Nabble - PhD Design

Re: concatenation - trains and shunting

2009-11-24T11:50:17Z

Hi everybody!

I agree with Terry: design programs should take account of this kind of themes.
In my postgraduate course in Mexico, I try to give my students the basics about
interactivity, feedback, complex systems theory, non-linear systems and so on,
and how they are related to design.

Best regards,

Gustavo

MDI Gustavo Victor Casillas Lavin
Centro de Investigaciones de Diseño Industrial
UNAM

gvcl@...
interphasedesign.wordpress.com
unam.academia.edu/gustavovictorcasillaslavin

-------------------------------------------------
www.correo.unam.mx
UNAMonos Comunicándonos

PhD course in Design Anthropology

2009-11-24T08:24:21Z

Dear list members,

(I apologise if you have already received a copy of this)

Please find details below for a PhD course in Design Anthropology which will run next spring at the Dept. of Anthropology, University of Aberdeen 22nd - 26th March 2010 and at the newly founded Participatory Innovation
Research Centre, Mads Clausen Institute, University of Southern Denmark 3rd - 7th May 2010.

Places are limited to 25 students and we are hoping for a diversity of disciplinary backgrounds (including design!). We encourage you to apply as soon as possible if you are interested.

Best regards,
Jared Donovan
SPIRE Centre,
University of Southern Denmark
-=====-=====-

Design Anthropology
Organisers Wendy Gunn, Jared Donovan, Tim Ingold and James Leach

Design Anthropology is an emergent field concerned with the design of technologies
that build upon and enhance embodied skills of people, through attention to the
dynamics of performance and the coupling of action and perception (as against the
more traditional focus on mental computational operations). This is a radically new
area of research that cuts across a wide range of fields from industrial design, through
human movement studies and ecological psychology, to sociocultural anthropology.
From an anthropological perspective, it resonates with four areas of interest that are
generating some of the most exciting new work in the discipline: exchange and
personhood in the production and use of technology, the understanding of skilled
practice, the anthropology of the senses and the aesthetics of everyday life.

The aim of the course is to challenge conventional thinking regarding the nature of
design and creativity, in a way that acknowledges the improvisatory skills and
perceptual acuity of people. Combining theoretical investigations and practice based
experiments in a series of research seminars; the course addresses questions regarding
methodological innovation within processes of designing/ using things. Studying the
relation between design practice and use practice, researchers place emphasis on the
creativity of design and emergence of objects in social situations and collaborative
endeavour. Specifically, current anthropological theories concerning institutional
divisions between innovation and improvisation, transactions, exchange and
personhood will be brought to bear on the form objects take in technological or other
contexts giving due attention to the situated nature of processes of production and
consumption, and to social form. Working alongside international researchers from
academia and industry, doctoral students are asked to contribute towards long-term
research goals of expanding understandings of ethnographic practice in academia and
industry, and developing a research agenda for the emergent field of design
anthropology.

The two-part course will take place at the Dept. of Anthropology, University of
Aberdeen 22nd - 26th March 2010 and at the newly founded Participatory Innovation
Research Centre, Mads Clausen Institute, University of Southern Denmark 3rd - 7th
May 2010. A detailed course description, reading list and evaluation criteria will be
available online for registered students from the end of December 2009.

Application procedure: Doctoral candidates from the disciplines of architecture,
philosophy, design and innovation, engineering and anthropology are encouraged to
apply. A detailed statement (500 words maximum) outlining research interests in
design anthropology along with a one page CV is required. Applicants are requested
to register before 18th of December 2009.

Contact: gunn@...

CFP: HCI at the End of Life - Understanding Death, Dying, and the Digital

2009-11-23T09:45:42Z

Apologies for any cross posts.

-------------------------------------------------
~~ HCI at the End of Life ~~
~~ Understanding Death, Dying, and the Digital ~~
-------------------------------------------------
A workshop to be held at CHI 2010 in Atlanta, Georgia on April 10, 2010

Workshop website: http://www.dgp.toronto.edu/~mikem/hcieol/
Submission deadline: January 6, 2010

*Workshop Description*
----------------------
As computing increasingly pervades all aspects of our daily lives, it is
becoming important to consider the implications of technology at the end of the
lifespan. This workshop offers an opportunity to explore the ways in which
computing intersects with issues of mortality, dying, and death. Potential
topics include, but are not limited to: digital memorials; social networking
sites and the deceased; examinations of cultural, social, legal or technological
practice surrounding dying or death; professional and lay-person perspectives;
and the design of technological artifacts which engage these issues in new (and
possibly provocative) ways. This workshop therefore intends to address how death
is managed, marked and reacted to in the digital/technological age.

*Themes*
--------
Conceptualizing the design space surrounding end-of-life practice
requires an interdisciplinary, open-minded, and culturally sensitive
approach. This workshop will bring together researchers and
practitioners to address the following themes:

- Technology & Design: Computationally enhanced artifacts which help
groups of people to share, remember, and relate to the deceased or
dying. Examples include technology heirlooms, online memorials,
electronic gravestones/memorials/shrines, or traditional desktop
software which addresses mortality, death, and dying in unique or novel
ways.

- Social Practices: Obtaining a better understanding of how technology
and other artifacts are appropriated, used, discarded, or incorporated
into social practices surrounding death. Topics in this theme may
include ethnographic analyses of end-of-life issues, sociological models of
practice, culture-specific practices, or other forms of empirical qualitative
research focused on the intersection of mortality, dying, death, and technology
(e.g., interviews, questionnaires, surveys).

- Humanities and Cultural Studies: Insights related to mortality, dying,and
death as understood in fields traditionally underrepresented in HCI (including,
but certainly not limited to: archaeology, religion, anthropology, sociology,
literature, philosophy, or the arts). Understanding how to incorporate these
themes into research or design practice will be a major component of this
workshop.

- Research Methodology and Evaluation: Discussions of how to conduct
thanatosensitive research (that is, research is sensitive to issues of
dying, death, and mortality). Topics of interest include (but are not
limited to): epistemological approaches, empirical methods, conceptual
or theoretical frameworks, analysis procedures, and standards and
metrics for evaluation of systems. Discussions will also include how to conduct
ethical and respectful research, either with respect to a
particular methodology/setting, or more generally across contexts.

*Call for Submissions*
----------------------
Participants are requested to submit a 2-4 page position paper in the
CHI Archival format. Papers will be accepted based on originality and
quality, and will represent a spectrum of viewpoints. Submissions from
underrepresented disciplines in the HCI community will be particularly
welcome (e.g., archaeology, religion, anthropology, literature,
philosophy, or the arts).

At least one author must register for and attend the workshop, in
addition to registering for at least one day of the CHI conference.

Submissions are due by January 6, 2010. For more information, please see the
workshop webpage at http://www.dgp.toronto.edu/~mikem/hcieol/

*Organizers*
------------
Michael Massimi, University of Toronto, Canada
William Odom, Carnegie Mellon University, USA
David Kirk, University of Nottingham, UK
Richard Banks, Microsoft Research Cambridge, UK

University of Minnesota position

2009-11-23T07:32:53Z

The University of Minnesota, USA, is seeking applicants for an Assistant
or Associate Professor in Product Design in the College of Design at the
University of Minnesota-Twin Cities Campus.
The College of Design is a newly founded college that builds upon the
University of Minnesota's strong tradition of excellence in design
education and research. Composed of established design programs:
apparel design, architecture, environmental design, graphic design,
housing studies, interior design, landscape architecture, metropolitan
design, and retail merchandising, with specialized study offered in
sustainability and heritage preservation.

