Design

When thinking about designing social media platforms, we often focus on factors such as usability, functionality, aesthetics, ethics, and so forth. Epistemic considerations have rarely been given the same level of attention in design discussions. This paper aims to rectify this neglect. We begin by arguing that there are epistemic norms that govern environments, including social media environments. Next, we provide a framework for applying these norms to the question of platform design. We then apply this framework to the real-world (...) case of long-form informational content platforms. We argue that many current long-form informational content platforms are epistemically unhealthy. The good news? We provide concrete advice on how to take steps toward improving their health! Specifically, we argue that they should change how they verify and authenticate content creators and how this information is displayed to content consumers. We conclude by connecting this guidance to broader issues about the epistemic health of platforms. (shrink)

Design is an omnipresent, aesthetic-functional phenomenon, one that is culturally loaded and broadly influential. Since ancient times, design has played a crucial role in shaping both our intimate daily experiences and broader societal structures. It influences behavior, preferences, cultural norms and movements, political or personal identities, and economic systems. Today, design is not only a thriving field of practice but also an evolving area of academic inquiry, one that is becoming a self-standing discipline. It is, of course, important to define (...) ‘design’ . But, in developing our understanding of it, we also need to analyze its relationships to associated fields, such as ontology, cognition and perception, ethics, politics, social conduct, fine or popular art, everyday aesthetics, and science and technology. The special issue Design and its Relations takes up this mission. We aim to reveal and study the interactions between design as an aesthetic-functional field and various auxiliary concepts, ideas, phenomena, and disciplines. The essays in the special issue thus address a range of design affiliations. These include both (a) relatively abstract affiliations—such as aesthetics, perception and appreciation, beauty, ethics, science, rationalism, and the idea of abstractness itself—and (b) more direct topics, including design’s relations to photographic systems and even cultural views of parenthood given through the evolution of crib shapes (which is a typical substantiation of design’s impact on humanity’s foundations). (shrink)

This article presents a visualist theory of design that contrasts with the instrumental rationalism that dominates the philosophy of design. My critique of rationalism is based on two omnipresent and paradigmatic phenomena in design: the variety of forms for one single function and the variety of uses of one form. Instrumental rationalism defines design as a coherent line that runs from a rational goal to the proper means and proper use of an object. Therefore, this philosophy values design according to (...) its efficiency. However, the diverse aesthetic forms of design objects and the creative ways that users engage with them. do not follow the instrumental rational plan, but rather aesthetic motivations and design’s visual affordance. I argue that the variety of forms of design objects and emergent uses are often more substantial than rationality in the constitution of design. Claiming that these encounters are innate to our essence and ontology as visual beings, I offer a visualist anti-rationalist theory of design and human nature. Keywords: instrumental rationalism, form, affordance, emergent properties, Visualism. (shrink)

This open access book gathers the latest advances and innovations in the field of architectural education, as presented at the 2023 annual conference of the European Association for Architectural Education (EAAE AC), “School of Architecture(s)”, held in Turin, Italy, on August 30–September 1, 2023.

Thepaperaimstoexplorethepotentialofresearchbydesigninarchi- tecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similar- ities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, (...) and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university pro- grams in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the inten- tion to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared? (shrink)

-/- Die ästhetische Tradition im Gefolge der Moderne hat die Architektur als randständiges Phänomen behandelt. Eine am Paradigma autonomer Kunst oder an einer kontemplativ verstandenen Theorie ästhetischer Erfahrung orientierte Ästhetik wusste mit der immer auch auf Zwecke bezogenen Architektur nicht immer viel anzufangen. Kants Diktum des interesselosen Wohlgefallens legt davon ebenso Zeugnis ab wie Hegels Verortung der Architektur an der Grenze der Kunst. -/- Die Beiträge des Bandes einschlägiger Expert*innen thematisieren die Frage, was es für die Grundbegriffe der Ästhetik heißen (...) würde, sie ausgehend von der Architektur und damit einer immer auch funktionalen Kunst neu zu denken: Bedürfen Begriffe wie Kunst, Sinnlichkeit, Urteil und Erfahrung einer Reformulierung, um den ästhetischen Eigenarten der Architektur angemessen Rechnung zu tragen? (shrink)

