As design practice shifts from designing material goods to shaping and facilitating social situations, there is a compelling need to develop a richer understanding of specific social relations as facilitated by design. This article explores bodied unisons—enkinaesthetic entrainments of self + other. We present these unison acts as identifiable patterns of behavior that are observable when people coordinate, patterns that foster a move from individual to superunit. Extending the metaphor of musical unison, this article provides perspective on the varied qualities of consensus, offering insight for those designing to coordinate behavior. The disciplines of service design, interaction design, and experience design all aim to coordinate behavior toward specific ends. In each discipline, there are two or more entities (the client and the service provider, for instance) searching for congruence, and the success or failure of the interaction can be assessed through this spectrum of unisons. This study explores the definition of unison as an enkinaesthetic embodied act, provides a framework for analysis, and concludes with implications for the design profession and some ethical considerations regarding designed unisons. The analytical framework encourages novel attention to shared experience, opening avenues for intervention in experiential design fields. As a metaphoric construct and as embodied performance, unison offers participants a sense of stability and cooperation with varying degrees of independence and agency.
{"title":"A Gradient of Unisons: The Emergent Superunit in Collective Action","authors":"Stephen Neely;Michael Arnold Mages","doi":"10.1162/desi_a_00754","DOIUrl":"10.1162/desi_a_00754","url":null,"abstract":"As design practice shifts from designing material goods to shaping and facilitating social situations, there is a compelling need to develop a richer understanding of specific social relations as facilitated by design. This article explores bodied unisons—enkinaesthetic entrainments of self + other. We present these unison acts as identifiable patterns of behavior that are observable when people coordinate, patterns that foster a move from individual to superunit. Extending the metaphor of musical unison, this article provides perspective on the varied qualities of consensus, offering insight for those designing to coordinate behavior. The disciplines of service design, interaction design, and experience design all aim to coordinate behavior toward specific ends. In each discipline, there are two or more entities (the client and the service provider, for instance) searching for congruence, and the success or failure of the interaction can be assessed through this spectrum of unisons. This study explores the definition of unison as an enkinaesthetic embodied act, provides a framework for analysis, and concludes with implications for the design profession and some ethical considerations regarding designed unisons. The analytical framework encourages novel attention to shared experience, opening avenues for intervention in experiential design fields. As a metaphoric construct and as embodied performance, unison offers participants a sense of stability and cooperation with varying degrees of independence and agency.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"42-55"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140595519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article follows the International Council of Graphic Design Associations throughout its first 50 years of activities. Initially shaped from Western European perspectives on graphic design, which included the pursuit of universal standards and favoritism towards designers from certain countries, the Council's quest for recognition led its change towards a more inclusive and diverse path. This article concludes by acknowledging the changes the Council went through throughout the years and the nature of its work, along with remarks about the potential contributions of its archive to graphic design history, with valuable documentation on its membership from 1963 to 2003.
{"title":"Icograda: The International Council of Graphic Design Associations 1963-2013","authors":"Dora Souza Dias","doi":"10.1162/desi_a_00753","DOIUrl":"10.1162/desi_a_00753","url":null,"abstract":"This article follows the International Council of Graphic Design Associations throughout its first 50 years of activities. Initially shaped from Western European perspectives on graphic design, which included the pursuit of universal standards and favoritism towards designers from certain countries, the Council's quest for recognition led its change towards a more inclusive and diverse path. This article concludes by acknowledging the changes the Council went through throughout the years and the nature of its work, along with remarks about the potential contributions of its archive to graphic design history, with valuable documentation on its membership from 1963 to 2003.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"28-41"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140595912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Bauhaus of the Seas: A Manifesto for the New European Bauhaus","authors":"Nuno Jardim Nunes","doi":"10.1162/desi_a_00758","DOIUrl":"10.1162/desi_a_00758","url":null,"abstract":"","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"90-97"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140766535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We identify a dilemma currently faced by designers and design researchers concerning how best to use the influential nature of design to change people's behavior in a way that benefits society. This dilemma exists because, even though designers can create products that can exercise control over individual freedom, such products are made necessary because people seem resistant to sacrifice their freedom for the good of society. Various approaches have arisen to respond to this dilemma—ranging from the technocratic to the democratic with “libertarian paternalism” somewhere in between—but we have found that they all share a paternalistic way of treating individual freedom as a “barrier” to be overcome to achieve social goals, such as sustainability, crime reduction, public health, and social justice. Instead of tackling this issue head-on, this interdisciplinary work challenges this dilemma and, drawing from the ethics of Simone de Beauvoir, argues that freedom is not merely a value to be weighed against other values in design practices but is instead the basis of all moral values.