The College offers rich opportunities for interdisciplinary research and
public engagement through its highly regarded research and outreach
centers. Located in one of the major design cities and in one of the
largest research universities in the U.S., this interdisciplinary
product design program builds on the College of Design's existing
relationships with programs such as the Academic Health Center
(Medicine, Nursing, Public Health, the Center for Spirituality and
Healing), the Institute of Technology (Mechanical Engineering,
Electrical and Computer Engineering, Computer Science, Digital
Technology Center, the Medical Devices Center), and the Carlson School
of Management.

The University of Minnesota is among the most comprehensive and
prestigious universities in the United States. As a state land-grant
university and a major research institution, the University of Minnesota
is known for educational excellence, an outstanding record of research
and creative scholarship, and the integration of teaching and research
into meaningful outreach.

Minnesota's national reputation as a center for innovation in health
care and medical technologies provides a rich community resource for
research and outreach. The University is surrounded by leaders in
healthcare industries, such as Medtronic, Boston Scientific, Fairview
University Medical Center, and the Mayo Clinic. Industry and community
partnerships provide the opportunity to directly connect the teaching,
research, and outreach initiatives of the college with the reality of
human health and well-being needs in a meaningful way.

The full position description is available at:
https://employment.umn.edu/applicants/Central?quickFind=83548

--
Karen L. LaBat, Ph.D.
co-chair, Product Design Search Committee
Professor
Director, Human Dimensioning Laboratory
College of Design

CFP

2009-11-21T03:52:04Z

Association of Art Historians Summer Symposium
Henry Moore Institute, Leeds, 24 - 25 June 2010
Call for Papers

Architectural Objects
Discussing Spatial Form Across Art Histories

The 'spatial turn' in the history of art has had a significant impact on the
understanding of artistic practice and the built environment, and the formal
and political complexities of space in a broader sense. This symposium
explores the role of architectural theory and practice within multiple art
histories, working across theoretical and aesthetic categories to redefine
notions of space and form. From Tatlin's Monument to the Third
International, to the spatial environments of LeCorbusier and Robert Morris,
this interrelationship has challenged and reconfigured canonic divisions
between architecture, ornament, sculpture and performance. Within a global
perspective, the 'architectural object' can be traced throughout many
histories of cultural production, demonstrated within the sculpted interiors
of temples and mosques, the conceptual forms of the stupa or reliquary, or
the use of decorative 'architectura' within ornamental schemes.

Exploring the 'architectural object' as a recurring and ever-changing
phenomenon, a two-day symposium will consider a diverse range of papers that
discuss this theme across cultural and temporal divides. Topics might
include but are not restricted to:

• Sculptural practice and architectural ornament
• Anthropological and cross-cultural studies of the architectural object
• Monumental buildings as public sculpture
• Performing architecture; the social production of space
• Interior design and sculpture; the structural/decorative divide
• The architectural maquette as art object; history of the conceptual model
• The church and the miniature; religious contexts

Keynote speakers include former Henry Moore Fellows Dr. Richard Checketts
and Dr. David Hulks. Architectural Objects is hosted in collaboration with
the Henry Moore Institute's Hermann Obrist exhibition, marking the
wide-ranging ‘spatial’ production of the prolific architect, sculptor and
designer.

Deadline for Paper Proposals: 15 February 2010
To submit a proposal for this session please send a paper abstract no longer
than 300 words, along with CV to:

Session Conveners:
Lara Eggleton, University of Leeds: laraeve8@...
Rosalind McKever, Kingston University: rosalind.mckever@...

Re: concatenation - trains and shunting

2009-11-20T17:26:14Z

Hi Guy,

Shunting trains. sound waves, cars on motorways and many other design
issues are all examples of FEEDBACK systems.

Oscillation can happen in ANY feedback system including information systems,
social systems, HCI interactions and other 'non-'physical systems'. It
simply requires feedback at a different phase in time to the original
action.

These design outcome BEHAVIOURS of feedback are mostly easily predictable in
terms of when and how much they occur. The behaviours are well known and
well understood in terms of how to cause and reduce them.

Design software has been available for modeling them in designed outcomes
since at least the early 70s - I wrote some as an undergrad. The theory and
practice of understanding feedback in design goes back a long way - see,
http://www.theorem.net/theorem/lewis1.html

Most designed systems exhibit feedback loop oscillation issues. They often
cause outcomes opposite to the intention of the designer.

So - why isn't an understanding of designing using knowledge about feedback
and control systems taught in Design Education?

Why aren't they standard baseline understanding in Design theory and Design
practice?

As far as I'm aware, understanding feedback and its effect on design
outcomes is only taught in engineering design and ICT design programs.

I'd be interested to hear of Design Education programs in other areas of
Design that teach an understanding of multi-variable/ multi-feedback
non-linear feedback systems in designing for people and technology.

Best wishes,
Terry
____________________

Dr. Terence Love, FDRS, AMIMechE, PMACM

Director Design-focused Research Group, Design Out Crime Research Group
Researcher, Digital Ecosystems and Business Intelligence Institute
Associate, Planning and Transport Research Centre
Curtin University, PO Box U1987, Perth, Western Australia 6845
Mob: 0434 975 848, Fax +61(0)8 9305 7629, t.love@...
Visiting Professor, Member of Scientific Council
UNIDCOM/ IADE, Lisbon, Portugal
Honorary Fellow, Institute of Entrepreneurship and Enterprise Development
Management School, Lancaster University, Lancaster, UK
____________________

Best wishes,
Terry

-----Original Message-----
From: PhD-Design - This list is for discussion of PhD studies and related
research in Design [mailto:PHD-DESIGN@...] On Behalf Of Birkin,
Guy
Sent: Friday, 20 November 2009 11:45 PM
To: PHD-DESIGN@...
Subject: Re: concatenation - trains and shunting

Dear Keith and others,

I wonder if there if a similarity here between the propagation of the
'auditory ripples' and the occurrence of spontaneous traffic jams on
motorways...?

Cars travelling on a motorway are analogous to the train carriages; the
delay in acceleration between carriages is like the delay between a car
in front braking and the time when you apply your car's brakes to avoid
hitting it. The cars are moving forwards but the 'braking wave' is
propagated backwards. It seems to me that if the speed of propagation of
the 'braking wave' exceeds the speed of the cars, then a jam can result.

I'm sure I've seen reports on this somewhere, but it's not my area so I
don't have a reference to hand.

Regards,

Guy

This email is intended solely for the addressee. It may contain private and
confidential information. If you are not the intended addressee, please
take no action based on it nor show a copy to anyone. In this case, please
reply to this email to highlight the error. Opinions and information in
this email that do not relate to the official business of Nottingham Trent
University shall be understood as neither given nor endorsed by the
University.
Nottingham Trent University has taken steps to ensure that this email and
any attachments are virus-free, but we do advise that the recipient should
check that the email and its attachments are actually virus free. This is
in keeping with good computing practice.

Re: concatenation - trains and shunting

2009-11-20T10:57:43Z

indeed, yes, there is such a connection...

The "shockwave traffic jam":

"The mathematical theory behind these so-called "shockwave" jams was developed
more than 15 years ago using models that show jams appear from nowhere on roads
carrying their maximum capacity of free-flowing traffic - typically triggered by
a single driver slowing down.

After that first vehicle brakes, the driver behind must also slow, and a
shockwave jam of bunching cars appears, travelling backwards through the traffic."