Von Gestaltung jenseits ästhetischer Traditionslinien zu sprechen, heißt zwangsläufig das moderne Design in den Blick zu nehmen. Zwischen Alltagskultur und Design-Avantgarden bewegen sich vielfältige interdisziplinäre Strömungen, deren theoretische Modelle in Kontextualisierungen und Analysen der Designwissenschaft zusammenlaufen. Hier zeigt sich bereits eine geisteswissenschaftliche Durchdringung und Akzeptanz des Designs als epidemisches Gegenstück zur freien Kunst, wobei diese Meta-Perspektive letztlich eine Forschung „über Design“ darstellt. Design als konkrete Praxis begriffen artikuliert sich jedoch als Relation von Problem, Entwurf und Prototyp, so dass ein handlungstheoretisches (...) Modell einer Forschung „durch Design“ angesetzt werden kann. Designforschung steht damit im Kontrast zur Designwissenschaft, denn sie agiert dynamisch, empirisch und operativ und bündelt zwar Theoriemodelle und konkrete Werkzeuge, lässt diese aber innerhalb konkreter Gestaltungsweisen zu pragmatischen Erkenntnissen werden. -/- Der Band adressiert konkrete Designfelder, arbeitet Aspekte der konkreten und empirischen Designforschung heraus und nimmt gleichzeitig eine Verortung innerhalb der medientheoretischen Bezugsfelder vor. Denn Forschung „durch Design“ geschieht immer durch Medien, Werke, Instrumente und ästhetische Zeichen und Zustände hindurch. (shrink)

Der vorliegende Aufsatz widmet sich der Charakterisierung von Methoden als Bezugspunkt der Designforschung aus einer rationalitätstheoretischen Perspektive. Im Fokus steht dabei zum einen die Überlegung, wie der Einsatz von kreativen und wissenschaftlichen Methoden den Gestaltungsprozess systematisiert und rationalisiert. Zum anderen geht es darum, wie die spezifischen Qualitäten von Designprozessen etablierte Verständnisse sowohl von Wissenschaft und Forschung als auch von Rationalität als solcher herausfordern. Mit Bezug auf konkrete Beispiele für Forschungsprojekte wird die Möglichkeit erkundet, inwieweit die pragmatisch formende Verhandlung eines methodischen (...) Vorgehens Designforschung mit der Kapazität ausstattet, einen Maßstab für selbstkritische Forschungspraxis zu aktualisieren. Es wird gezeigt, dass dieser Maßstab Implikationen für die philosophische Bestimmung gestalterischer und wissenschaftlicher Rationalität bereithält. Eine zentrale Rolle kommt dabei den externen und internen Grenzgebieten von Vernünftigkeit zu. (shrink)

This paper attempts to contextualize a philosophy of curation that is object-oriented or toward a “return to the object.” In the museum, three interrelated philosophical problems pervade curation practices that prevent access to the object as it is. Here, the subject-object relations or idealism-realism issues are reconsidered as a specific niche of the philosophy of curation. To address these issues, this paper claims that Jean-Paul Martinon and Graham Harman's philosophical return to the Heideggerian fourfold (das Geviert) can introduce creative pathways (...) for the curated object that is riddled with excess and tensions. Later, with some caveats, the paper addresses the issues and suggests a possible avenue for further research. (shrink)

En Diseño moviendo al Mundo se recopilan investigaciones donde el denominador de los artículos es pensar al diseño como disciplina holística que al extender lazos a otros mundos del saber aporta herramientas conceptuales y estrategias proyectuales para desenredar problemas e inspirar gráficos, objetos, servicios y sistemas para la buena vida de las personas.

ntroduction to Design Theory introduces a comprehensive, systematic, and didactic outline of the discourse of design. Designed both as a course book and a source for research, this textbook methodically covers the central concepts of design theory, definitions of design, its historical milestones, and its relations to culture, industry, body, ecology, language, society, gender and ideology. -/- Demonstrated by a shift towards the importance of the sociocultural context in which products are manufactured and embedded, this book showcases design theory as (...) an emerging sub-discipline of design, unique in its practice-based approach and its broad perception of design. It offers an in-depth understanding of the central concepts, such as "form" and "function", "theory" and "practice", through a discussion of key case studies and historical examples, such as the advent of the view of design in antiquity, the introduction of mass production to modernist design or the ideological shifts in design in the mid-twentieth century, as well as analytical tools for further dissection and learning in practice. With a focus on a combination of several theoretical knowledge foundations — aesthetics and philosophy, critical theories, cultural studies, design history and design anthropology — the reader is enabled to approach design as a central pivot around which contemporary culture revolves, reflecting, reaffirming or challenging social and cultural structures. -/- Aimed towards undergraduate and postgraduate students, as well as teachers and scholars, from across the design disciplines, Introduction to Design Theory invites readers to engage with design from an interdisciplinary perspective, departing from the traditional academic compartmentalisation of practice, history and philosophy. -/- . (shrink)