{"title":"Beauvoir versus Behavior Change: Introducing Existential Ethics to the Politics of Design","authors":"Nolen Gertz;Deger Ozkaramanli","doi":"10.1162/desi_a_00755","DOIUrl":"10.1162/desi_a_00755","url":null,"abstract":"We identify a dilemma currently faced by designers and design researchers concerning how best to use the influential nature of design to change people's behavior in a way that benefits society. This dilemma exists because, even though designers can create products that can exercise control over individual freedom, such products are made necessary because people seem resistant to sacrifice their freedom for the good of society. Various approaches have arisen to respond to this dilemma—ranging from the technocratic to the democratic with “libertarian paternalism” somewhere in between—but we have found that they all share a paternalistic way of treating individual freedom as a “barrier” to be overcome to achieve social goals, such as sustainability, crime reduction, public health, and social justice. Instead of tackling this issue head-on, this interdisciplinary work challenges this dilemma and, drawing from the ethics of Simone de Beauvoir, argues that freedom is not merely a value to be weighed against other values in design practices but is instead the basis of all moral values.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"56-67"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140595842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Crossing Over: The Shared DNA of Design and Science","authors":"Leslie Atzmon","doi":"10.1162/desi_a_00757","DOIUrl":"10.1162/desi_a_00757","url":null,"abstract":"","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"81-89"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140769417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Graphic design aims to affect human thought or behavior through visual communication. To do so effectively, designers need a robust understanding of why people behave as they do and the appropriate research skills to explore the wider social and cultural landscape. All the principles involved in understanding and affecting behavior are defined in the social sciences, including analyzing their effectiveness. Acquiring this knowledge could allow graphic designers to better reflect on the ethical and social consequences of perpetuating stereotypes and provide a starting point to address the significant issues created by excluding the lived experience of diverse communities. Graphic design has never adopted an industry-wide set of ethical guidelines. To address this lack, the discipline should aim toward incorporating social science knowledge in methodology to help promote social and cultural awareness in practice. In this article, I propose that social science knowledge, particularly social psychology, could become an integral part of graphic design curriculum at the undergraduate level. I also argue that cognition and educational psychology theories contribute important knowledge and research practices to designers’ long-term problem-solving, potentially transforming the discipline's influence and producing more socially aware communication in the future.
