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In design, the term environment often refers to the context or setting in which a design exists, interacts, or is experienced.

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The visual ecosystem in which a design is placed, such as a website, poster, app interface, or advertisement.

It considers elements like layout, typography, colors, and the relationship between objects in the design space.

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In design, an image is a visual representation that communicates ideas, emotions, or messages. It plays a crucial role in enhancing the aesthetics, functionality, and storytelling of a design.

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Participation in design refers to the involvement of stakeholders, users, or collaborators in the design process. It ensures that the design meets the needs, expectations, and values of those it is intended for.

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Performance in design refers to how well a design functions, meets its objectives, and fulfills user or stakeholder needs. It is a critical factor in determining the effectiveness and success of a design across various disciplines.

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Speculation in design refers to the exploration of ideas, concepts, or futures that go beyond the practical or immediately achievable. It is a creative and critical approach used to challenge assumptions, imagine possibilities, and inspire innovation

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Vertical Forest Milan

Environment in design refers to the physical, digital, or conceptual space in which a design exists and interacts. It encompasses the context, surroundings, and factors that influence how a design is perceived, experienced, or utilized.

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Humans sometimes justify their choices after the fact. The line of reasoning goes something like this: “I chose this, so I must like it. I didn’t choose this other thing, so it must not be so good.” In fact, decades of cognitive science research and centuries of philosophical and scientific postulations suggest that humans unconsciously decide to like (or dislike) something based on previously made choices.

But Lisa Feigenson, a co-director of the Johns Hopkins University Laboratory for Child Development, wanted to understand the roots of this tendency. She and her team gathered up some young subjects — non-verbal 1-year-olds — to determine if this shaping of preferences begins in early life. Because babies get so few choices and come pretty close to being a blank slate, Feigenson says, they make for the perfect subjects.

What they found is that the preferences we have as adults may be based on random decisions we made when we were very young. The results of this research were published in Psychological Science in 2020. “It’s actually the choice that comes first, and in a sort of random way,” Feigenson says. “And, actually, our preferences get built up based on our choices.”

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Association for Psychological Science - APS

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Humans sometimes justify their choices after the fact. The line of reasoning goes something like this: “I chose this, so I must like it. I didn’t choose this other thing, so it must not be …

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“How did I get here?” And the answer, he says, “I drove here, and if I did drive myself here I can drive myself out of here”. — Christopher Gardner.

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Over the years I have been thinking about how there people who seem to be living the lives they want while others are not. Subsequently…

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The Value of Randomness in Art and Design

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The Value of Randomness in Art and Design

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Imagine a situation in which a design student is asked “why is that shape green?” and the response is “that green color was generated randomly.” This application of randomness is most often an indicator of a design fallacy. Just as ancient courts used random drawings to make judicial decisions, randomness here involves an implicit suggestion that because a value was unauthored, it should be immune from criticism. Although most designers are probably not associating the computational pseudo-random number generating function with (the) God(s) the same way Talmud explains divination in the story of Achan, the result is similar: randomness is fair and good because it’s completely unbiased and free from influence by any contextual factors. “It’s green because it’s random” or the “Lord must know you are guilty because you lost the lottery” somehow seems better than “it’s green because I like the color green” or “he’s guilty because he looks guilty.”

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The Value of Randomness in Art and Design

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Computational complexity theory is perhaps the hottest topic currently in theoretical computer science. Computational complexity addresses the computational resources needed for an algorithm to accomplish its task. The big question in computational complexity is whether the polynomial-time algorithms coincide with the non-deterministic polynomial-time algorithms-whether P equals NP (see Garey and Johnson, 1979). This is a question of time-complexity. The resource is time and the question is whether the problems in NP can be solved in polynomial time. But time is not the sole computational resource. Space, or equivalently memory, enters as well. How much memory is needed to solve a given problem? This too becomes a major consideration. In the construction of efficient algorithms, time-memory tradeoffs must always be kept in mind. Thus a polynomial-time algorithm may require too much memory to be practicable, whereas a program requiring little memory may run interminably.