Die Beiträge in diesem Band spiegeln den Stand der Reflexions- und Forschungsprozesse an der Fakultät Gestaltung der TH Würzburg-Schweinfurt, der HBKsaar und der New Design University in St. Pölten. Sie repräsentieren einen Prozess der Aufklärung, dessen Prüfstein Walter Benjamins Frage ist, wie sich ›die Art und Weise der Sinneswahrnehmung‹ geschichtlich gewachsener Kollektive durch neue Medientechnologien verändert.

In We Have Always Been Cyborgs (2021), Stefan L. Sorgner argues that, given the growing economic burden of desirable welfare programs, in order for Western democratic societies to continue to flourish it will be necessary that they establish some form of algocracy (i.e., governance by algorithm). This is argued to be necessary both in order to maintain the sustainability and efficiency of these programs, but also due to the fact that further integration of humans into technical systems provides the only (...) effective means to bridge gaps in functionality and governance. However, Sorgner’s position is entirely insensitive to the design turn in applied ethics, which argues against the neutrality of technology, instead maintaining that technology and society co-construct each other with persistent feedback loops. This, I argue, is a problem for his account inasmuch as technologies, as they become more ubiquitous, likewise become pervasive and inextricable from our sociotechnical infrastructures. As such, less-than-beneficent forces, as current trends illustrate, can appropriate these seemingly banal infrastructures to gear them towards oppressive ends, thereby ultimately threatening the social democracies that Sorgner’s position aims to buttress. (shrink)

As artefacts, the worlds of digital games are designed and developed to fulfil certain expressive, functional, and experiential objectives. During play, players infer these purposes and aspirations from various aspects of their engagement with the gameworld. Influenced by their sociocultural backgrounds, sensitivities, gameplay preferences, and familiarity with game conventions, players construct a subjective interpretation of the intentions with which they believe the digital game in question was created. By analogy with the narratological notion of the implied author, we call the (...) figure to which players ascribe these intentions ‘the implied designer’. In this article, we introduce the notion of the implied designer and present an initial account of how appreciators ascribe meaning to interactive, fictional gameworlds and act within them based on what they perceive to be the designer’s intentions. (shrink)

This Open Peer Commentary on “A Critical Cybernetics” by Klaus Krippendorff outlines that enacting alternative not-yet existing realities goes beyond discourse and can be considered design practice. A Critical Cybernetics for enacting alternative not-yet existing realities, such as Krippendorff proposed, would benefit from associating itself with the expertise in the technicity of society that has been central to cybernetics since its inception.

This overview opens with a discussion of human holistic and analytic kinds of understanding, comparing eastern and western viewpoints, focusing on their impact for usability studies. Then, the understanding of human groups and the ability to reach group agreements are briefly addressed moving on to a comparative detail regarding their impact on commercial relations. Further on, this allows approaching systems’ design while focusing on culture, moving on to a cross-country research review. Finally, based on a folkloric sketch for Chile, a (...) comparison of some defining characteristics to build a chilean user persona is presented. The text closes with a comparative review that seeks to promote the combination of qualitative and quantitative studies. (shrink)

In this article, we investigate how to explain the difference between traditional design, engineering, and technology—which have exploited nature and put increasing pressure on Earth’s carrying capacity since the industrial revolution—and biomimetic design—which claims to explore nature’s sustainable solutions and promises to be regenerative by design. We reflect on the concept of mimesis. Mimesis assumes a continuity between the natural environment as a regenerative model and measure for sustainable design that is imitated and reproduced in biomimetic design, engineering, and technology. (...) We conceptualize mimesis in terms of two interdependent boundary conditions: differentiation and participation. We subsequently develop four characteristics of biomimicry as regenerative design, engineering, and technology: technological mimesis is 1) a participative differentiation of nature; 2) supplemental to natural mimesis in biomimetic design; 3) the participative differentiation of technological mimesis is constitutive of nature; 4) the participative differentiation of technological mimesis is always limited. (shrink)

