2017年10月10日 星期二

week 5. difficult forms

DIFFICULT FORMS:  
CRITICAL PRACTICES OF DESIGN AND RESEARCH by Ramia Mazé and Johan Redström, IASDR 2007

EX1:
What are the possible 'critical forms' of the product you select?
Create your own form experiments.
deadline Oct 25, 2017 
extended to Nov. 1st, 2017

2017年9月25日 星期一

week 3. the object as discourse II

1. students present participatory research plan.
2. discussion on "the object as discourse"
3. introducing "Hertzian Tales"

  赫茲故事讀書筆記

EX1 (critical review)
針對懷舊產品的外型、logo、顏色等視覺設計元素,進行批判檢視。
1. 至少 500 字 (中文)
2. 請以不同顏色或字型,區分描述性文字(descriptive writing) 和 批判性文字(critical writing)
3. 請大致上提供 evidence, evaluation, analysis, conclusion.
參考:  http://www.eapfoundation.com/writing/critical/


Deadline: 2017/Oct 11


2017年9月18日 星期一

week 2. the object as discourse

discussing participatory paradigm (week 1.)
action research vs. co-operative inquiry

The object as discourse 

p1.

1. In short, as a result of what might be termed 'methodological intimidation' (方法論上的恐嚇), research work carried out in colleges of art and design stands a very real risk of losing those qualities of originality, iconoclasm (破除偶像), energy, style and wit which have characterised the best of art school culture since the 1950s.

p. 3

2. Rejecting the electronic product designer's traditional role as semiotician, he attempts to map a new conceptual territory on which to explore the electronic as 'post-optimal object', turning his attention away the familiar attempt to achieve 'optimum performance levels' and towards more fundamental philosophical issues.

3...., Dunne's research focuses on the relationship between electronic objects and the realms of poetry and aesthetics.

4. Design is seen as a form of socio-aesthetic research towards the integration of aesthetic experience and everyday life through the development of conceptual products rather than working prototypes of models which attempt to simulate a final product designed for mass production.

5. As a PhD by project, Dunne's work uses research through the design process to explore the development of an approach that allows the development of critical responses and a sceptical sensibility towards the ideological nature of design with the purpose of stimulating original aesthetic possibilities for new kinds of electronic object.

7. The ultimate aim of the research project is the development of electronic products which by'making strange' (陌異化) or 'poeticising the distance' (詩意化距離) between ourselves and our artefactual environment, facilitate sociological awareness, reflective and critical involvement with the electronic object rather than its passive consumption and unthinking acceptance.

8. Rather than aiming for transparency, as would a conventional applied researcher/product designer, his (Dunne's) attempt to enhance the critical distance between the electronic object and the human subject through the introduction of 'poetic' techniques of aesthetic 'estrangement' is reminiscent of the writing of Frankfurt School theorists such as Walter Benjamin or the methods of avant-garde theorist/performers such as John Cage,...

p. 4

9.... his idea of using the process of invention as a mode of discourse (以發明過程為論述)a poetic invention (詩意的發明) that, by stretching established conventions, whether physical, social or political, rather than simply affirming them, takes on a radical critical function, a material critical theory of what Dunne terms a 'parafunctionality.'

10. To this extent Dunne's work offers a positive and radical model of the action researcher in design as a critical interpreter of design processes and their relationship to culture and society rather than a skilled applied technician preoccupied by the minutiae (細節) of industrial production or a slick butintellectually shallow semiotician.

11. In Dunne's case the electronic object produced as the studio section of the doctorate is still 'design' but in the sense of a 'material thesis(實體論文) in which the object itself becomes aphysical critique (實體批判).



EX1:
1. 規劃台灣老產品(超過三十年以上,現在還在架上)的研究。
2. 先到賣場拍攝老產品,注意其周圍脈絡還有其他哪些產品。(Fieldwork, 簡單照片分享)
3. 如果用實證、後實證等派典,研究有甚麼樣的可能性? 設計符合 participatory paradigm 精神的研究探索。(present next week)
4. Create Critical views of this product.
參考:
迎向靈光消逝的年代
John Cage's 4'33"

2017年9月12日 星期二

week 1. introduction to paradigms

1. 社會科學的理路。(圖 1-1 主要典範基本信念)

   互動設計派典是是什麼?

2. Guba, E.G., & Lincoln, Y.S., Competing Paradigms in Qualitative Research

3. Heron, J., & Reason, P. (1997). A Participatory Inquiry Paradigm. Qualitative Inquiry, 3(3), 274-294

Questions:
1. What is "Participatory Design" in your impression?
2. What is Participatory Paradigm? (reading and discuss next week)
3. Participatory 派典與其他派典最大的不同為何?
4. What is Critical Design?

Dunne & Raby
Michael Stallings make it critical card deck

EX1:
1. 規劃台灣老產品(超過三十年以上,現在還在架上)的研究。
2. 先到賣場拍攝老產品,注意其周圍脈絡還有其他哪些產品。(Fieldwork, present next week)
3. 如果用實證、後實證等派典,研究有甚麼樣的可能性? 設計符合 participatory paradigm 精神的研究探索。
4. Create Critical views of this product.

Grading:
60 % Projects and reports
40 % homework presentation and discussions

2016年6月12日 星期日

week 17. final week

student presentation (Hertzian Tales) III

final report:
1000 字心得。
Deadline: June 22, 2016.