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Empathise - help define problems

Define - underline verb (adj)

Ideate - come of alot of ideas

Prototype - sparks a new idea

Test - test the prototype

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Task one - Approaches to measuring creativity (Reading)

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Task one - Approaches to measuring creativity (Reading)

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I defined creativity is the ability to create our original ideas and solutions throughout dynamic interaction like person, process, product and press. The author help me to define creativity by highlights the diverse nature of creative expression, manifesting across people and environments.

Person is the personality traits like motivation, risk-taking, experiencing. Process is the creativity view preparation, cultivation, etc. influencing emotional processes. In product, creativity defines the unique and values of the product, whether it's art or a new concept of art. Press is the environmental factors such as social dynamics, education, and culture, recognize that is not occur in shapes or vacuum, but shaped by the context which is nourish.

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Notes from in class activities and discussions

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Notes from in class activities and discussions

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Introduction: (Paul Rand)

Creative ideas is the aesthetic, creative ideas need to be useful, to have some values. Paul Rand one said "Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge. Aesthetics and economics, technology and psychology are intrinsically related to the process.".

https://www.brainyquote.com/quotes/paul_rand_542775

https://www.paul-rand.com

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Introduction: (Margaret Boden)

There are 3 types of creativity: Combinational, Exploratory, Transformational.

Combinational - the process of combining well-known concepts in novel and exciting ways.

Exploratory - can create products with high value structures and ideas, often involves changing a traditional style to evaluate its potential and limitations.

Transformational - involves greater transformation and deeper diversification in artistic direction.

https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf&doi=120eb04b9b69b5f892904a2f6870b8c04cb33f82

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Introduction: (Mihaly Csikszentmihalyi)

Creativity is many ways a social construct. Value of creativity require external assistance and personal persistence.

https://www.researchgate.net/publication/333889898_Creativity_flow_and_the_psycology_of_discovery_and_invention

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Note from Andrew Price's talk The Habits of Effective Artists

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Note from Andrew Price's talk The Habits of Effective Artists

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From the talk, Andrew Price trying to say the first task about daily work is that spend some time to do things you like to achieve the goals that's why many famous artists/writers spend their freetime do achieve things that they want to do. 2nd is volume, not perfection is about most artist have affliction, being perfectionist to undermind our growth, his point is that if a perfectionist then not be able to get to the next big epiphany. On the 3rd is Steal that is most artist recommend stealing, to be steal like an artist. In number 4 conscious learning, it means practice everyday to make a perfect product. And then number 5 is Rest, the way to remove from work, the strategy that most professional artists use, having the rest period is very important. 6 is get feedback, that all famous artists seek feedback more than anyone, there won't be any persecution because they are sincere answers, and that's what can help people succeed. 7 is create what you love. In here one aspect of art that is frequently neglected is motivation. We often assume that exceptional artists can create anything they set their minds to, one of the few professions where you may pursue your passions is art.

https://youtu.be/vM39qhXle4g?si=1O5WrKlxFDsx4OUF

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Perrin Ellis on Art, Design and Craft "making", "planning", "shaping"

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Perrin Ellis on Art, Design and Craft "making", "planning", "shaping"

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Art: sometimes called visual art, it's weird because not all art are visual, so sometime called fine art.

Design: doesn't really mean a separate discipline, just a kind of grammar. Mostly professional designers not making one-off, a unique thing artists traditionally tend to do. Sometime called applied art, because art works for living, can be commercial art, undertaking a task intended for replication, which may occur in numerous iterations and potentially have an infinite number of replications.

Craft: long-time historically in terms of art education and art practice, how to sell art, craft basically not art. More like the thing you do like a hobby, but not really professional, not necessary make something original, often involves things that belongs to genre.

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My opinion on the lesson is that focus on person's perspective, practice makes perfect. A sincere criticism from Perrin Ellis, who criticized the use of the word "creative" without regard to informal or academic language. Therefore, he emphasized the need for a more rigorous vocabulary to discuss design and art to convey personal values ​​in an individual's work. Andrew Price and Perrin Ellis vision on art, design, craft, emphasize the importance of cultural awareness and disciplined creativity. Ellis advocates connecting designers through historical and cultural references related to their work. This creates the development of a very good socially aware designers who make strong, positive contributions through their designs.

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Notes from in class activities and discussions

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Notes from in class activities and discussions

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Design and Thinking documentary

In the video, it applies design principles to face with diverse challenges, making it a adaptive fool for various industries, innovative solutions beyond traditional methods. It emphasize the importance of prototype and test, highlights how failing quickly can lead to successful outcomes. It also focus on the overall experiences, challenging the notion that creativity is inherent. Allow users to customize the experiences, indicate that should be a priority in design.