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Randomness entails no moral deficiency. Random number generators must be constructed with reckless abandon — though a reckless abandon that is well thought out. Randomness, properly to be randomness…

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The Art of Randomness: Sampling and Chance in the Age of Algorithmic Reproduction

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The Art of Randomness: Sampling and Chance in the Age of Algorithmic Reproduction

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Across artistic mediums and throughout history, randomness has been a powerful muse for catalyzing human creativity. The author Pliny the Elder wrote of the Greek artist Protogenes drawing inspiration from a chance dab of a sponge (Pliny the Elder, 1991), the 8th-century calligrapher Zhang Xu would use his own hair as a brush during drunken episodes (Zhang Xu Calligraphy, 2024), and the artist Leonardo da Vinci, in his 1651 Treatise on Painting, advised to seek inspiration in “stained walls” (daVinci, 1956). The benefit of inspiration from randomness is clear: it helps us break out of our own minds and biases to sample more widely from the full range of possibility.

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The Art of Randomness: Sampling and Chance in the Age of Algorithmic Reproduction

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Column Editor’s Note: In this exploration of AI and creativity, the authors tackle the big question: Is AI turning us all into predictable parrots, or can we teach these ‘stochastic birds’ to sing a more varied tune? By tracing a historical tradition of artists who have embraced randomness, Johan Ugander and Ziv Epstein reveal how leaning into AI’s inherent stochasticity might just be the key to breaking out of the creative cage in this Recreations in Randomness column article.

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According to rational-actor theory, people weigh their choices by their possible results and select the one that promises the most benefits (Schillinger, 2019).

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Why use randomness and chance in design?

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Why use randomness and chance in design?

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Randomness and chance can help you break out of your habitual ways of thinking and designing, and stimulate your creativity and curiosity. They can also help you generate unexpected and original ideas, explore new possibilities and combinations, and challenge your assumptions and expectations. Randomness and chance can also add variety, diversity, and richness to your design outcomes, and create a sense of surprise, intrigue, and delight for your audience.

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How can you incorporate randomness and chance in your design process?

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Learn how to incorporate randomness and chance in your design process and boost your creativity, quality, and experience. Find out the benefits and challenges of using randomness and chance in design.

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Randomness as an element is linked with logic in interesting and profound ways that reflect human psychology (Grof, 2019).

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“The Drunkard’s Walk: How Randomness Rules Our Lives” by Leonard Mlodinow

“Fooled by Randomness: The Hidden Role of Chance in Life and in the Markets” by Nassim Nicholas Taleb

“Thinking, Fast and Slow” by Daniel Kahneman

“The Black Swan: The Impact of the Highly Improbable” by Nassim Nicholas Taleb

“Generative Design: Visualize, Program, and Create with Processing” by Hartmut Bohnacker, et al.

“Art and Fear: Observations on the Perils (and Rewards) of Artmaking” by David Bayles and Ted Orland

“Designing for Emotion” by Aarron Walter

“Probability Theory: The Logic of Science” by E.T. Jaynes

“How Not to Be Wrong: The Power of Mathematical Thinking” by Jordan Ellenberg

“The Signal and the Noise: Why So Many Predictions Fail—but Some Don’t” by Nate Silver

“Predictably Irrational: The Hidden Forces That Shape Our Decisions” by Dan Ariely

“Superforecasting: The Art and Science of Prediction” by Philip E. Tetlock and Dan M. Gardner

“The Myth of Sisyphus” by Albert Camus

“The Book of Why: The New Science of Cause and Effect” by Judea Pearl and Dana Mackenzie

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Cognitive Psychology

Design Studies

The Journal of Creative Behavior

The Annals of Probability

Journal of the American Statistical Association

WIRED Magazine

Fast Company (Design Section)

Aeon Magazine

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Introduction

Objective: Introduce the topic and provide a roadmap for the essay.

Body

Objective: Discuss how randomness and logical reasoning interact in decision-making.

Objective: Explore how randomness is intentionally or unintentionally used in creative and design processes.

Objective: Analyze how randomness and logic coexist and are balanced in decision-making and design.

Counterarguments and Nuances

Objective: Address opposing views or challenges to your thesis.

Conclusion

Objective: Summarize and reinforce your main points.

Research and References

Editing and Refinement

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Luck vs. Logic: The Role of Randomness in Shaping Everyday Choices and Its Representation in Design

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Psychology Today: Health, Help, Happiness + Find a Therapist

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View the latest from the world of psychology: from behavioral research to practical guidance on relationships, mental health and addiction. Find help from our directory of therapists, psychologists and counselors.