Here is a link to an article "Traffic jams without bottlenecksexperimental
evidence for the physical mechanism of the formation of a jam" in the "New
Jornal of Physics":

http://www.iop.org/EJ/abstract/1367-2630/10/3/033001/

and a report with video in New Scientist:

http://www.newscientist.com/article/dn13402

Best regards,

Gustavo

Mensaje citado por: "Filippo A. Salustri" <salustri@...>:

> I'd say there definitely is such a connection. The "damping" and
> "spring"
> constants for cars in traffic are - well, not constant. But constant
> enough
> to make the same effect appear.
> Cheers.
> Fil
>
> 2009/11/20 Birkin, Guy <guy.birkin@...>
>
> > Dear Keith and others,
> >
> > I wonder if there if a similarity here between the propagation of the
> > 'auditory ripples' and the occurrence of spontaneous traffic jams on
> > motorways...?
> >
> > Cars travelling on a motorway are analogous to the train carriages;
> the
> > delay in acceleration between carriages is like the delay between a
> car
> > in front braking and the time when you apply your car's brakes to
> avoid
> > hitting it. The cars are moving forwards but the 'braking wave' is
> > propagated backwards. It seems to me that if the speed of propagation
> of
> > the 'braking wave' exceeds the speed of the cars, then a jam can
> result.
> >
> > I'm sure I've seen reports on this somewhere, but it's not my area so
> I
> > don't have a reference to hand.
> >
> > Regards,
> >
> > Guy
> >
> > This email is intended solely for the addressee. It may contain
> private
> > and confidential information. If you are not the intended addressee,
> please
> > take no action based on it nor show a copy to anyone. In this case,
> please
> > reply to this email to highlight the error. Opinions and information
> in
> > this email that do not relate to the official business of Nottingham
> Trent
> > University shall be understood as neither given nor endorsed by the
> > University.
> > Nottingham Trent University has taken steps to ensure that this email
> and
> > any attachments are virus-free, but we do advise that the recipient
> should
> > check that the email and its attachments are actually virus free.
> This is
> > in keeping with good computing practice.
> >
>
>
>
> --
> Filippo A. Salustri, Ph.D., P.Eng.
> Mechanical and Industrial Engineering
> Ryerson University
> 350 Victoria St, Toronto, ON
> M5B 2K3, Canada
> Tel: 416/979-5000 ext 7749
> Fax: 416/979-5265
> Email: salustri@...
> http://deseng.ryerson.ca/~fil/
>

MDI Gustavo Victor Casillas Lavin
Centro de Investigaciones de Diseño Industrial
UNAM
(5255) 5622 0835
gvcl@...
interphasedesign.wordpress.com

-------------------------------------------------
www.correo.unam.mx
UNAMonos Comunicándonos

ADRI Design Lecture - Adapting Technology, Changing Lives - London 9 December 2009

2009-11-20T09:19:26Z

Design Lecture: Robin Christopherson on Adapting Technology, Changing Lives 
When: 4:45pm, Wednesday 9 December 2009 
Where: Room 137, Middlesex University, Cat Hill, Barnet EN4 8HT, UK  

A Design Lecture for the Art and Design Research Institute at Middlesex University.  

Despite being blind, Robin Christopherson uses a computer very effectively by relying on
speech output to access the full range of mainstream software including email and the
internet. He has a first-hand appreciation of the importance of good web design practice
to accessibility.  

In his talk Robin will discuss and demonstrate several assistive technologies and show
why it is important to consider accessibility when designing interactive products. He will
show examples of using certain websites such as youtube. He will share his personal
point of view on dealing with everyday activities such as watching TV, videos and going to
an exhibition.  

About the speaker 
Robin Christopherson is a founding member of AbilityNet, a national charity helping
disabled adults and children use computers and the internet by adapting and adjusting
their technology.  

Entrance free. All welcome. No need to book.

Re: concatenation - trains and shunting

2009-11-20T08:02:16Z

I'd say there definitely is such a connection. The "damping" and "spring"
constants for cars in traffic are - well, not constant. But constant enough
to make the same effect appear.
Cheers.
Fil

2009/11/20 Birkin, Guy <guy.birkin@...>

> Dear Keith and others,
>
> I wonder if there if a similarity here between the propagation of the
> 'auditory ripples' and the occurrence of spontaneous traffic jams on
> motorways...?
>
> Cars travelling on a motorway are analogous to the train carriages; the
> delay in acceleration between carriages is like the delay between a car
> in front braking and the time when you apply your car's brakes to avoid
> hitting it. The cars are moving forwards but the 'braking wave' is
> propagated backwards. It seems to me that if the speed of propagation of
> the 'braking wave' exceeds the speed of the cars, then a jam can result.
>
> I'm sure I've seen reports on this somewhere, but it's not my area so I
> don't have a reference to hand.
>
> Regards,
>
> Guy
>
> This email is intended solely for the addressee. It may contain private
> and confidential information. If you are not the intended addressee, please
> take no action based on it nor show a copy to anyone. In this case, please
> reply to this email to highlight the error. Opinions and information in
> this email that do not relate to the official business of Nottingham Trent
> University shall be understood as neither given nor endorsed by the
> University.
> Nottingham Trent University has taken steps to ensure that this email and
> any attachments are virus-free, but we do advise that the recipient should
> check that the email and its attachments are actually virus free. This is
> in keeping with good computing practice.
>

--
Filippo A. Salustri, Ph.D., P.Eng.
Mechanical and Industrial Engineering
Ryerson University
350 Victoria St, Toronto, ON
M5B 2K3, Canada
Tel: 416/979-5000 ext 7749
Fax: 416/979-5265
Email: salustri@...
http://deseng.ryerson.ca/~fil/

Re: concatenation - trains and shunting

2009-11-20T07:45:21Z

Dear Keith and others,

I wonder if there if a similarity here between the propagation of the
'auditory ripples' and the occurrence of spontaneous traffic jams on
motorways...?

Cars travelling on a motorway are analogous to the train carriages; the
delay in acceleration between carriages is like the delay between a car
in front braking and the time when you apply your car's brakes to avoid
hitting it. The cars are moving forwards but the 'braking wave' is
propagated backwards. It seems to me that if the speed of propagation of
the 'braking wave' exceeds the speed of the cars, then a jam can result.

I'm sure I've seen reports on this somewhere, but it's not my area so I
don't have a reference to hand.

Regards,

Guy

This email is intended solely for the addressee. It may contain private and confidential information. If you are not the intended addressee, please take no action based on it nor show a copy to anyone. In this case, please reply to this email to highlight the error. Opinions and information in this email that do not relate to the official business of Nottingham Trent University shall be understood as neither given nor endorsed by the University.
Nottingham Trent University has taken steps to ensure that this email and any attachments are virus-free, but we do advise that the recipient should check that the email and its attachments are actually virus free. This is in keeping with good computing practice.

Re: PhD supervision of practice as a research method?

2009-11-19T08:41:10Z

actually the 8.12 heads FROM london to nottingham via loughborough!
is that an another example of terry's favourite - fallacious reasoning? ;-)

* * *

Alison Barnes
AHRC funded research student
School of Graphic Design, LCC
University of the Arts, London

http://geo-graphic.blogspot.com/
________________________________________
From: PhD-Design - This list is for discussion of PhD studies and related research in Design [PHD-DESIGN@...] On Behalf Of Dr Mark Evans [M.A.Evans@...]
Sent: 19 November 2009 14:27
To: PHD-DESIGN@...
Subject: Re: PhD supervision of practice as a research method?

Many thanks to all who contributed to this discussion. Whilst a relatively small
sample, I'd like to try to sum up some of the expressed opinions:

- There's surprise that non-practitioners (in the creative arts/design)
supervise practice-based PhD's.

- I and others are surprised that it's possible to get a PhD that involves
practice supported by a 15000 word thesis (mine was 80000 plus four
products!). The closest thing to this that I'm aware of is the 10000/15000
word supporting discourse for PhD's through published papers which typically
require 6 academic journal papers of significant impact.