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In the video offers many paths, focusing on emotional connections, unrelated in the moment, clearly defined goals in a brief helping guide the creative process, renew. Additionally, understanding the cultural context and emotional motivation behind a project will enrich the creative process and outcome.

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Notes from design ethnography/Design anthropology research and ideation

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Notes from design ethnography/Design anthropology research and ideation

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In the article, ethnography means the study of the future, design ethnographers use many different characteristics in their work. Researchers understand human life and values. Analyze artifacts to understand people's needs and language. Anthropology means observing people navigating social norms around the use of technology, which points to the need for robust processes in any study of culture.

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A still from the movie 'Kitchen Stories', about Swedish home scientists carrying out observational studies in consumers' homes in the 1950s.

Predicting what will work best for users requires a deep understanding of their needs. Research methods like focus groups and surveys have obvious face validity but they continually fail to provide the insights that design teams need in product discovery. The reason is that these techniques require users to predict their future behaviour, something that people are poor at doing.

An alternative method is to examine what people do, rather than what they say they do. This approach is based on a simple premise: the best predictor of future behaviour is past behaviour. What people do is a better indicator of the underlying user need than what people say.

To avoid simply asking users what they want, user researchers have appropriated methods from ethnography and applied them to user research. This technique is broadly known as 'design ethnography' but it differs in important ways from traditional ethnography.

What is ethnography?

Ethnography is the study of culture. Branislaw Malinowski, who studied gift giving amongst natives in Papua, wrote:

'The final goal is to grasp the native's point of view, his relation to life, to realise his vision of his world'.

Replace the word 'native' with the word 'user' or extend the metaphor and think of your users as a 'tribe' and you can see why this approach could offer value in product and service design.

Some of the defining characteristics of ethnography are that:

Research takes place in the participants' context.

Participant sample sizes are small.

Researchers aim to understand the big picture: participants' needs, language, concepts and beliefs.

Artefacts are analysed to understand how people live their lives and what they value.

Data is 'thick', comprising written notes, photographs, audio and video recordings.

To some degree or another, design ethnographers appropriate each of these characteristics in the work that they do.

In addition to Branislaw Malinowski, other examples of ethnography include:

Margaret Mead, who studied 'coming of age' rituals in Samoa.

Sudhir Venkatesh, who embedded himself with Chicago drug gangs to understand drug culture.

Matthew Hughey, who spent over a year attending the meetings of a white nationalist group and a white antiracist group.

So how does design ethnography differ from traditional ethnography?

It's a struggle to use a traditional ethnographic approach in modern product development, mainly because of the timescales. That's not to say it's impossible: Jan Chipchase (who specialises in international field research) says he spends half the year travelling around exotic destinations. But most people who practice design ethnography in business would agree with these distinctions:

The purpose of traditional ethnography is to understand culture. The purpose of design ethnography is to gain design insights

The timescale of traditional ethnography is months and years. The timescale of design ethnography is days and weeks.

Traditional ethnographers live with participants and try to become part of the culture. Design ethnographers are visitors who observe and interview.

With traditional ethnography, data are analysed in great detail over many months. With design ethnography, there is 'just enough' analysis to test the risky assumptions.

The findings of traditional ethnography are shared in books and academic journals. The findings from design ethnography are restricted to a team or an organisation.

How should you approach design ethnography?

Instead of asking people what they want, with a design ethnography approach the user researcher tries to discover why people want those things. Through observation and interview, they answer questions like these:

What goals are users trying to achieve?

How do they currently do it?

What parts do they love or hate?

What difficulties do they experience along the way?

What workarounds do they use?

You answer these questions by observing users and interviewing them.

As someone who spent several years on a single research project in the Trobriand Islands, we don't know what Malinowski would think of the compromises made in design ethnography. Our view is that, if we liken traditional ethnography to a prize heavyweight boxer, then design ethnography is more akin to a street fighter. It doesn't follow all of the rules but it gets the job done. That's usually acceptable for most design projects but be aware that too much compromise can jeopardise the quality of your results. Let's look at some of the ways we've seen that happen.

Avoiding some common mistakes

When we work with companies and we suggest a design ethnography exercise, we often hear, "But we already do that."

It's true that most companies carry out some up-front customer-focused field research activities (that are different to their traditional market research). They often dub it "insights research" done by their Insights Team or by their Innovation Team.

