He is the o2 representative for Scotland and founder member of o2 Nordic (o2 being the global network for sustainable design). He is co author, with ICIS Denmark, of a pan global project on ritual connected to ICOGRADA. He also lectures to the masters programme at the Centre for Human Ecology at Strathclyde University, Glasgow and the Product Design Engineering course at Chalmers University, Göteborg.+

He is the o2 representative for Scotland and founder member of o2 Nordic (o2 being the global network for sustainable design). He is co author, with ICIS Denmark, of a pan global project on ritual connected to ICOGRADA. He also lectures to the masters programme at the Centre for Human Ecology at Strathclyde University, Glasgow and the Product Design Engineering course at Chalmers University, G����teborg.-

He was the researcher for Glasgow in The European Commission 6th Framework Programme project concerning creative communities. The EMUDE research project looks at Emerging user Demands for Sustainable Solutions in a societal and community led framework. Other schools involved are: KISD Köln, Politecnico di Milano Milan, UIAH Helsinki, Estonian Academy of Arts Tallin, Les Ateliers Paris, Academy of Arts, Architecture and Design Prague and the Academy of Fine Arts Krakow.+

He was the researcher for Glasgow in The European Commission 6th Framework Programme project concerning creative communities. The EMUDE research project looks at Emerging user Demands for Sustainable Solutions in a societal and community led framework. Other schools involved are: KISD K����ln, Politecnico di Milano Milan, UIAH Helsinki, Estonian Academy of Arts Tallin, Les Ateliers Paris, Academy of Arts, Architecture and Design Prague and the Academy of Fine Arts Krakow.-

Current projects include the development and implimentation of a world master programme and an international symposium 7x4x7 concerning designing for quality of life, both being initiated through Cumulus (The International Association of Universities and Colleges of Art, Design and Media) and HDK Design School Göteborg, where he is currently visiting Professor.+

Current projects include the development and implimentation of a world master programme and an international symposium 7x4x7 concerning designing for quality of life, both being initiated through Cumulus (The International Association of Universities and Colleges of Art, Design and Media) and HDK Design School G����teborg, where he is currently visiting Professor.-
return / go to IVFIVF" title="Create page: IVF" class="wiki wikinew">?+
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• The WritingPAD (i.e. Writing Purposefully in Art & Design) is a UK-based, 3 year, £250k HEFCE funded) project.+
  • The WritingPAD (i.e. Writing Purposefully in Art & Design) is a UK-based, 3 year, £250k HEFCE funded) project.-

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  • According to essay service we should act now, global warming isn���t a problem of the future, it���s a problem now.+
  • According to essay service we should act now, global warming isnâ���™t a problem of the future, itâ€���s a problem now.-

    Where Joseph Campbell advised his followers to follow your bliss in terms of choosing the right path in life, Mihaly Csikszentmihalyi made a more scientific exploration of happiness from 1963 onwards. This led to his popular book called Flow (1990). He claims that certain feelings - e.g. ���joy���, ���deep concentration���, ���emotional buoyancy���, a ���heightened sense of mastery���, a ���lack of self-consciousness���, and a feeling of ���self-transcendence��� - are virtually universal experiences. Csikszentmihalyi summarises his findings as a technique for regulating the subjective ���flow��� of our daily lives. This entails merging our personal quest for optimum satisfaction with a common purpose. In maintaining, yet transcending our self-interest, we are thereby able to satisfy our quest for personal happiness.+

    Where Joseph Campbell advised his followers to follow your bliss in terms of choosing the right path in life, Mihaly Csikszentmihalyi made a more scientific exploration of happiness from 1963 onwards. This led to his popular book called Flow (1990). He claims that certain feelings - e.g. â���˜joyâ���™, â���˜deep concentrationâ€���, â���˜emotional buoyancyâ���™, a â���˜heightened sense of masteryâ���™, a â���˜lack of self-consciousnessâ���™, and a feeling of â���˜self-transcendenceâ���™ - are virtually universal experiences. Csikszentmihalyi summarises his findings as a technique for regulating the subjective â���˜flowâ€��� of our daily lives. This entails merging our personal quest for optimum satisfaction with a common purpose. In maintaining, yet transcending our self-interest, we are thereby able to satisfy our quest for personal happiness.-

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    + ]]> Thu, 28 Apr 2011 00:01:22 +0100 http://attainable-utopias.org/tiki/tiki-index.php?page=m21-Tools-List .diffchar { color:red; } -
    • Designers relate to objects and ���things���.
      