Preview: /Review: Brian S. Dixon, Dewey and Design: A Pragmatist Perspective for Design Research, 200 pages./ Brian S. Dixon’s book Dewey and Design provides, as the book’s subtitle declaims, a pragmatist perspective for design research. Design research is an academic field that specifically deals with the design process. Its domain-specific knowledge led to the establishment of design as an independent discipline of study in the second half of the last century. According to Dixon’s description, design research consists of three major (...) areas of investigation: the design process, the artifacts that result from this process, and the relation of these artifacts with the end-user. Dixon exposes the fruitlessness of drawing a clear dividing line, and argues that design research would be better off as a continuous, not necessarily linear, process involving “practically” all three. Concurrently, the author emphasizes the practical aspect of this continuity; on the one hand as a stark contrast to the idea of ​​purely theoretical research, on the other, from a pragmatist viewpoint, intending the knowledge of the world as full of the practical consequences of acting within it. Specifically, the pragmatist slant of Dixon’s proposal is that of John Dewey, centered on the ideas of “an experience,” “inquiry,” and “imagination”; notions aiming at providing “a robust epistemological narrative” for design research. The choice of this perspective necessarily leads Dixon to deal with problems such as the ontology of the specifically creative act of designers, distinct from the artistic one, the communicative potential of industrial artifacts, and their ethical import. (shrink)

Philosophical games are games designed to invite players to think philosophically within (and about) their gameworlds. They are interactive fictions allowing players to engage with philosophical themes in ways that often set them apart from non-interactive kinds of speculative fictions (such as philosophical novels or thought experiments). To better understand philosophical games, this entry proposes to distinguish two primary ways in which a philosophical game can approach its themes: dialectically or rhetorically.

Horizons of Difference offers twelve original essays inspired by Luce Irigaray's complex, nuanced critique of Western philosophy, culture, and metaphysics, and her call to rethink our relationship to ourselves and the world through sexuate difference. Contributors engage urgent topics in a range of fields, including trans feminist theory, feminist legal theory, film studies, critical race theory, social-political theory, philosophy of religion, environmental ethics, philosophical aesthetics, and critical pedagogy. In so doing, they aim to push the scope of Irigaray's work beyond (...) its horizon. Horizons of Difference seeks conversations that Irigaray herself has yet to fully consider and explores areas that stretch the limits of the notion of sexuate difference itself. Sexuate difference is a unifying mode of thought, bringing disparate disciplines and groups together. Yet it also resists unification in demanding that we continually rethink the basic coordinates of space, place, and identity. Ultimately, Horizons of Difference insists that the fragmented, wounded subjectivities within the dominant regime of masculine sameness can inform how we negotiate space, find place, and transform identity. (shrink)

Innovation, Wachstum und Optimierung sind normative Grundlagen des Designs, der Technologie, der Wirtschaft, der Gesellschaft und der Kultur. Unter dem Vorzeichen der Digitalisierung zeichnen sich neue ›Optima‹ ab, in denen Menschen zum Bestandteil entgrenzter Netzwerkstrukturen werden. Die in Würzburg entstandenen Aufsätze des vorliegenden Bandes gehen ambivalenten Aspekten dieser Entwicklung mit wissenschaftlichen und gestalterischen Methoden nach. Der Gastbeitrag geht der Frage nach, was dialektisches Denken in Diskurs und Praxis der Gestaltung bedeutet.

This book is dedicated to clarify ambiguous concepts from the world of creativity and innovation. One of the initial triggers for the development of the book was the perceived ambiguity of the binomials Design vs. Design Thinking and Innovation vs. Invention. Frequently, designers and innovation consultants are questioned by their clients about the relationships between these kind of concepts. Has the second emerged through the first, or vice-verse? Is one part of the other? Where are the similarities and which are (...) the differences? This conceptual incomprehension makes itself noticeable between many ambiguous concepts in the world of innovation and creativity. What is the difference between Radical and Disruptive Innovation? Or is Social Innovation the same as Social Intervention? And regarding Creativity, are Creativity and Creative Thinking the same? In this book the reader will find answers to these kinds of questions and doubts. 28 authors from 10 different countries and cultural backgrounds are questioning current definitions and perceptions, by comparing different sources and ideas, or simply by giving their personal opinions. Some of the authors have an academic background, others a practical one, being either entrepreneurs, working with innovation in companies, or being innovation/design consultants. (shrink)

