Author Archives: aparsons474

RELATED TERMS: Rodgers, Inella and Bremner (2017) discuss seven paradoxes of design practice, which they characterise as follows: Design is very undisciplined as a discipline The easier it becomes to design, the harder it is to design Design has become impoverished by the claim that good design equals good business The originality claimed by designContinue reading “Design Paradoxes”

**RELATED TERMS: ** Design practices, because they have strong conceptual, theoretical and critical components, may be able to learn from the strategies and techniques of conceptual art. As an art movement, conceptual art arose in the mid-1960s, its influence remaining strong until the mid-1970s before waning. Even so, some artists continue to make conceptual artContinue reading “Conceptual Art”

RELATED TERMS: Interaction; Interaction design; Taxonomy Paul Dourish (2004) brings to attention Matthew Chalmers’ observation that computer science is based on philosophical assumptions and arguments that were prevalent before the 1930s. Dourish continues, “Computer-science in practice involves reducing high-level behaviors to low-level, mechanical explanations, formalizing them through pure scientific rationality; in this, computer science revealsContinue reading “Computer Science”

RELATED TERMS: Design Practice and Functionalism; User-Centred and User-Driven Design As defined by Koskinen and Thomson (2012: 77) co-design is a community centred methodology that designers use to enable people who will be served by a designed outcome to participate in designing solutions to their problems. This assumes a utilitarian, design-as-problem-solving approach. It should beContinue reading “Co-Design”

RELATED TERMS: Filmmaking; Theoretical practice; Apparatus – Dispositif; Rhythm David Macey (2000: 252) informs us that the French film theorist Christian Metz, in his later work, expands on the distinction that he made between film and cinema. He defines cinema as the extra-filmic apparatus of an industry, but also all the psychological forces that makeContinue reading “Cinema and Film Theory”

RELATED TERMS: Apparatus – Dispositif; Body; Politics and the political; Disciplinary societies and Societies of control; Psychopower The term biopolitics or biopower is defined by Foucault (2007: 16) as, “the set of mechanisms through which the basic biological features of the human species became the object of a political strategy, of a general strategy of power,Continue reading “Biopolitics and Biopower”

RELATED TERMS: Objects and Events; A design ‘is’ what it ‘does’. Although constituted by materiality in the form of ‘objects’ and ‘things’, a design ‘takes place’ as an ‘event’ in a situation. It ‘happens’, in a particular place, at a particular time for particular people. One could argue, and it is only an argument, thatContinue reading “Being, Doing, Having”

RELATED TERMS: Agonism and Avant-Gardism; Aleatory; Alienation Effect (Verfremdungseffekt); Critical Theory; Defamiliarisation; Design of Narrative Environments; Dissensus – Ranciere; Distribution of the Sensible – Ranciere; Epic Theatre – Brecht; Feminist Avant-Garde Art Practices; Happenings; Methodology and Method; Modernism; Modernism and Avant-Garde Art Practices; Modernity; Ontological Metalepsis; Research Methodologies; Sabi and Wabi-Sabi; Situationist International; Theatre ofContinue reading “Avant-Garde Movements”

RELATED TERMS: Intertextuality; Intersemioticity In the context of design practices, the concept of authorship is troubled, in part because the purity of the kind of ‘authorship’ that pertains to the writer of a book, as sole author, and the kind of ‘authority’ which accrues to such an author over time, does not often apply toContinue reading “Author, Authority”