    • By playing with personally meaningful ���props��� colleagues quickly develop good interpersonal relations.+
      • Designers relate to objects and â���˜thingsâ���™.
        
      • By playing with personally meaningful â���˜propsâ€��� colleagues quickly develop good interpersonal relations.-
      • Asking players to empathise with colleagues can boost confidence and optimise a team���s potential.+
      • Asking players to empathise with colleagues can boost confidence and optimise a teamâ���™s potential.-
        • New teams sometimes take time to ���bond���.+
          • New teams sometimes take time to â���˜bondâ���™.-
          • This tool helps teams to to ���steer��� decision-making away from the conventions of a given language.+
          • This tool helps teams to to â���˜steerâ���™ decision-making away from the conventions of a given language.-
            • Ethical systems tend to reduce the number of relations that pertain to the designer���s task.+
              • Ethical systems tend to reduce the number of relations that pertain to the designerâ���™s task.-
                • The idea of ���environmental sustainability��� is usually depicted as a ���lose-win��� offer.+
                  • The idea of â���˜environmental sustainabilityâ���™ is usually depicted as a â���˜lose-winâ€��� offer.-

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                    + ]]> Thu, 28 Apr 2011 00:00:06 +0100 http://attainable-utopias.org/tiki/tiki-index.php?page=Co-Creating-a-MultiDimensional-Metadesign .diffchar { color:red; } -
                    (a) ���design of the design process��� (or ���design for designers���); and+
                    (a) â���œdesign of the design processâ����� (or â���œdesign for designersâ�����); and-

                    Metadesign entails a shift from normative planning (���how things ought to be���) to the humanistic enterprise of seeding (���how things might be���). It focuses therefore on the design of initial conditions (or seeds) with the aim of provoking and supporting more sustainable forms of production and sociability. As such, metadesign is a higher order design in which participation and emergence are a critical component to nourish and evolve the initial conditions set by the metadesigner(s).+

                    Metadesign entails a shift from normative planning (â���œhow things ought to beâ�����) to the humanistic enterprise of seeding (â���œhow things might beâ�����). It focuses therefore on the design of initial conditions (or seeds) with the aim of provoking and supporting more sustainable forms of production and sociability. As such, metadesign is a higher order design in which participation and emergence are a critical component to nourish and evolve the initial conditions set by the metadesigner(s).-

                    As a higher order design in support of co-creation, metadesign is ultimately a matter of ���poietics���: a creative, political, and ethical way (or mode) of design for the 21st Century.+

                    As a higher order design in support of co-creation, metadesign is ultimately a matter of â���œpoieticsâ�����: a creative, political, and ethical way (or mode) of design for the 21st Century.-

                    Metadesigners must focus on creating both usable, useful, and engaging media and technologies and a meaningful participative framework in which technical and social infrastructures can be integrated and exploited in order to sustain active participation over long periods of time. This means that, in contrast to design approaches based on distinct and sequential phases of design and use, metadesigners must be able to bridge ���design time��� and ���use time��� by redistributing design activities and engagement among participants inside a more complex and fluid design space.+

                    Metadesigners must focus on creating both usable, useful, and engaging media and technologies and a meaningful participative framework in which technical and social infrastructures can be integrated and exploited in order to sustain active participation over long periods of time. This means that, in contrast to design approaches based on distinct and sequential phases of design and use, metadesigners must be able to bridge â���œdesign timeâ����� and â���œuse timeâ����� by redistributing design activities and engagement among participants inside a more complex and fluid design space.-

                    This plane of design entails not only participatory methods and techniques for engaging at design time the user community in the initial setting of the participative system, but also participative support mechanisms for encouraging participants��� engagement and design activities at use time. At this level, metadesigners and participants play a more fluid role in the design activity. An instance of design for participation is, for example, the design of mechanisms in support of reflective activities. These mechanisms can be either computational (i.e. embedded in a software system) or social (i.e. embedded in media for social interaction).+

                    This plane of design entails not only participatory methods and techniques for engaging at design time the user community in the initial setting of the participative system, but also participative support mechanisms for encouraging participantsâ���™ engagement and design activities at use time. At this level, metadesigners and participants play a more fluid role in the design activity. An instance of design for participation is, for example, the design of mechanisms in support of reflective activities. These mechanisms can be either computational (i.e. embedded in a software system) or social (i.e. embedded in media for social interaction).-