Genetic engineering technologies are a subclass of the biotechnology family, and are concerned with the use of laboratory-based technologies to intervene with a given organism at the genetic level, i.e., the level of its DNA. This class of technologies could feasibly be used to treat diseases and disabilities, create disease-resistant crops, or even be used to enhance humans to make them more resistant to certain environmental conditions. However, both therapeutic and enhancement applications of genetic engineering raise serious ethical concerns. This (...) paper examines various objections to genetic engineering (as applied to humans) which have been raised in the literature, and presents a new way to frame these issues, and to look for solutions. Specifically, this paper frames genetic engineering technologies within the ‘design turn in applied ethics’ lens and thus situates these technologies as covarying with societal forces. The value sensitive design (VSD) approach to technology design is then appropriated as the conceptual framework in which genetic engineering technologies can be considered so that they can be designed for important human values. By doing so, this paper brings further nuance to the scholarship on genetic engineering technologies by discussing the sociotechnicity of genetic engineering systems rather than framing them as value-neutral tools that either support or constrain values based on how they are used. (shrink)

Second-order cybernetics conceives of human beings as agents and participants in the making of worlds, embedded in the design process. This conception of designing as a practice of living with and in a world grants it both urgency and hope. -/- The paper proposes that design practitioners, in the widest sense, can learn from design cybernetics when conceiving new methodologies for the post-Anthropocene era. Further, it proposes that these methodologies’ development can take advantage of comparative studies of design cybernetics and (...) design strategies found in traditional Chinese culture. Significantly, Chinese landscape poetry and landscape painting, and, in relation to this, Chinese classical garden design, emphasise elements that are also present in cybernetics discourse: circularity, a floating observer, and the continuity of observer and environment. The paper proposes that these ideas create the necessary conditions for the development of design approaches that re-connect human beings to their environments and permit future agents to initiate change from within. It concludes with an example of a public art installation that implements these ideas. (shrink)

Presenting an Open Peer Commentary on “In Maturana’s Wake: The Biology of Cognition’s Legacy and its Prospects” by Randall Whitaker, the article suggests that engaging with Maturana's biology of cognition in the context of design is a form of practice rather than application. Maturana's biology of cognition, the article argues, can be conceived of as initiating an educational process that supports agents to act “from within” rather than “from without.”.

Once known as the city of silk, Suzhou 苏州 has become the centre of wedding dress production, selling paradise on earth for one day, including copies of the last royal wedding dress, out of shops at the foot of mythic Tiger Hill. Suzhou is also the host of what is known as the Silicon Valley of the East. It has attracted millions of migrants searching for a better future; millions of tourists visit every year to experience the past, strolling through (...) the gardens and courtyards of its Old Town. The contrasts could hardly be more apparent. Slow time, and fast time, and the time of the in-between, are woven into the city’s complex spatial fabric. This is a conversation by eight authors in eight frames on a city that connects them. (shrink)

The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo′s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design (...) approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. The work of Giancarlo De Carlo and, especially, his design methods in the case of the Nuovo Villaggio Matteotti can help us reveal the myths of participatory design approaches within the framework of their endeavour to replace the representation of designers by a representation of users. The article relates the potentials and limits of De Carlo’s participatory design approach to more contemporary concepts such as “negotiated planning”, “co-production”, and “crossbenching”. The article also intends to explore whether there is consistency between De Carlo’s theory of participation and its application. (shrink)

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading players in their efforts to understand (...) the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

Design for Values (DfV) philosophies are a series of design approaches that aim to incorporate human values into the early phases of technological design to direct innovation into beneficial outcomes. The difficulty and necessity of directing advantageous futures for transformative technologies through the application and adoption of value-based design approaches are apparent. However, questions of whose values to design are of critical importance. DfV philosophies typically aim to enrol the stakeholders who may be affected by the emergence of such a (...) technology. However, regardless of which design approach is adopted, all enrolled stakeholders are human ones who propose human values. Contemporary scholarship on metahumanisms, particularly those on posthumanism, have decentred the human from its traditionally privileged position among other forms of life. Arguments that the humanist position is not (and has never been) tenable are persuasive. As such, scholarship has begun to provide a more encompassing ontology for the investigation of nonhuman values. Given the potentially transformative nature of future technologies as relates to the earth and its many assemblages, it is clear that the value investigations of these design approaches fail to account for all relevant stakeholders (i.e., nonhuman animals). This paper has two primary objectives: (1) to argue for the cogency of a posthuman ethics in the design of technologies; and (2) to describe how existing DfV approaches can begin to envision principled and methodological ways of incorporating non-human values into design. To do this, the paper provides a rudimentary outline of what constitutes DfV approaches. It then takes up a unique design approach called Value Sensitive Design (VSD) as an illustrative example. Out of all the other DfV frameworks, VSD most clearly illustrates a principled approach to the integration of values in design. (shrink)