- It can be problematic determining what defines a practitioner in the creative
arts/design. I can only speak with any authority for industrial/product design
where I'd expect experience (duration tba) in a consultancy/in-house
environment that has seen designs progress to manufacture. A portfilio of
work is always a good indicator of such capability, but ultimately it's a
judgement call that may require an element of peer review. Where research
students may not be in this position (maybe having bachelors/masters
degrees), I believe it becomes all the more necessary for the supervisor to
have such experience.

- Multiple supervisors from a mix of academic/practitioner backgrounds can
give confidence to research students looking to employ practice-based
research methods.

- Academics with experience of practice and research supervision are in short-
supply.

- In the creative arts/design, practice-based research methods generally refer
to the execution of professional capability (e.g. fine art, industrial design,
graphic design) by the investigator as part of a research method.

- Practice-based research can be a form of action research.

- Practice on its own in the creative arts/design is not academic research.

- The 8.14 train is a popular service for academics heading into central London.

Re: Phd supervision of practice as a research method?

2009-11-19T07:14:29Z

Dear all

Following the discussion and summary, I'd like to add one point that was argued by Dorst in his keynote speech at IASDR in 2007 (and then appeared in 2008 in Design Issues or Design Studies - sorry, I can't check, writing this from a train):

Design practice encompasses more elements of engagement than the embodied manifestation of design solutions, but also the creation of frameworks, dealing with stakeholders, devising strategies etc. He calls these meta-activities.

So, maybe our understanding of practice in PhDs could be informed by this, diversifying our demands on supervisors to be qualified in one of the many design activities, wether meta or [insert opposite of meta here], as long as they have dealt with practice.

To pour oil into the fire re wordcounts - I've heard from colleagues in science (who we in design research often have to justify ourselves to), though, that some of their PhDs involve around 20k words - their practical element being lab work, I assume...

Thanks, and all the best

Regina

Sent using BlackBerry® from Orange

Sent using BlackBerry® from Orange

Re: PhD supervision of practice as a research method?

2009-11-19T06:27:42Z

Many thanks to all who contributed to this discussion. Whilst a relatively small
sample, I'd like to try to sum up some of the expressed opinions:

- There's surprise that non-practitioners (in the creative arts/design)
supervise practice-based PhD's.

- I and others are surprised that it's possible to get a PhD that involves
practice supported by a 15000 word thesis (mine was 80000 plus four
products!). The closest thing to this that I'm aware of is the 10000/15000
word supporting discourse for PhD's through published papers which typically
require 6 academic journal papers of significant impact.

- It can be problematic determining what defines a practitioner in the creative
arts/design. I can only speak with any authority for industrial/product design
where I'd expect experience (duration tba) in a consultancy/in-house
environment that has seen designs progress to manufacture. A portfilio of
work is always a good indicator of such capability, but ultimately it's a
judgement call that may require an element of peer review. Where research
students may not be in this position (maybe having bachelors/masters
degrees), I believe it becomes all the more necessary for the supervisor to
have such experience.

- Multiple supervisors from a mix of academic/practitioner backgrounds can
give confidence to research students looking to employ practice-based
research methods.

- Academics with experience of practice and research supervision are in short-
supply.

- In the creative arts/design, practice-based research methods generally refer
to the execution of professional capability (e.g. fine art, industrial design,
graphic design) by the investigator as part of a research method.

- Practice-based research can be a form of action research.

- Practice on its own in the creative arts/design is not academic research.

- The 8.14 train is a popular service for academics heading into central London.

Re: Ways of finding where we are (was: current trends...)

2009-11-19T03:04:02Z

Dear GK,

Thank you for sharing your model at
http://www.humantific.com/the-rise-of-visual-sensemaking/

Isn't the distribution of effort in the different stages just a matter of
maturity and time things have been around?
I.e for things that have been around a long time (e.g. Traditional Design)
then there isn't much need for sensemaking and there is an established way
of thinking so the opportunities are in strangemaking. Conversely for Social
Transformational design.

BTW, it feels a bit limiting to restrict the step after Organisational
Transformational Design to encompass only Social Transformational Design?

Cheers,
Terry

Re: concatenation - trains and shunting

2009-11-18T18:39:48Z

Dear Fil

With your quick additions to Terry's profundity I am now feeling like I might be able to walk by the train line on my way home without fear of a mental collapse.

Thanks guys - you added significantly to my day

keith

Re: concatenation - trains and shunting

2009-11-18T18:35:46Z

Dear Terry

wow - now we are cooking with gas - but I'm still perturbed, at the level of my immediate experience - how is the speed of the wave determined and does it accelerate?

Too bad about the Saab - I thought the Yanks has the market cornered for speed shakes + poor roads? Seems like it can happen to anyone who goes for softness.

all good fun on a Thursday

cheers

keith

Re: concatenation - trains and shunting

2009-11-18T18:25:30Z

Keith,
Terry nailed that one very nicely.
I'll put my engineering background to good use on the second part.
The speed of the wave is related more to the acceleration than the speed.
The reason you get the effect in the first place is because of the /change/
in speed of one part of the train with respect to another. The locomotive's
acceleration probably varies as the throttle is opened; then there will be
variations based on power fluctuations and all that too.

The jerk on one car depends on the acceleration at that moment. Time passes
as the wave travels down the train. During that time, the accelerations of
the cars ahead of the wavefront can change with respect to the wavefront,
which will change the length of time needed for subsequent jerks. The
bigger the jerk at the front of car A, the faster car A accelerates, and the
faster the slack at the end of car A will be taken up, so the jerk will be
passed on faster.

There's another, possibly illusory effect that makes the wave seem to travel
faster as the wavefront moves down the train. This comes in 2 parts.
1. Humans have a harder time gauging speed if something is coming at or
going away from us compared to something passing "across" our view.
So if you were standing halfway down the train, you wouldn't necessarily
notice the wave travel /'way/ up at the front of the train it's moving
(nearly) at you. But as it got closer to you, you'd notice it zip right by
because by then the wave is travelling orthogonally to your line of sight.
2. The speed of the wave with respect to you must include the train's
speed. So as the train picks up speed as it goes by you, the wave would
seem to travel faster when it's reflected from the end of the train back up
to the front because now it's speed is added to the train's speed.

That's not nearly as tidy as Terry's explanation, but it's late and I'm
tired.

Terry? Did I pass? :)

Cheers.
Fil

2009/11/18 Keith Russell <Keith.Russell@...>

> Dear terry
>
> thanks heaps for this excellent account - I've got the first half of my
> answer - now I need to know the forces that determine the speed of the wave
> and whether the speed is related to the overall speed of the train or
> whether it is generated by the wave?
>
>
> keith
>

Re: concatenation - trains and shunting

2009-11-18T18:18:12Z

Dear Keith,

Frequency depends on phase between the action of forces. In practical terms,
the amplitude and frequency of vibration it depends on
Spring constant of connection
Mass of wagon
Damping factor
Number of vibrating elements
Slack in connection

In the case of the rail system the vibration can also be driven by a forced
vibration from the wheels and track in ways that are speed dependent

The theory is of tuned mass-spring-damper systems. If they oscillate, they
are an under-damped system

Such systems oscillate at natural frequencies you can determine
mathematically (though sometimes the maths is tough manually, it is easy on
many calculators and with software such as MathCAD). To save me trying to
write the theory on a text only list email, Here is the intro for a single
wagon element that deals with the problem without the slack (adding slack to
the coupling adds a lot of speed and acceleration-related complexity)
http://www.seas.upenn.edu/~ese112/labs/MSDSystemLecturePart%202.pdf

In the case of a train composed of multiple wagons the solution is by
linking a lot of the above together. Mathematically its easiest to solve it
by matrices to find the eigenvalues and eigenvectors.

