manipulate and transform.
>> 
>> —snip—
>> 
>> 
>> 
>> 
>> 
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>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 22:48:43 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agency
>> 
>> The complete definition of the word “agency” from the Oxford English Dictionary. Sent in full to the PhD-design list.
>> 
>> --
>> 
>> Begin reposted message:
>> 
>> From: Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agency
>> Date: 2014 Sep28 00:12:47 GMT+2
>> To: PhD-Design <[log in to unmask]>
>> 
>> Agency
>> 
>> —
>> 
>> From the Oxford English Dictionary, online edition:
>> 
>> --
>> 
>> “agency, n.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3851?redirectedFrom=agency& (accessed September 27, 2014).
>> 
>> --
>> 
>> agency, n.
>> 
>> Pronunciation: Brit.  /ˈeɪdʒ(ə)nsi/ , U.S. /ˈeɪdʒənsi/
>> Forms: 16 agencie, 16– agency.
>> Etymology: < post-classical Latin agentia action, activity (from 11th or 12th cent. in British sources; already in 8th cent. denoting a farm) < classical Latin agent- , agens , present participle of agere to do, act (see act v.) + -ia -y suffix3.
>> 
>> The semantic development of the English word has been considerably shaped by association with agent n.1 Compare also French agence trade office (1653, earliest denoting such an office in a foreign country), position or function of an agent (1697), Italian agenzia (1678 or earlier, originally in sense ‘position or function of an agent’).
>> 
>> I. A person or organization acting on behalf of another, or providing a particular service.
>> 1.
>> 
>> a. The process of acting as an agent (agent n.1 2); the position, role, or function of an agent, deputy, or representative; an instance of this. Now somewhat rare.
>> In earliest use: ambassadorship, embassy.
>> 
>> b. A business, body, or organization providing a particular service, or negotiating transactions on behalf of a person or group. Cf. agent n.1 2b.
>> Often with modifying word specifying the service provided, as advertising, detective, employment, escort, letting, tourist agency, etc.: see the first element. Also (with capital initials) in the names of such businesses or organizations.
>> 
>> 2. U.S. The position or office of an Indian agent; (concr.) the headquarters of such an agent; = Indian agency n. at Indian adj.and n. Special uses 2a. Cf. agent n.1 2c. Now hist.
>> 
>> 3. U.S. colloq. With the. Usu. with capital initial. The Central Intelligence Agency, the CIA. Cf. company n. 5e, bureau n. 2d.
>> 
>> II. Action, capacity to act.
>> 
>> 4. Ability or capacity to act or exert power; active working or operation; action, activity.
>> In quot. 1606 as a count noun: an action, a force.
>> 
>> 5.
>> 
>> a. Action or intervention producing a particular effect; means, instrumentality, mediation.
>> 
>> b. Such action embodied or personified; a being or thing that acts to produce a particular effect or result. Cf. agent n.1 3.
>> 
>> 6. Grammar. The fact or quality of being a grammatical agent (agent n.1 1c).
>> 
>> --
>> 
>> “agency, n.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3851?redirectedFrom=agency& (accessed September 27, 2014).
>> 
>> -----------------------------------------------------------------
>> PhD-Design mailing list  <[log in to unmask]>
>> Discussion of PhD studies and related research in Design
>> Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design
>> -----------------------------------------------------------------
>> 
>> ------------------------------
>> 
>> Date:    Wed, 1 Oct 2014 22:48:57 +0200
>> From:    Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agent
>> 
>> The complete definition of the word “agent” from the Oxford English Dictionary. Sent in full to the PhD-design list.
>> 
>> --
>> 
>> Begin forwarded message:
>> 
>> From: Ken Friedman <[log in to unmask]>
>> Subject: Oxford English Dictionary: Agent
>> Date: 2014 Sep28 00:12:56 GMT+2
>> To: PhD-Design <[log in to unmask]>
>> 
>> Agent
>> 
>> —
>> 
>> From the Oxford English Dictionary, online edition:
>> 
>> --
>> 
>> “agent, n.1 and adj.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3859?rskey=yJEJHI&result=1&isAdvanced=false (accessed September 27, 2014).
>> 
>> --
>> 
>> agent, n.1 and adj.
>> 
>> Pronunciation: Brit.  /ˈeɪdʒ(ə)nt/ , U.S. /ˈeɪdʒ(ə)nt/
>> Forms: lME– agent, 15–16 agente, 16 agentt.