Value Sensitive Design (VSD) is an established method for integrating values into technical design. It has been applied to different technologies and, more recently, to artificial intelligence (AI). We argue that AI poses a number of challenges specific to VSD that require a somewhat modified VSD approach. Machine learning (ML), in particular, poses two challenges. First, humans may not understand how an AI system learns certain things. This requires paying attention to values such as transparency, explicability, and accountability. Second, ML (...) may lead to AI systems adapting in ways that ‘disembody’ the values embedded in them. To address this, we propose a threefold modified VSD approach: 1) integrating a known set of VSD principles (AI4SG) as design norms from which more specific design requirements can be derived; 2) distinguishing between values that are promoted and respected by the design to ensure outcomes that not only do no harm but also contribute to good; and 3) extending the VSD process to encompass the whole life cycle of an AI technology in order to monitor unintended value consequences and redesign as needed. We illustrate our VSD for AI approach with an example use case of a SARS-CoV-2 contact tracing app. (shrink)

Departing from the fact that László Moholy-Nagy’s Von Material zu Architektur (1929), had been an important source of inspiration for Alvar Aalto, this article examines the affinities between László Moholy-Nagy and Alvar Aalto’s intellectual positions. The article places emphasis on two particular ideas: how Aalto and Moholy-Nagy conceived the connection of biology with standardization and technology and its relationship to light and perception. Special attention is paid to the notions of “flexible standardisation” and rationalisation in Aalto’s thought, as well as (...) to his belief that nature and standardization should be conceived are closely interconnected. In regard to their shared intellectual development, the article sheds light on the first encounters of the two men including: their meeting at the second Congrès International de l’Architecture Moderne (CIAM) in 1929; the June 1931 Finish meeting of Aino Marsio-Aalto, Alvar Aalto, Moholy-Nagy and Ellen Frank; the June 1931 exchanges between Aalto and Moholy-Nagy during the inner circle CIAM meeting in Berlin; and the common stay of the Aaltos and Moholy-Nagy in London in 1933 are discussed. Particular emphasis is placed on Aalto’s “The Reconstruction of Europe is the Key Problem for the Architecture of Our Time”, in which he argued that standardization in architecture should draw upon biological models. (shrink)

In this panel, we explore the future of value sensitive design (VSD). The stakes are high. Many in public and private sectors and in civil society are gradually realizing that taking our values seriously implies that we have to ensure that values effectively inform the design of technology which, in turn, shapes people’s lives. Value sensitive design offers a highly developed set of theory, tools, and methods to systematically do so.

Der Beitrag nimmt aktuelle Annäherungen und Überschneidungen zum Anlass, um das Verhältnis von Kunst und Design neu zu betrachten: In der Gegenüberstellung beider Formen ästhetischer Gemachtheit lässt sich ein besonderes Zusammenspiel von Produktion, Werk und Rezeption herausarbeiten. Dieses öffnet auch den Blick darauf, welche Form ästhetische Selbstvergegenwärtigung als emanzipatorische Praxis annehmen kann. Die Argumentation folgt zwei Überlegungen: Zum einen wird gezeigt, dass das Design seit längerem eine Entwicklung durchläuft, die seine Prägung von Prozessen menschlicher Lebensführung und Subjektivierung deutlich verstärkt. Dies (...) hängt auch damit zusammen, dass das Design gegenüber der Kunst über eigenständige Möglichkeiten verfügt, Produktion und Rezeption miteinander zu verbinden. Zum anderen wird gezeigt, dass gerade die gleichberechtigte Zusammenarbeit von Kunst und Design neue Wege eröffnet, ästhetische Perspektiven auf individuelle und kollektive Problemstellungen zu werfen und neue Praktiken zu entwickeln. Ausgehend von diesen Beobachtungen votiert der Beitrag dafür, ästhetische Theoriebildung im Spannungsfeld von Produktion und Rezeption wie Kunst und Design zu betreiben. (shrink)