There's a good description here
http://wapedia.mobi/en/Vibration?t=1.

The second page has the start of an explanation on multiple wagon designs
(see multiple degree of freedom).

The standard method of removing the vibration effect is to change the
mechanical properties of the system to move the frequency of the vibration
to a speed range where it doesn't matter. The problem with rail systems is
the available changes tend to move the shake rattle and roll to when the
train is at normal travelling speed which presents many more significant
problems particularly of safety - much better to have the oscillations at
low speed when the train is just starting up.

BTW, The Saab 9-5 is a car that the designers appear to have got badly wrong
in exactly this respect. They increased the softness of lining elements in
the suspension to decouple vibration and the result on models a few years
old is at speed the wheels shake in a steady vibration at the drop of a hat.

Best,
Terry

-----Original Message-----
From: PhD-Design - This list is for discussion of PhD studies and related
research in Design [mailto:PHD-DESIGN@...] On Behalf Of Keith
Russell
Sent: Thursday, 19 November 2009 9:43 AM
To: PHD-DESIGN@...
Subject: Re: concatenation - trains and shunting

Dear terry

thanks heaps for this excellent account - I've got the first half of my
answer - now I need to know the forces that determine the speed of the wave
and whether the speed is related to the overall speed of the train or
whether it is generated by the wave?

keith

Re: concatenation - trains and shunting

2009-11-18T17:43:14Z

Dear terry

thanks heaps for this excellent account - I've got the first half of my answer - now I need to know the forces that determine the speed of the wave and whether the speed is related to the overall speed of the train or whether it is generated by the wave?

keith

Re: concatenation - trains and shunting

2009-11-18T17:30:11Z

Hi Keith,

Thanks for your message

This is the type of design issue that a second year engineering design
student would be expected to model and solve. That may be first year now as
things are moving so fast! My daughter's school does time-series analysis
and that was PhD stuff some years ago.

Back to the train.

Imagine each wagon on the train being represented by one large mass with a
connection to the wagon in front. (we'll ignore the rotational inertias of
the wheels for the moment as well as the slip-stick behaviour of the
bearings and the slightly springy resistive interaction between the wheels
and the rail). We'll assume the train is on a level track.

The connection between the wagons is special. We'll model it as a spring
with a damper and a bit of slack.

The picture of the train overall is of a lot of individual masses all
connected together in a line with a springy link with a bit of slack in
each.

So as one wagon starts to move to pull on the next, first nothing happens
while the slack is taken up. Then the first wagon starts to stretch the
spring which starts to pull on the second wagon which follows with a slight
delay, pulling backwards on the wagon in front

That delay is important, as is the pulling backwards on the wagon in
front.

The next wagon follows a similar process.

Imagine the middle wagon in a group of three. It first gets tugged from in
front and then a short time later after a delay it gets tugged from the
back as it starts to pull the wagon behind it.

As a limiting slow start case, imagine all the wagons closed up together
with all the connections slack. The engine at the front starts moving
forward at an very very slow speed. If it is slow enough, the train will
simply become 'stretched out' to its full length with each wagon moving
after the one in front until all the slack in the connections is removed
before the last wagon starts to move.

If, instead, the first wagon starts with a bit of a jerk (i.e faster than
the above very slow version), then it will have achieved some speed before
the slack is taken up and the effect of its inertia moving forward (remember
each wagon is a large mass) will act to jerk the wagon behind it forward.
The front wagon will also have the same force acting backwards on it, acting
to slow it slightly.

After that slight delay, the second wagon is tugged from the front, and then
from behind, with a slight but different delay.

Each of the tugs extends and contracts each connection between the wagons
each delayed slightly.

The effect is of a wave of movement passing down the train.

At the other end, the last wagon does not have another wagon behind it. Its
behaviour is to be jerked forward and then be bounced backwards on its
spring connection. This gives a jerk backwards on the next wagon - the
equivalent of the whole process starting from the other end of the train.

The effect is of a second wave of movement passing down the train
originating at the other end. This in turn also bounces off the front end of
the train and starts another wave going backwards.

As the waves propagate up and down the train they do so through the
couplings and in each coupling the energy in the springs is slightly
dissipated through damping effects. Eventually the waves decay and disappear
- until the next jerk

With a bit of mental 3D juggling, one can see that the model is similar-ish
to a vibrating string or air vibrating in an organ pipe.

It is different mechanical process, however, to the Doppler effect.

Best wishes,
Terry

-----Original Message-----
From: PhD-Design - This list is for discussion of PhD studies and related
research in Design [mailto:PHD-DESIGN@...] On Behalf Of Keith
Russell
Sent: Thursday, 19 November 2009 7:43 AM
To: PHD-DESIGN@...
Subject: concatenation - trains and shunting

Dear Listers

Perhaps there is someone out there who can relieve me of my morning puzzle.
It is stopping my normal activities.

While walking to work, I pass by a train line that carries the coal trains
that deliver the largest amount of export coal in the world.

This morning, an empty coal train came to a stop nearby. It then started to
move again.

When it stopped, I noticed the usual ripple of sound that accompanies the
concatenation of carriages as they shunt into each other.

When it started up again, the auditory ripples were much more pronounced and
they repeated in both directions for some time.

What I noticed was that the speed of the ripple event was vastly greater
than the speed of travel of the train. That is, the wave event was its own
event.

Does anyone know of a technical account of what is going on to account for
these speed differences? Does the ripple speed up as it goes down the train?
It certainly seems to.

Anyway, I pose my problem in order to free my brain up, a little.

cheers

keith russell

newcastle OZ

Re: concatenation - trains and shunting

2009-11-18T15:54:44Z

Keith,

Could it be something to do with the Doppler Effect?
http://en.wikipedia.org/wiki/Doppler_effect

"the change in frequency <http://en.wikipedia.org/wiki/Frequency> of a
wave<http://en.wikipedia.org/wiki/Wave>for an observer moving relative
to the source of the wave"

best
luke

2009/11/19 Keith Russell <Keith.Russell@...>

> Dear Listers
>
> Perhaps there is someone out there who can relieve me of my morning puzzle.
> It is stopping my normal activities.
>
> While walking to work, I pass by a train line that carries the coal trains
> that deliver the largest amount of export coal in the world.
>
> This morning, an empty coal train came to a stop nearby. It then started to
> move again.
>
> When it stopped, I noticed the usual ripple of sound that accompanies the
> concatenation of carriages as they shunt into each other.
>
> When it started up again, the auditory ripples were much more pronounced
> and they repeated in both directions for some time.
>
> What I noticed was that the speed of the ripple event was vastly greater
> than the speed of travel of the train. That is, the wave event was its own
> event.
>
> Does anyone know of a technical account of what is going on to account for
> these speed differences? Does the ripple speed up as it goes down the train?
> It certainly seems to.
>
> Anyway, I pose my problem in order to free my brain up, a little.
>
> cheers
>
> keith russell
>
> newcastle OZ
>

concatenation - trains and shunting

2009-11-18T15:43:18Z

Dear Listers

Perhaps there is someone out there who can relieve me of my morning puzzle. It is stopping my normal activities.

While walking to work, I pass by a train line that carries the coal trains that deliver the largest amount of export coal in the world.

This morning, an empty coal train came to a stop nearby. It then started to move again.

When it stopped, I noticed the usual ripple of sound that accompanies the concatenation of carriages as they shunt into each other.

When it started up again, the auditory ripples were much more pronounced and they repeated in both directions for some time.

What I noticed was that the speed of the ripple event was vastly greater than the speed of travel of the train. That is, the wave event was its own event.

Does anyone know of a technical account of what is going on to account for these speed differences? Does the ripple speed up as it goes down the train? It certainly seems to.