                    An experimental application of the proposed MDS framework has been undertaken in the development of a web-based knowledge portal in Douglas Shire, Australia. The adoption of the MDS framework by the researchers of the Commonwealth Scientific and Industrial Research Organisation was based on the initial assumption that a knowledge-sharing tool developed through community participation (���co-creation���) would enhance sustainable development in Douglas Shire, a predominantly sugar cane growing area of far north Queensland.+

                    An experimental application of the proposed MDS framework has been undertaken in the development of a web-based knowledge portal in Douglas Shire, Australia. The adoption of the MDS framework by the researchers of the Commonwealth Scientific and Industrial Research Organisation was based on the initial assumption that a knowledge-sharing tool developed through community participation (â���œco-creationâ�����) would enhance sustainable development in Douglas Shire, a predominantly sugar cane growing area of far north Queensland.-

                    The product of the activities entailed by the MDS framework is called ���seeding���. But what principles can guide metadesigners in balancing anticipation, participation and emergence in specific contexts, and thus creating and nurturing ���good seeds���?+

                    The product of the activities entailed by the MDS framework is called â���œseedingâ�����. But what principles can guide metadesigners in balancing anticipation, participation and emergence in specific contexts, and thus creating and nurturing â���œgood seedsâ�����?-

                    In collaboration with Prof. Daniela Fogli (University of Brescia, Italy), we have conducted an empirical evaluation on the success and failure stories of the systems developed at Center for LifeLong? Learning & Design (L3D), University of Colorado at Boulder in the last 10 years. The goal was to identify criteria for the creation of ���good seeds���.+

                    In collaboration with Prof. Daniela Fogli (University of Brescia, Italy), we have conducted an empirical evaluation on the success and failure stories of the systems developed at Center for LifeLong? Learning & Design (L3D), University of Colorado at Boulder in the last 10 years. The goal was to identify criteria for the creation of â���œgood seedsâ�����.-

                    We have come to the (initial) conclusions that for ���clearly coupled domains��� (i.e. domains in which practices show a high degree of task certainty and controllability��such as safety-critical domains) the seeding process must begin with the anticipation of current and future needs (���design by anticipation��� has here more weight). For ���loosely coupled domains��� (i.e. domains characterized by a high degree of task uncertainty, freedom and diversity of cognitive control��such as the creative practices) the seeding process must begin with the activation of interaction and communication channels, social paths and the introduction of affective mechanisms (���design by emergence��� has here more weight). In between there are those domains requiring that the seeding process begins with the involvement of participants in the externalization of current and future needs (���design by participation��� has here more weight). Note that for clearly coupled domains the creation of a usable and malleable artifact comes first and then communication and interaction processes are necessary to encourage and support participants��� engagement over long periods of time, whereas for loosely coupled domains communication and interaction among participants come before participants��� engagement in the construction of new artifacts.+

                    We have come to the (initial) conclusions that for â���œclearly coupled domainsâ����� (i.e. domains in which practices show a high degree of task certainty and controllabilityâ€��such as safety-critical domains) the seeding process must begin with the anticipation of current and future needs (â���œdesign by anticipationâ����� has here more weight). For â���œloosely coupled domainsâ����� (i.e. domains characterized by a high degree of task uncertainty, freedom and diversity of cognitive controlâ€��such as the creative practices) the seeding process must begin with the activation of interaction and communication channels, social paths and the introduction of affective mechanisms (â���œdesign by emergenceâ����� has here more weight). In between there are those domains requiring that the seeding process begins with the involvement of participants in the externalization of current and future needs (â���œdesign by participationâ����� has here more weight). Note that for clearly coupled domains the creation of a usable and malleable artifact comes first and then communication and interaction processes are necessary to encourage and support participantsâ���™ engagement over long periods of time, whereas for loosely coupled domains communication and interaction among participants come before participantsâ���™ engagement in the construction of new artifacts.-

                    IV. Examples of ���good seeds���

                    
                    

                    In my presentation I will provide two examples of ���good seeds���. The first is called MAPS, a participative system created to engage the caregiver community in the design of scripts and services supporting people with cognitive disabilities. The second is called MUVI, a participative system created to engage the local community of Lombardia in the collection, preservation and collective interpretation of the region���s historical records (from family albums to oral histories).+

                    IV. Examples of â���œgood seedsâ�����

                    
                    

                    In my presentation I will provide two examples of â���œgood seedsâ�����. The first is called MAPS, a participative system created to engage the caregiver community in the design of scripts and services supporting people with cognitive disabilities. The second is called MUVI, a participative system created to engage the local community of Lombardia in the collection, preservation and collective interpretation of the regionâ���™s historical records (from family albums to oral histories).-

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