The purpose of this paper is to review and critique Wessel Reijers and Bert Gordijn’s paper Moving from value sensitive design to virtuous practice design. In doing so, it draws on recent literature on developing value sensitive design (VSD) to show how the authors’ virtuous practice design (VPD), at minimum, is not mutually exclusive to VSD. This paper argues that virtuous practice is not exclusive to the basic methodological underpinnings of VSD. This can therefore strengthen, rather than exclude the VSD (...) approach. Likewise, this paper presents not only a critique of what was offered as a “potentially fruitful alternative to VSD” but further clarifies and contributes to the VSD scholarship in extending its potential methodological practices and scope. It is concluded that VPD does not appear to offer any original contribution that more recent instantiations of VSD have not already proposed and implemented. (shrink)

A new book by Batya Friedman and David G. Hendry, Value Sensitive Design: Shaping Technology with Moral Imagination, is reviewed. Value Sensitive Design is a project into the ethical and design issues that emerge during the engineering programs of new technologies. This book is intended to build on the over two decades of value sensitive design research, however with a greater emphasis on the developments of the theoretical underpinnings of the approach as well as initial steps that designers can employ (...) to put the method into practice. (shrink)

Safe-by-Design (SBD) frameworks for the development of emerging technologies have become an ever more popular means by which scholars argue that transformative emerging technologies can safely incorporate human values. One such popular SBD methodology is called Value Sensitive Design (VSD). A central tenet of this design methodology is to investigate stakeholder values and design those values into technologies during early stage research and development (R&D). To accomplish this, the VSD framework mandates that designers consult the philosophical and ethical literature to (...) best determine how to weigh moral trade-offs. However, the VSD framework also concedes the universalism of moral values, particularly the values of freedom, autonomy, equality trust and privacy justice. This paper argues that the VSD methodology, particularly applied to nano-bio-info-cogno (NBIC) technologies, has an insufficient grounding for the determination of moral values. As such, an exploration of the value-investigations of VSD are deconstructed to illustrate both its strengths and weaknesses. This paper also provides possible modalities for the strengthening of the VSD methodology, particularly through the application of moral imagination and how moral imagination exceed the boundaries of moral intuitions in the development of novel technologies. (shrink)

The value sensitive design (VSD) approach to designing transformative technologies for human values is taken as the object of study in this chapter. VSD has traditionally been conceptualized as another type of technology or instrumentally as a tool. The various parts of VSD’s principled approach would then aim to discern the various policy requirements that any given technological artifact under consideration would implicate. Yet, little to no consideration has been given to how laws, regulations, policies and social norms engage within (...) VSD practices. Similarly, how the interactive nature of the VSD approach can, in turn, influence those directives. This is exacerbated when we consider machine ethics policy that have global consequences outside their development spheres. What constructs and models will position AI designers to engage in policy concerns? How can the design of AI policy be integrated with technical design? How might VSD be used to develop AI policy? How might law, regulations, social norms, and other kinds of policy regarding AI systems be engaged within value sensitive design? This chapter takes the VSD as its starting point and aims to determine how laws, regulations and policies come to influence how value trade-offs can be managed within VSD practices. It shows that the iterative and interactional nature of VSD both permits and encourages existing policies to be integrated both early on and throughout the design process. The chapter concludes with some potential future research programs. (shrink)

Emerging technologies such as cloud computing, augmented and virtual reality, artificial intelligence and robotics, among others, are transforming the field of manufacturing and industry as a whole in unprecedent ways. This fourth industrial revolution is consequentially changing how operators that have been crucial to industry success go about their practices in industrial environments. This short paper briefly introduces the notion of the Operator 4.0 as well as how this novel way of conceptualizing the human operator necessarily implicates human values in (...) the technologies that constitute it. Similarly, the design methodology known as value sensitive design (VSD) is drawn upon to discuss how these Operator 4.0 technologies can be design for human values and, conversely, how a potential value-sensitive Operator 4.0 can be used to strengthen the VSD methodology in developing novel technologies. (shrink)

The article, speaking from the double perspective of media history and political aesthetics, discusses the impact of behaviourism and early computer technology on the design of learning environments in the United States after the Second World War. By revisiting B. F. Skinner’s approaches to behavioural techniques and cultural engineering, and by showing how these principles were applied first at US design departments, and later to prison education, it argues that cybernetic and behavioural techniques merged in the common field of design (...) and education. Behavioural design of the 1960s and 1970s furthered the cybernetic dream of total control over the world by addressing the learning environment rather than the individual, and operated within a space of possibility that was governed equally by technology and aesthetics. Behavioural design can therefore be understood as a political technology. (shrink)