Anyway, I pose my problem in order to free my brain up, a little.

cheers

keith russell

newcastle OZ

Re: Ways of finding where we are (was: current trends...)

2009-11-18T10:11:06Z

Sorry to be adding to this so late.
I have been traveling a lot recently so no time to wade into this or other
interesting conversations here.

Some might find this useful.

http://www.humantific.com/the-rise-of-visual-sensemaking/

Conversations about the subject of design are meaningless today without some
kind of updated sensemaking framework that is connected to the real world,
what is already going on in the marketplace, what design oriented firms are
already doing and being asked to do.

Many old frameworks reflect a consciousness that ends at product/service
creation as the edge of the world for design. That¹s ancient history. That
view no longer reflects what is already underway. This world seems to not be
so well reflected or represented on this list.

This is the framework that we use and have found that many others inside and
outside of design find it useful as well. There are many other parts beyond
this one screen. Once you have a useful framework many overlays are
possible. Without a framework dialogue about design tends to go around in
circles.

Leading practices are already working on the overlays. Academia seems more
interested in debates about frameworks.

Hope to see some of you in Melbourne on the weekend.

...

GK VanPatter
Co-Founder

Humantific
SenseMaking for ChangeMaking

NEW YORK / MADRID

6 West 18th Street, 9th Floor
New York City, NY 10011
T: 212-660-2577

http://www.humantific.com

Follow Humantific on twitter: http://twitter.com/humantific

...

Associate Professor Position in Communication Design at Kolding School of Design

2009-11-17T03:51:53Z

Please note this free position as Associate Professor in Communication
Design at Kolding School of Design
http://www.designskolenkolding.dk/index.php?id=231

Please forward for possible candidates.

Any questions for the position please contact
Lene Wul
lw@...

Best regards
Lene Wul
Kolding School of Design

*******************
Associate Professor Position at the Department of Communication Design

The Kolding School of Design invites applications for the position of
Associate Professor. Starting date 1 February 2010, or as early as possible.
The position includes a required research component.

The Department of Communication Design
For the last couple of years the Kolding School of Design has placed
increasing focus on research-based knowledge, and it has applied for and
expects to receive accreditation as a university level institution in 2010.
Hence research at the Department of Communication Design is expanding and is
given high priority.

The Department of Communication Design offers programmes in the following
disciplines: graphic design, illustration and interaction design. The
students work with pen and paper, but also with digital media in the fields
of branding identity, motion graphics, graphic design, web design,
narratives and storytelling, animation design, sustainable design, and
games.

The Department of Communication Design has extensive collaborative research
and development with Danish as well as foreign research institutions. The
department is also engaged in a number of development-driven research
projects.

The Position
To fill the position as Associate Professor, the Department of Communication
Design is seeking a candidate with a solid research background within one or
more of the following research areas:

* Communication and media theory
* Interaction design
* Storytelling in design

The successful candidate is required to teach certain courses at the design
programmes of the Kolding School of Design. Applicants must therefore
possess relevant teaching experience in the design disciplines or related
fields. Applicants with experience in the development of study programmes
for the creative educations will receive preferred consideration.

The Application
Applicants who possess the required research and teaching qualifications are
invited to submit their application for the position by 18 December 2009.

The application must include:
* Curriculum Vitae stating formal education; professional experience, as
well as address, telephone number and email address
* List of publications which are deemed relevant for the position
* Five scientific publications which the applicant wishes to present in
support of his or her application
* Documentation and references with evidence of teaching experience and
* Copies of relevant diplomas

Four copies of the application including attachments must be forwarded to
the address below for evaluation by the review. Applications with fewer than
four copies will not be included in the evaluation process.
All applicants will be evaluated pursuant to Act No. 1507 of 14 December,
2006 on appointment of teaching staff and scientific employees at tertiary
artistic education institutions under the auspices of the Danish Ministry of
Culture. At the conclusion of the evaluation all applications and
attachments will be returned to the applicants.

Candidates irrespective of age, gender, religion or ethnic background are
encouraged to apply.

Please forward four hard copies of the application marked ³Associate
Professor in Communication Design² to:

Line Willemoes Jørgensen
Designskolen Kolding
Aagade 10
6000 Kolding
Denmark

Applications must be received by 18 December 2009 12 AM. In order to
facilitate the work of the review committee applicants are requested to
submit their applications and attachment electronically as well, insofar as
this is feasible.

Questions regarding the position and terms of employment must be directed to
Rikke Hansen, Head of the Department of Communication Design (phone 45 76 30
11 34, email rih@...) or to Lene Wul, Secretary of Research (phone 45 41
28 02 00, email lw@...).

Salary and terms of employment are determined by the collective agreement
between the Ministry of Finance and the Danish Confederation of Professional
Associations. The appointing authority is the Aarhus School of Architecture,
place of employment is the Kolding School of Design.

Background information is available on www.designskolenkolding.dk
<http://www.designskolenkolding.dk/>

James Auger - Speculative and Critical Objects

2009-11-16T14:09:53Z

hi,

apologies for any cross-posting. Details about the seminar are below, all are welcome.

This will also be webcast from 4pm GMT at:

http://www.materialbeliefs.com/stream/dss3.php

bests,
Tobie

===========================================
Design and Social Science Seminar Series 2009-2010
===========================================
The Objects of Design and Social Science
Seminar 3 - Speculative and Critical Objects
James Auger, Royal College of Art
Wednesday November 18th
---------------------------------------------------------------------------

--- speaker biography:
James Auger (b 1970, Derby, England) has a BA in Product design from Glasgow School of Art and an MA in Design Products from the Royal College of Art in London. Post RCA He worked as a Research Associate for Media Lab Europe, where the main focus of his research was a design-based investigation into technology mediated human experience.

James is currently based at the Royal College of Art in London where he teaches and is a PhD candidate in the Design Interactions department. He is also a partner in the speculative design practice Auger-Loizeau whose projects have been published and exhibited internationally, including MoMA, New York, 21_21, Tokyo, The Science Museum, London and the Ars Electronica festival, Linz and is in the permanent collection at MoMA.

Prior to being a designer, James completed an engineering apprenticeship at Rolls-Royce (aero engines) and worked as a special effects technician for T.V and film.

---------------------------------------------------------------------------
The seminar will run from 4:00pm - 6:00pm,
Interaction Research Studio,
6th Floor, Ben Pimlott Building,
Goldsmiths, New Cross, London, SE14 6NW
---------------------------------------------------------------------------

--- seminar poster:
http://www.materialbeliefs.com/pdfs/The-objects-of-design-and-social-science.pdf

--- seminar series description:
Common to both design and (parts of) the social sciences is a shared pre-occupation with objects. On the one hand, design is concerned with making and interpreting objects including the finished article (e.g. consumer products), ‘experimental’ design aids (e.g. prototypes), and projective representations (e.g. scenarios). Recently, design has also begun to re-engage with more speculative objects whose ambiguous functionality contributes to the exploration of the social and the material, the political and the aesthetic. On the other hand the social sciences also work with objects, including categorical objects such as race, gender, and health, empirical objects ranging from the mundane to the exotic, and conceptual objects such as the notions social scientists use to understand and theorize the social. Here, the sociology of science and technology has been especially productive, introducing notions such as boundary objects (Star & Griesemer, 1989), epistemic objects (Rheinberger, 1997), immutable mobiles (Latour, 1990), quasi-objects , black boxes (Latour, 1988) to name but a few. Accordingly, a focus on material, empirical and conceptual objects brings into sharp relief overlaps and disjuncture between the two disciplines and a rich space for dialogue.