But these activities frequently amount to nothing more than going to a customer site to carry out the same interviews or surveys the team would normally do out of context, with little to no observation of behaviour taking place. We've even seen it done with 'concept testing' where researchers write a descriptive paragraph of their idea and ask respondents to read it and say what they think to it - which has to be the worst kind of customer research imaginable.

The consequence of this is that development teams often set out creating the wrong product or system. The team continues blindly on until the UX team get involved and usability test it. Now the development team gets to see real users at work, at which point they suspect they have built the wrong concept. But now the team is too far along in development and too wedded to their idea to pivot.

The mistakes we see most often are:

Doing research in the field - but doing the wrong kind of research.

Not knowing what is and what is not data (because there is no focus) so user opinions and comments are prioritised over user behaviour.

Not sending experienced field researchers - instead sending people familiar with interviewing only.

Doing it after the company has already decided what the design solution is going to be - therefore looking only for confirmatory evidence and missing other opportunities.

If you would like to avoid these mistakes and find out more, we're running a two day course on design ethnography in May.

About the author

Dr. David Travis (@userfocus on Twitter) is a User Experience Strategist. He has worked in the fields of human factors, usability and user experience since 1989 and has published two books on usability. David helps both large firms and start ups connect with their customers and bring business ideas to market. If you like his articles, why not join the thousands of other people taking his free online user experience course?

Dr. Philip Hodgson (@bpusability on Twitter) holds a B.Sc., M.A., and Ph.D. in Experimental Psychology. He has over twenty years of experience as a researcher, consultant, and trainer in usability, user experience, human factors and experimental psychology. His work has influenced product and system design in the consumer, telecoms, manufacturing, packaging, public safety, web and medical domains for the North American, European, and Asian markets.

If you liked this, try...

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A common mistake made by novice researchers is to ask users what they want from a new product or service. Although this seems like the correct way to do user research, in most cases users don't know, don't care or can't articulate what they need.

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Human-Centred Design & Decentering Design Quantified Cat/Phenology Clock

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Human-Centred Design & Decentering Design Quantified Cat/Phenology Clock

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Based on the article, it approach human needs, preferences, and behaviors forefront of the design process. Nancy et al. (2017) noted that decentering the human doesn't imply putting animal or other viewpoints at the forefront of design process or ignoring human perspectives. According to Nancy et al., (2017) (p. 1719), "the cohabitation of humans and big cats in major cities around the world presents us with a conerete example of hybidity described earlier, in particular that ecosystems are relational achievements". According to Nancy et al., (2017) (p. 1722), "the Phenology Clock advocates for such a sensibility because the data presented within can be specific to individual cities although it has broader global implication for understanding climate change".

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2. The transport I use when I go to school from Wednesday and Friday is by walking. I walk for only 5 minutes. The distance is around 220m from my place to the school. The purpose is that to go to school.

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Ambiguous problems are complex problems that require innovative thinking. The bridge illustrates the concept of inquiry and reflection, encouraging people to dive deeper. The bicycle has a simple and effective design that represents an elegant solution to transportation challenges, balancing functionality and user experience. Coca-Cola is a brand marketing strategy that shares experiences and moments of joy, illustrating how effective design and branding can create strong consumer loyalty and engagement.

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Notes from in class activites and discussions

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Notes from in class activites and discussions

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Introduction:

Eleni Kalantidou on Worldviews

In the video lecture, worldview is a compassing viewpoint include values and beliefs, ideas that shape their perspectives, choices, and relationships. We see the world by a framework, or ontology, is necessary to understand reality, giving it a special significance and meaning.

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The difference between the Indigenous Art and Western Art is that shedding light on this extraordinary connection between cultural narratives, spirituality and landscape in Australian Indigenous art contrasts with that of the West, once again stylizing the expression of individualism and the aesthetic innovations of the message conveyed - is the artwork "Dream Snake Carpet" by Clifford Possum Tjapaltjarri.

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ArtMastered — 1. Clifford Possum Tjapaltjarri, Carpet Snake and...

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Found on Google from artmastered.tumblr.com

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Ontological Designing - Ann-Marie Willis

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Ontological Designing - Ann-Marie Willis

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Ontological Designing is the action of incoporating design ontology, in that it provides a first-order notion of the meaning of design as a process of configuring experience, reality, and the future of social cooperation. We design our world, while our world acts back on us and designs us. We are not just build, we create things. A hermeneutics of design concerned with the nature and of the agency of design, which understands design as a subject decentred practice, acknowledging that thing as well as people design and following on from this.