If there is nothing more to architecture than design –and to its attendant thinking processes–than design thinking, then core dimensions of the architectural enterprise from the perspective of (a) production and (b) use have no special character, over and above their counterparts in general design. Yet that does not appear to be true by the lights of architects or design specialists or the public at large. So what is it, at the core or periphery of the discipline or its objects, (...) that makes architecture not design? The ways in which architecture and design constitute artistic enterprises, drawing on and promoting aesthetic interest, differ such that architecture is not, or at least not only, a branch of or variation on design generally construed. (shrink)

As engineering applications require management of ever larger volumes of data, ontologies offer the potential to capture, manage, and augment data with the capability for automated reasoning and semantic querying. Unfortunately, considerable barriers hinder wider deployment of ontologies in engineering. Key among these is lack of a shared top-level ontology to unify and organise disparate aspects of the field and coordinate co-development of orthogonal ontologies. As a result, many engineering ontologies are limited to their scope, and functionally difficult to extend (...) or interoperate with other engineering ontologies. This paper demonstrates how the use of a top-level ontology, specifically the Basic Formal Ontology (BFO), greatly facilitates interoperability of multiple engineering-related ontologies. We constructed a system of formal linked ontologies by re-engineering legacy ontologies to be conformant with BFO and developing new BFO-conformant ontologies to capture knowledge in the engineering design, enterprise, human factors, manufacturing, and application domain of additive manufacturing. The resulting Integrated Framework for Additively Manufactured Products (IFAMP), including the body knowledge instantiated on its basis, serve as the basis for a proposed Design with Additive Manufacturing Method (DWAM), which we believe can support the design of innovative products with semantically enhanced ideation tools and enhanced access to application domain knowledge. The method and its facilitation through the ontological framework are demonstrated using a case study in medicine. (shrink)

This paper argues that the Value Sensitive Design (VSD) methodology provides a principled approach to embedding common values in to AI systems both early and throughout the design process. To do so, it draws on an important case study: the evidence and final report of the UK Select Committee on Artificial Intelligence. This empirical investigation shows that the different and often disparate stakeholder groups that are implicated in AI design and use share some common values that can be used to (...) further strengthen design coordination efforts. VSD is shown to be both able to distill these common values as well as provide a framework for stakeholder coordination. (shrink)

Advanced nanotechnology promises to be one of the fundamental transformational emerging technologies alongside others such as artificial intelligence, biotechnology, and other informational and cognitive technologies. Although scholarship on nanotechnology, particularly advanced nanotechnology such as molecular manufacturing has nearly ceased in the last decade, normal nanotechnology that is building the foundations for more advanced versions has permeated many industries and commercial products and has become a billion dollar industry. This paper acknowledges the socialtechnicity of advanced nanotechnology and proposes how its convergence (...) with other enabling technologies like AI can be anticipated and designed with human values in mind. Preliminary guidelines inspired by the Value Sensitive Design approach to technology design are proposed for molecular manufacturing in the age of artificial intelligence. (shrink)

Although continued investments in nanotechnology are made, atomically precise manufacturing (APM) to date is still regarded as speculative technology. APM, also known as molecular manufacturing, is a token example of a converging technology, has great potential to impact and be affected by other emerging technologies, such as artificial intelligence, biotechnology, and ICT. The development of APM thus can have drastic global impacts depending on how it is designed and used. This paper argues that the ethical issues that arise from APM (...) - as both a standalone technology or as a converging one - affects the roles of stakeholders in such a way as to warrant an alternate means furthering responsible innovation in APM research. This paper introduces a value-based design methodology called Value Sensitive Design (VSD) that may serve as a suitable framework to adequately cater to the values of stakeholders. Ultimately, it is concluded that VSD is a strong candidate framework for addressing the moral concerns of stakeholders during the preliminary stages of technological development. (shrink)

There are two primary camps in which nanotechnology today can be categorized normal nanotechnology and speculative nanotechnology. The birth of nanotechnology proper was conceived through discourses of speculative nanotechnology. However, current nanotech-nology research has detracted from its speculative promises in favour of more attainable material products. Nonetheless, normal nanotechnology has leveraged the popular support and consequential funding it needs to conduct research and development (R&D) as a result of popular conceptions of speculative nanotechnology and its promises. Similarly, the scholarly literature (...) has shifted its focus away from speculative nanofutures towards normal nanotech-nology R&D. This paper shows that there is an incongruence between the representation of nanotechnology in the media, scholarly journals and industry. (shrink)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...) provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)

On the historical origins of technological fixes and their wider social and political implications.