>> Etymology: < (i) Middle French agent (French agent ) (noun) person acting on behalf of another, representative, emissary (1332 in an isolated attestation, subsequently (apparently after Italian) from 1578), person who or thing which acts upon someone or something (c1370, originally and frequently in philosophical contexts), substance that brings about a chemical effect or causes a chemical reaction (1612 (in the passage translated in quot. 1624 at sense A. 4) or earlier; rare before early 19th cent.), person who intrigues (1640), (adjective) that acts, that exerts power (1337; c1450 in grammar; second half of the 15th cent. in cause agent (compare quot. 1535 at sense B.)),
>> 
>> and its etymon (ii) classical Latin agent-, agēns acting, active, (masculine noun) pleader, advocate, in post-classical Latin also representative, official (4th cent.), administrator of an estate, employee of a church (6th cent.), (neuter noun) (in philosophy) instrumentality, cause (from 8th cent. in British sources; also in continental sources), uses as adjective and noun of present participle of agere to act, do (see act v.).
>> 
>> With sense A. 1a and corresponding adjectival use compare earlier patient n. and patient adj.
>> 
>> Parallels in other European languages.
>> 
>> Compare Catalan agent, adjective and noun (14th cent.), Spanish agente (late 14th cent. as noun, early 15th cent. as adjective), Portuguese agente, adjective and noun (15th cent.), Italian agente (a1294 as adjective, a1328 as noun). Compare also Dutch agent (noun) official, representative (1570), German Agent (masculine noun) representative, emissary (1546), spy (18th cent., now the usual sense), Agens (neuter noun) person who or thing which acts upon someone or something (1598).
>> 
>> A. n.1
>> 1.
>> a. A person who or thing which acts upon someone or something; one who or that which exerts power; the doer of an action. Sometimes contrasted with the patient (instrument, etc.) undergoing the action. Cf. actor n. 3a.
>> Earliest in Alchemy: a force capable of acting upon matter, an active principle. Now chiefly in philosophical and sociological contexts.
>> 
>> b. A person or thing that operates in a particular direction, or produces a specified effect; the cause of some process or change. Freq. with for, in, of.
>> Sometimes difficult to distinguish from the means or agency by which an effect is produced: cf. sense A. 3.
>> 
>> 
>> c. Grammar. The doer of an action, typically expressed as the subject of an active verb or in a by-phrase with a passive verb.
>> Cf. agent noun n. at Compounds 2.
>> 
>> d. Parapsychology. In telepathy: the person who originates an impression (opposed to the percipient who receives it).
>> 
>> 2. A person acting on behalf of another.
>> 
>> a. A person who acts as a substitute for another; one who undertakes negotiations or transactions on behalf of a superior, employer, or principal; a deputy, steward, representative; (in early use) an ambassador, emissary. Also fig. Now chiefly in legal contexts.
>> In Sc. Law: a solicitor, advocate (now rare).
>> 
>> army, crown, land, parliamentary agent, etc.: see the first element.
>> 
>> b. In commercial use: a person or company that provides a particular service, typically one that involves arranging transactions between two other parties; (also) a person or company that represents an organization, esp. in a particular region; a business or sales representative. Cf. agency n. 1b.
>> Freq. with modifying word or phrase specifying the product or service.
>> 
>> advertising, employment, estate, insurance, letting, railroad, shipping, tourist, travel agent, etc.: see the first element.
>> 
>> c. N. Amer. An official appointed to represent the government in dealing with an American Indian people; = Indian agent n. at Indian adj. and n. Special uses 2a. Now hist.
>> 
>> d. A person who works secretly to obtain information for a government or other official body; a spy.
>> double, secret, treble agent, etc.: see the first element.
>> 
>> e. A person who negotiates and manages business, financial, publicity, or contractual matters for an actor, performer, writer, etc.
>> In earliest use: a theatrical agent. literary, press, publicity, sports agent, etc.: see the first element.
>> 
>> f. U.S. A stagecoach robber; = road agent n. at road n.Compounds 6. Now hist.
>> 
>> 3. The means by which something is done; the material cause or instrument through which an effect is produced (often implying a rational employer or contriver).
>> Sometimes overlapping with sense A. 1b.
>> 
>> 4. Chem. A substance that brings about a chemical or physical effect or causes a chemical reaction. In later use chiefly with preceding modifying word specifying the nature of the effect or reaction. Cf. reagent n. 2.
>> alkylating, oxidizing, reducing, wetting agent, etc.: see the first element.
>> 
>> 5. Computing. A program that (autonomously) performs a task such as information retrieval or processing on behalf of a client or user. More fully software agent, user agent.
>> 
>> B. adj.
>> 
>> Acting, exerting power (sometimes contrasted with patient adj.2a).
>> † party agent n. Obs. Law the person or party bringing a suit.
>> 
>> --
>> 
>> “agent, n.1 and adj.”. OED Online. September 2014. Oxford University Press. http://www.oed.com/view/Entry/3859?rskey=yJEJHI&result=1&isAdvanced=false (accessed September 27, 2014).
>> 
>> --
>> 
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>> ------------------------------
>> 
>> End of PHD-DESIGN Digest - 30 Sep 2014 to 1 Oct 2014 (#2014-263)
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>> 
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