making place for design and creativity

1. making place for design and creativity pelle ehn school of arts and communication (k3) malmö university, sweden

2. MIT Technical Review 1985 • ‘So the impact of UTOPIA is continuing to expand, and the idea that workers and their unions have an important role in the design of new technology is reaching a wider and wider audience. Today Scandinavia, tomorrow, perhaps, the rest of the world.’

3. design-by-doing:mock-ups and prototyping

4. design by playing

5. participation design by participation

6. to follow a rule in practice -creative transcendence of rule following behavior “To be able to follow a rule is to have learned how to in practice continue an example we have been given. Mastery of the rules puts us in a position to invent new ways of carrying on. There is always the possibility that we can follow a rule in a wholly unforeseen way. Tradition and transcendence, this is the dialectical foundation of design.” 3

7. Wittgenstein, Dewey, Schön design as creative activity • participation as epistemological category • experience as foundation for design

8. creativity support tools -->support for design practices transformation and circulation of ”objects” performative interaction and embodiment (”patterns”) for appropriation and place making

9. ATELIER – Architecture & technology for inspirational learning environments

10. inspirational learning environments • dedicated physical space for activating, manipulating, combining and assembling representational objects of mixed media origion • inspirational resources: images, music, film, everyday objects, samples of materials, etc

11. design work 1:descriptions --> transformation and circulation of ”objects”

14. configurable components or inspirational patterns ?

15. texture painter

16. tangible image query

17. tangible archive

18. design work 2:process and method --> performative interactions and embodiment

20. tracking game table

23. interactive stage

24. design work 3:usability -->(”patterns” for) appropriation and place making

25. configurability for appropriation

26. appropriation by combining ”patterns”

27. unanticipated appropriation

28. • the transient and ephemeral • materiality and the diversity of materials and representations • creative density • re-programming and the ‘different view’ • experience of dimensionality and scaling • performative interaction • forging connections/multiple travels • configurability • narrativity • tempo and rhythm from a predefined list of evaluation criteria to an evolving set of domain specific (inspirational) design qualities

29. creative density: an inspirational design quality? (Friederike Mayröcker) 13

30. Both art and design at last seem like meeting, across the Cartesian split of mind from body, to enable us to find a new genius collaboration not in the making ofproducts and systems and bureaucracies but in composing of contextsthat include everyone, designers too.To be a part.To find how to make all we do and thinkrelate to all we sense and know,(not merely to attend to fragmentsof ourselves and our situations).It was a question of where to put your feet.It became a matter of choosing the danceNow its becomingNo full stop chris jones