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We have to learn our own national thing. All places have limited ending (no beginning or end). Maps make the world by represent of reality, culture narratives, data visualization, etc.

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Free the map: creative, artistic and democratic mapmaking | Henk van Houtum | TEDxYouth@Maastricht

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Reading: A phenomenological approach to architecture

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Reading: A phenomenological approach to architecture

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In the article, rational worldviews and phenomenology of design influenced rationalist architecture that favors logical reasoning and function which would introduce phenomenological elements into human experience and perception , where it all needs to be balanced for effective design.

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In the video talks about designers to sustain, connects them to their culture, practices ethical design, and educates them on how to create far-reaching designs. From these concerns arose the idea of ​​creating a legacy. Benefits for designers in the future from this video is innovation, sustainable practices, long-term impact, cultural relevance, etc.

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Architectural nerd Tim Ross travels the length and breadth of the country seeking an alternate story of Australia; one that shows how great design better connects us to place - and to each other.

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Reading: Task 4 - Notes from "Thingking"

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Reading: Task 4 - Notes from "Thingking"

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Think is a kind of a thing, in the article, the authors bringing the ideas closely to the interaction between creativity, craftsmanship and critical thinking in design education at RSD, whereby it significantly underscores "critical making." The key themes are the role of materials, community and context, etc.

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Notes from in-class activities and discussions

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Notes from in-class activities and discussions

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Introduction: Creative Thinking vs Critical Thinking

View the look from different perspectives, creative thinking think like a complementary skills which use in different stages when trying to solve a problem. While critical thinking effects from thinking technique is the socratic method, based on asking and answering questions.

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In the article, the author trying to say that it involves the close reading of texts in order to demonstrate any given texts, deconstruction is a key critical literary theory based on the teachings of Jacques Derrida, pioneered by its challenge of binary oppositions throughout Western thought, thus exposing its contradictions. Conflicts in texts are often considered unified wholes so that many different, mostly contradictory, meanings can appear.

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Deconstruction involves the close reading of texts in order to demonstrate that any given text has irreconcilably contradictory meanings, rather than being a unified, logical whole. As J. Hillis Miller, the preeminent American deconstructionist, has explained in an essay entitled Stevens' Rock and Criticism as Cure (1976), "Deconstruction is not a dismantling of the structure of a text, but a demonstration that it has already dismantled itself. Its apparently solid ground is no rock but thin air."

Deconstruction was both created and has been profoundly influenced by the French philosopher Jacques Derrida. Derrida, who coined the term deconstruction, argues that in Western culture, people tend to think and express their thoughts in terms of binary oppositions (white / black, masculine / feminine, cause /effect, conscious /unconscious, presence / absence, speech writing). Derrida suggests these oppositions are hierarchies in miniature, containing one term that Western culture views as positive or superior and another considered negative or inferior, even if only slightly so. Through deconstruction, Derrida aims to erase the boundary between binary oppositions-and to do so in such a way that the hierarchy implied by the oppositions is thrown into question.

Although its ultimate aim may be to criticize Western logic, deconstruction arose as a response to structuralism and formalism. Structuralists believed that all elements of human culture, including literature, may be understood as parts of a system of signs. Derrida did not believe that structuralists could explain the laws governing human signification and thus provide the key to understanding the form and meaning of everything from an African village to Greek myth to a literary text. He also rejected the structuralist belief that texts have identifiable "centres" of meaning-a belief structuralists shared with formalists.

Formalist critics, such as the New Critics, assume that a work of literature is a freestanding, self-contained object whose meaning can be found in the complex network of relations between its parts (allusions, images, rhythms, sounds, etc.). Deconstructionists, by contrast, see works in terms of their undecidability. They reject the formalist view that a work of literature is demonstrably unified from beginning to end, in one certain way, or that it is organized around a single centre that ultimately can be identified. As a result, deconstructionists see texts as more radically heterogeneous than do formalists. Formalists ultimately make sense of the ambiguities they find in a given text, arguing that every ambiguity serves a definite, meaningful, and demonstrable literary function. Undecidability, by contrast, is never reduced, let alone mastered in deconsctruction. Though a deconstructive reading can reveal the incompatible possibilities generated by the text, it is impossible for the reader to settle on any permanent meanings.

Deconstruction is a poststructuralist theory, based largely but not exclusively on the writings of Derrida. It is in the first instance a philosophical theory and a theory directed towards the (re)reading of philosophical writings. Its impact on literature, mediated in North America largely through the influences of theorists at Yale University, is based
1) on the fact that deconstruction sees all writing as a complex historical, cultural process rooted in the relations of texts to each other and in the institutions and conventions of writing, and 2) on the sophistication and intensity of its sense that human knowledge is not as controllable or as convincing as Western thought would have it and that language operates in subtle and often contradictory ways, so that certainty will always elude us.