{"title":"Graphic Design Needs to Take Responsibility: Embedding Social Awareness and Ethics Through Social Science Knowledge and Pedagogical Change","authors":"Michael O'Shea","doi":"10.1162/desi_a_00752","DOIUrl":"10.1162/desi_a_00752","url":null,"abstract":"Graphic design aims to affect human thought or behavior through visual communication. To do so effectively, designers need a robust understanding of why people behave as they do and the appropriate research skills to explore the wider social and cultural landscape. All the principles involved in understanding and affecting behavior are defined in the social sciences, including analyzing their effectiveness. Acquiring this knowledge could allow graphic designers to better reflect on the ethical and social consequences of perpetuating stereotypes and provide a starting point to address the significant issues created by excluding the lived experience of diverse communities. Graphic design has never adopted an industry-wide set of ethical guidelines. To address this lack, the discipline should aim toward incorporating social science knowledge in methodology to help promote social and cultural awareness in practice. In this article, I propose that social science knowledge, particularly social psychology, could become an integral part of graphic design curriculum at the undergraduate level. I also argue that cognition and educational psychology theories contribute important knowledge and research practices to designers’ long-term problem-solving, potentially transforming the discipline's influence and producing more socially aware communication in the future.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"15-27"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140595853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Against the theoretical background of anonymous history, this article investigates local activities of modern design in China by means of a case study, in which approaches such as observation, interview, document analysis, and subjective understanding are introduced to meet the target. The goal is to illustrate that the inconspicuous aspect of Chinese modern design, although characterized by anonymity and confronting the highlighted part, is in fact a key component of the historical process of Chinese modern design. The study leads to several conclusions. First, the local activities of modern design are evolving instead of stagnant in China. Second, the criteria used for assessing design have been diversified from different angles, in which economic factors often play a part. Third, the distinct line drawn between designers and users is doubtful, and ordinary people are not the passive recipients of the solutions offered by designers. Fourth, at a grassroots level, local factors infiltrate into the anonymous activities of modern design in many respects, which causes Chinese modern design to be extremely varied in visual form. Briefly, from a local view, the activities of modern design show the characteristics of evolution, diversity, initiative, and originality, although they appear to be obscure and humble and always attract little attention.
{"title":"Obscurity and Humility: A Local View of Chinese Modern Design","authors":"Zhiyong Wang","doi":"10.1162/desi_a_00751","DOIUrl":"10.1162/desi_a_00751","url":null,"abstract":"Against the theoretical background of anonymous history, this article investigates local activities of modern design in China by means of a case study, in which approaches such as observation, interview, document analysis, and subjective understanding are introduced to meet the target. The goal is to illustrate that the inconspicuous aspect of Chinese modern design, although characterized by anonymity and confronting the highlighted part, is in fact a key component of the historical process of Chinese modern design. The study leads to several conclusions. First, the local activities of modern design are evolving instead of stagnant in China. Second, the criteria used for assessing design have been diversified from different angles, in which economic factors often play a part. Third, the distinct line drawn between designers and users is doubtful, and ordinary people are not the passive recipients of the solutions offered by designers. Fourth, at a grassroots level, local factors infiltrate into the anonymous activities of modern design in many respects, which causes Chinese modern design to be extremely varied in visual form. Briefly, from a local view, the activities of modern design show the characteristics of evolution, diversity, initiative, and originality, although they appear to be obscure and humble and always attract little attention.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 2","pages":"3-14"},"PeriodicalIF":0.4,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140784366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I argue to expand the application of the concept “devices of articulation”—a term signifying those artifacts that are purposefully created to articulate public issues: controversial phenomena that are too important not to be considered by designers but are not necessarily solvable by political or scientific means. Whereas problems might be fixed, issues can only be temporarily stabilized. I, therefore, investigate how two design projects—Smogware and the Rain Project—forge new relations, meanings, and consequences among elements that are typically understood to be unrelated, to support public engagement with the issue of environmental pollution.
{"title":"Devices of Articulation: Who Ever Said They Have to Be Smart?","authors":"Laurens Kolks","doi":"10.1162/desi_a_00741","DOIUrl":"10.1162/desi_a_00741","url":null,"abstract":"In this article, I argue to expand the application of the concept “devices of articulation”—a term signifying those artifacts that are purposefully created to articulate public issues: controversial phenomena that are too important not to be considered by designers but are not necessarily solvable by political or scientific means. Whereas problems might be fixed, issues can only be temporarily stabilized. I, therefore, investigate how two design projects—Smogware and the Rain Project—forge new relations, meanings, and consequences among elements that are typically understood to be unrelated, to support public engagement with the issue of environmental pollution.","PeriodicalId":51560,"journal":{"name":"DESIGN ISSUES","volume":"40 1","pages":"15-30"},"PeriodicalIF":0.4,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139375057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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