This seminar series will seek to bring into view and explore existing objects of both design and social science as well as draw out objects of novelty for both disciplines. In doing so we will seek to engage with emerging issues and topics in both disciplines such as the outputs of speculative and critical design, participation, engagement and publics as well as addressing notions concerning heterogeneity, process and event. This series will continue to serve as a platform for opening up interdisciplinary research futures.

Re: PhD in Product-Service System design for sustainability

2009-11-15T11:11:49Z

Hi Fabrizio!
Try this link:
http://tepuidesign.com/contact
Andalso try to contact Alastair Fuad-Luke.
Look also into the link: www.deedsproject.org

Regards
Dag H.
15 nov 2009 kl. 19.50 skrev Fabrizio Ceschin:

> Hello,
>
>
>
> I am a PhD candidate from Politecnico di Milano University, dealing
> with the issue of Product-Service System (PSS) design and
> sustainability.
>
> I am currently focusing on understanding how different design and
> implementation strategies influence the degree of success of a
> sustainable Product-Service System (PSS).
>
> I would like to ask the members of this list if anyone knows case
> studies describing/analysing the processes adopted to design and
> implement sustainable PSSs.
>
> Thanks everybody!
>
>
>
> Best Regards,
>
>
>
> Fabrizio Ceschin
>
>
>
> Politecnico di Milano
>
> INDACO Department
>
> Design and system Innovation for Sustainability (DIS) unit of research
>
> via Durando 38/a
>
> 20158 Milan, Italy
>
> tel/fax +39.02.2399.7203

Dag Holmgren Designer MSD
Professor

Industrial Design
Dep. for Mechanical Engineering
School of Engineering
Post Box 1026,
SE-551 11 Jönköping
Sweden
Phone: +46 36 1016 67
Mobile: +46 705 30 21 90
Fax: +46 36 10 19 15
e-mail: dag.holmgren@...
www.jth.hj.se

PhD in Product-Service System design for sustainability

2009-11-15T10:50:14Z

Hello,

I am a PhD candidate from Politecnico di Milano University, dealing with the
issue of Product-Service System (PSS) design and sustainability.

I am currently focusing on understanding how different design and
implementation strategies influence the degree of success of a sustainable
Product-Service System (PSS).

I would like to ask the members of this list if anyone knows case studies
describing/analysing the processes adopted to design and implement
sustainable PSSs.

Thanks everybody!

Best Regards,

Fabrizio Ceschin

Politecnico di Milano

INDACO Department

Design and system Innovation for Sustainability (DIS) unit of research

via Durando 38/a

20158 Milan, Italy

tel/fax +39.02.2399.7203

Design, by all ? 7th conference on design support, Paris, Jan.11-12

2009-11-13T03:40:58Z

And, by the way, I would like to thank the list members who did
respond to my call about "grassroots design initiatives". Their input
has helped me a lot in building the programme... and could have
generated many other events !

Best regards,

Jean

Le 12 nov. 09 à 22:53, Jean Schneider a écrit :

Dear list members,

Please find the link to the announcement of the conference that APCI
is organising next January in Paris.

As every year, it offers an opportunity to discuss issues related to
the profession, its challenges and the policy framework in which it
operates. Speakers have different backgrounds, and offer insights
from their practice and experience.

This year, a special emphasis is put on design processes embedded in
local initiatives and rather well defined contexts. Examples will
come from the field of urban planning and housing, but also from
Living labs set up in rural region.
The second day will offer insights on the impact of the economic
downturn on the course of design strategies. Rather than looking at
budget restrictions, we will focus on the responses that some
businesses have developed, and the challenges they raise for the
profession.

You will find more information at :
http://www.apci.asso.fr/actualites_uk/actualite.php?id=001345

Register now to benefit from a significant "early bird" discount.

I am looking forward to welcoming you in Paris !

Jean
Jean Schneider
Project manager APCI

New Journal for Research in Textiles and Textile Design, Call for Submissions

2009-11-13T03:27:08Z

Call for Contributions
Current Call: 'What is textile design research?'

Research for textiles is broad and far reaching. Historical, theoretical,
technical, scientific, commercial and aesthetic strands interweave to create
a complex and interdisciplinary field of investigation and invention. The
intention of the first call for submissions to DUCK is to explore the nature and
significance of current Textile Design research and establish a platform for
future discourse. Submissions are invited which address or cover one or more
of the following themes:

The contexts for textile design research
The role of interdisciplinarity in textile design research
The distinction between research related to processes and that related to
outcomes
The tensions between the demands of commercial enterprise and the
academic domain
The methodologies that might be appropriate for textile design research
The impact of new materials and/or technologies on directions and approaches
in textile design research
The influence of craft methods/approaches in textile design research
The interaction between craft and scientific method in textile design research
Historical and theoretical perspectives within textile design research
Relationships between theory and practice in textile design research
The benefit of textile design research to the designer
Forms of application and dissemination of textile design research

Deadline for submissions: 22nd January 2010
Authors will be informed of the outcome of their submission by the end of
April
2010.

Submission Instructions:
Contributions may take the form of written texts (maximum 5,000 words),
visual essays, a series of images relating to methods (sketchbook style),
visual diaries or other methods deemed appropriate.

Duck does not advise a particular format for written submissions although we
ask that contributors present their ideas in an accessible format for Duck's
diverse readership of researchers, educators, artists and designers. For
written texts the Harvard System of referencing is preferred.

Images should be 300dpi where possible, RGB format and submitted as TIFF or
JPEG files. Text should be provided in MS Word (.doc), rich text (.rtf) or pdf
format.

Please provide your name, affiliation, email address, a title for your submission
and a short summary of your contribution.

Please send submissions by email to: L.R.Moriarty@...
(Maximum file size: 5mb). Alternatively, please send on disk (CD or DVD) to:

DUCK Journal - Textiles Research Group
Loughborough University School of Art and Design
Loughborough
Leicestershire
LE11 3TU

Copyright:
In submitting material to Duck, contributors thereby grant permission for it
to be published on the Duck website. Contributors retain copyright of their
material and may use it elsewhere after publication in Duck, though we would
appreciate it if Duck could be acknowledged as the original source of
publication.

Please note that it is the responsibility of contributors to obtain the necessary
permissions for reproducing work other than their own.

Lansdown Lecture - Brendan Walker on Vicarious Thrills - London 2 December 2009

2009-11-13T03:21:32Z

Lansdown Lecture: Brendan Walker on Vicarious Thrills
When: 4:45pm, Wednesday 2 December 2009
Where: Room 137, Middlesex University, Cat Hill, Barnet EN4 8HT, UK

A Lansdown Lecture for the Art and Design Research Institute at Middlesex University.

Brendan Walker will show how he uses a mixture of performance and broadcast
technologies to thrill new audiences, spanning Theatre, Theme Parks, and TV.

Brendan Walker describes himself as 'the worlds only Thrill Engineer'. Brendan originally
trained as a military aeronautical engineer, before researching and teaching in Interaction
Design at the Royal College of Art. Brendan now runs Aerial - a design practice specialising
in the creation of tailored emotional experience, with clients such as The Science Museum,
Merlin Entertainment, and Disneyland. He is a visiting Senior Research Fellow in the Mixed
Reality Laboratory at the University of Nottingham.