Categories: Linguistics, Literary Criticism, Literary Theory, Uncategorized

Tags: Deconstruction, Jacques Derrida, Roland Barthes, Stevens' Rock and Criticism as Cure

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Deconstruction involves the close reading of texts in order to demonstrate that any given text has irreconcilably contradictory meanings, rather than being a unified, logical whole. As J. Hillis Miller, the preeminent American deconstructionist, has explained in an essay entitled Stevens' Rock and Criticism as Cure (1976), "Deconstruction is not a dismantling of the structure of a text, but a demonstration that it has already dismantled itself.

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Critical Design Practice is an approach that challenges assumptions, values, and contexts - the social, cultural and ethical implications of design rather than just functionality and commercial viability. The key aspect in this picture is speculative design, provocation, use engagement, etc.

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A term first used by Anthony Dunne in his book, Hertzian Tales (1999), referring to an attitude toward design rather than a movement or method. It follows in the footsteps of other practices (like Radical Design in Italy and avant-garde British architecture of the late 1960s and early 1970s) that have regarded design as a way to pose incisive questions, challenge the status quo, and think deeply about the possible future consequences of present choices. Critical Design is speculative, conceptual, provocative, and can be darkly satirical. It does not always lead to usable products, but it does produce long-term thinking, a nuanced view of consumers as complex, contradictory individuals, and alternative solutions suggesting that change is always possible, even inevitable.

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A term first used by Anthony Dunne in his book, Hertzian Tales (1999), referring to an attitude toward design rather than a movement or method. It follows in the footsteps of other practices (like Radical Design in Italy and avant-garde British architecture of the late 1960s and early 1970s) that have regarded design as a way to pose incisive questions, challenge the status quo, and think deeply about the possible future consequences of present choices.

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According to the authors of The Art of Critical Creation from The Rhode Island School of Design, hands-on creative activity must be integrated with critical thinking in design education. They define "critical making" as that which has to do with physical making with mindful reflection as enrapturing the students more within the realm of materials, processes, and concepts, community and context, preparation for Future Challenges, etc.

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I learnt from this lesson that the design process would be richer with this sort of hands-on creative practice combined with critical thinking. The idea of "matter-making" has it that making is not necessarily resulting in material products but happens by working with materials, reflecting on what making meant in the context of design decisions, and often, understanding the larger context in which those decisions are made. Benefits for the future is that critical thinking skills, social responsibility, have creativity, etc.

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Said-Metwaly, S., Noortgate, W. V. den, & Kyndt, E. 2017. Approaches to Measuring Creativity: A Systematic Literature Review. Creativity. Theories – Research - Applications, 4(2), 238–275.

Boden, Margaret A. 2010. Creativity and Art: Three Roads to Surprise. Oxford, UK: Oxford University Press.

Somerson, Rosanne, Hermano, Mara, & Maeda, John. 2013. The art of critical making: Rhode Island School of Design on creative practice. John Wiley & Sons.

Caputo, J.D.: 1997, Deconstruction in a Nutshell. A Conversation with Jacques Derrida (Edited with a Commentary by John D. Caputo), Fordham University Press, New York.

Csikszentmihalyi, Mihaly. 1996. Creativity: Flow and the Psychology of Discovery and Invention. New York: Harper Collins.

Resources to follow up

Reitsma, Lizette, Ann Light, Tariq Zaman, & Paul Rodgers. 2019. "A Respectful Design Framework. Incorporating Indigenous Knowledge in the Design Process." The Design Journal 22 (1): 1555-1570.

Martin, K., & Mirraboopa, B. 2003. Ways of knowing, being and doing: A theoretical framework and methods for indigenous and indigenist re-search. Journal of Australian Studies, 27(76), 203–214.

Willis, Anne-Marie. 2006.  “Ontological Designing.” Design Philosophy Papers 4, no. 2: 69–92.

Bognar, Botond. “A Phenomenological Approach to Architecture and Its Teaching in the Design Studio.” In Dwelling, Place and Environment: Towards a Phenomenology of Person and World, edited by David Seamon and Robert Mugerauer, 183–97. Dordrecht: Springer, 1985.

Edmans, Alex. 2020. The Skill of Critical Thinking. An ABC Big Ideas podcast

Malpass, Matthew. 2017. Critical design in context: History, theory, and practices. Bloomsbury Academic.