Entrance free. All welcome. No need to book.

http://www.cea.mdx.ac.uk/?location_id=85&item=30

Creative Thinking for Interactive Media Design (e-book)

2009-11-12T14:48:44Z

Creative Thinking for Interactive Media Design (e-book)
Oguzhan Ozcan, A. Evren Yantac, 2009

Although it was founded only ten years ago, Interactive Media Design
has been one of the leading field where the most creative design ideas
in the world have been produced. We anticipate that this will to be so
during the rest of 21st century. As the field of interactive media
design has a very wide application spectrum from television to mobile
environments, interactive media design education must be established
on a very critical balance of art, design, and technology. Although
there are considerable similarities and intersections with the fields
of industrial and interaction design, interactive media design
education has its own nuances and subtleties. This book introduces,
with examples, how a qualified interactive media design education
should be planned, from the beginner to advanced level, from the
perspectives of meanings, actions, mechanisms and the nature of
design. (96 pictures and 28 web link included. Please see details via: http://oguzhan.ozcan.info/eBook.html

Design, by all ? 7th conference on design support, Paris, Jan.11-12

2009-11-12T13:53:46Z

Dear list members,

Please find the link to the announcement of the conference that APCI
is organising next January in Paris.

As every year, it offers an opportunity to discuss issues related to
the profession, its challenges and the policy framework in which it
operates. Speakers have different backgrounds, and offer insights
from their practice and experience.

This year, a special emphasis is put on design processes embedded in
local initiatives and rather well defined contexts. Examples will
come from the field of urban planning and housing, but also from
Living labs set up in rural region.
The second day will offer insights on the impact of the economic
downturn on the course of design strategies. Rather than looking at
budget restrictions, we will focus on the responses that some
businesses have developed, and the challenges they raise for the
profession.

You will find more information at :
http://www.apci.asso.fr/actualites_uk/actualite.php?id=001345

Register now to benefit from a significant "early bird" discount.

I am looking forward to welcoming you in Paris !

Jean
Jean Schneider
Project manager APCI

Final Reminder: CfP: Innovative Service Design for All (PART TWO)

2009-11-12T01:35:46Z

***Apologies for multiple postings***

Re-public

Call for papers: Innovative Service Design for All (Part Two)

Re-public is a online journal published in Greece, in two languages
(Greek-English): <http://www.re-public.gr/en/> http://www.re-public.gr/en/.

In July 2009, Re-public published a Special Issue entitled "Innovative
Service Design for All".

Re-public invites contributions for a *second* special issue dedicated to
"Innovative Service Design for All".

Service design lies in the centre of attention in contemporary, increasingly
service-oriented knowledge economies. In such contexts, user experience is
paramount, including both the interfaces and interactions that customers use
to contact the service provider, as well as the back-office activities
performed by the service provider. Given the complexity of services in
modern, multicultural, networked societies and the criticality of their
environmental impact, service design becomes a major issue for the years to
come.

Submissions may deal with the theme from various disciplinary perspectives
and may be about (but not restricted to) the following:

. Discussing the role of service design reform for the preservation of
natural resources.

. Service design and organizational change.

. Exploring public services and the role of civil servants and citizens as
co-producers.

. Service design in the context of education.

. Service design in the context of the health sector.

. Service design for marginalized or underserved communities.

We are particularly interested in realized applications and successful
examples of service design.

Submissions formats may include texts, visual essays, or videos.

Texts (either autonomous or accompanying visual material) may be up to 2000
words.

Please submit contributions in any electronic format to issue editor Artemis
Yagou,

e-mail: artemis AT yagou.gr

Deadline for submissions: Saturday 12 December 2009

...............................

72 members of PHD-DESIGN on Academia.edu

2009-11-10T17:11:46Z

Dear PHD-DESIGN members,

There was a great reaction by the PHD-DESIGN members to the new mailing list
feature on Academia.edu. There are now 72 members of PHD-DESIGN listing
their research interests, photos and papers on Academia.edu.

To see the 72 members of PHD-DESIGN on Academia.edu, follow the link below:

http://lists.academia.edu/See-members-of-PHD-DESIGN

Richard

Dr. Richard Price, post-doc, Philosophy Dept, Oxford University.
Founder of Academia.edu

Re: PhD supervision of practice as a research method?

2009-11-10T16:06:39Z

Dear Mark and all,

There is an argument lurking in the discussion that is one of the classic
fallacies (of the sort that PhD students should avoid!). Martyn draws
attention to it.

Avoiding fallacies in discussion and analysis is important because it is
one of the core skills of PhD study and PhD supervision.

Lurking in the discussion is fallacious reasoning that follows the
following sequence,

Design practitioners are good at design.
Some design practitioners make good teachers.
PhD supervision sometimes involves some teaching.
Some design PhD students have practice as part of their PhD research.
Therefore the required skills of a PhD supervisor are those of a Design
practitioner"

This combines three fallacies:
1. The fallacy of proof through association ("I saw him in the same city.
Therefore it must have been him that did it")
2. The fallacy of partial proof (A shark can be a parent. Parents supervise
children swimming. Therefore, sharks are good at supervising children
swimming)
3. The fallacy of the excluded middle (A cat has four legs and a dog has
four legs therefore a cat is a dog)

Fundamentally the problem is of avoiding rhetorical reasoning that uses
fallacies.

The solution to use supervisors that help candidates avoid rhetorical
fallacious reasoning in their PhDs.

To identify suitable supervisors requires avoiding the same problems with
rhetorical fallacies and being straightforward: e.g. make a complete list of
the skills, competencies and experiences needed by the PhD supervisor and
ensure that the supervisor has those skills.

The only common training program for most of the necessary skills is a PhD
followed by being mentored for a few years by more experienced persons with
PhDs.

As a side note, one of the weaknesses of Art and Design PhD study
internationally is that for a decade or more we have had PhD candidates
coming though with poor supervision in reasoning skills and avoiding
rhetorical fallacies. This problem exists to the extent that a three or four
years ago one text aimed at PhD students openly advocated Design PhD
students committing research sins such as presenting biased evidence,
giving false or contrived analyses and deceiving the reader - using any
rhetorical trick to persuade the reader to the author's position. At the
same time, the authors themselves (experienced and respected design
educators) used fallacious arguments to persuade PhD students that this was
normal and exemplary research and thesis writing behaviour. The book is
still in print and some supervisors and PhD students are using it. The
consequence will be that the same problems will propagate into the next
generation of Design PhDs. It's important for PhD students to be aware of
this problem in the field.

Best wishes,
Terry
____________________

Dr. Terence Love, FDRS, AMIMechE, PMACM, MISI

Director Design-focused Research Group, Design Out Crime Research Group
Researcher, Digital Ecosystems and Business Intelligence Institute
Associate, Planning and Transport Research Centre
Curtin University, PO Box U1987, Perth, Western Australia 6845
Mob: 0434 975 848, Fax +61(0)8 9305 7629, t.love@...
Visiting Professor, Member of Scientific Council
UNIDCOM/ IADE, Lisbon, Portugal
Honorary Fellow, Institute of Entrepreneurship and Enterprise Development
Management School, Lancaster University, Lancaster, UK
____________________

-----Original Message-----
From: PhD-Design - This list is for discussion of PhD studies and related
research in Design [mailto:PHD-DESIGN@...] On Behalf Of Evans,
Martyn
Sent: Wednesday, 11 November 2009 5:29 AM
To: PHD-DESIGN@...
Subject: Re: PhD supervision of practice as a research method?

Hi Mark

Your post brings to my mind a dilemma: Do good designers make good
design lecturers (and supervisors)? In my opinion, the two are not
mutually exclusive. With over 12 years experience in practice and
academia, I can recount numerous examples of 'good' designers who do not
make 'good' lecturers, and conversely 'good' design lecturers that
cannot design for toffee!!! That said, they may enable students to
create excellent design work and develop influential design careers (a
long debate about what 'good' means no doubt will ensue...).

You say ...I'd therefore like to offer up the potentially controversial
position that PhD's that include practice as a research method should,
preferably, be supervised by academics that have considerable experience
as practitioners...

The key issue here relates to the validity and nature of the experience
as practitioners. Does considerable experience (length of service?)
imply this experience will result in the ability to effectively
supervise PhD's that include practice as a research?