It's Personal: Subjectivity in Design History

Fallan, Kjetil; Lees‐Maffei, Grace

doi:10.2752/175470715x14153615623565

Cited by 8 publications

(4 citation statements)

References 50 publications

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“…A year later, a reorganisation of our respective Schools brought colleague Francesco Mancini (originally from Italy) and I together into a newly formed School of Design and the Built Environment. Knowing little about our pedagogical, theoretical and practical interests, we embarked on semi-structured 'conversation' -as a form of self-historicization (Fallan & Lees-Maffei, 2015) to help us understand our respective worldviews. We structured our conversation around possible (shared) European histories, design and architectural practice and common ideas and values using 'influence maps'.…”

Section: Worldviews As a Differential Design Methodsmentioning

confidence: 99%

Designing Futures for an Age of Differentialism

Ely

2020

Design and Culture

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Humanity appears to be confronting an increasing number of health, economic, political, environmental and social crises which have been mainly brought about by human action itself. Whilst design has been complicit in such action, the paradigmatic strength of Design Thinking has amplified the agency of designers who now have the opportunity to reorient towards a way of designing which harnesses cultural difference to confront these crises.Drawing on Lefebvre's ideas of 'difference', Escobar's 'autonomous design' and through a process of cultural reflexivity, I propose an approach to design -differential design -as a practical endeavour which sensitively and respectfully draws upon different cultural perspectives and traditions to design for the future. I share empirical examples of three methods -'worldviews', 'generative scribing' and the application of 'rhetoric' that, modestly and pragmatically, may be used to shift the ontological perspectives of designers in the social and political project of designing equitable and empathic futures.

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Section: Worldviews As a Differential Design Methodsmentioning

confidence: 99%

Designing Futures for an Age of Differentialism

Ely

2020

Design and Culture

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“…The hindrance is that we believe we know a story, and must move past our own assumptions and familiarity, as my own inability to recall my web design experience in relation to graphic design in 1990s Japan demonstrates. Both design historians and contemporary historians have considered the advantages and disadvantages of subjectivity and its relation, proximity, for the activities of doing history (Fallan and Lees-Maffei 2015;McBride 2011). Within or nearby contemporary history we cannot see it clearly; we lack the distance prized by historians in the twentieth century as requisite to assess factors in change and continuity.…”

Section: Methods Perspectives and Challenges For Contemporary Desigmentioning

confidence: 99%

Design EducationinHigher Education

Gunn¹

2019

A Companion to Contemporary Design Since 1945

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In 1995, I spent the summer designing and building web pages in Kanazawa, a regional city in Japan. Writing and dreaming in Hypertext Markup Language (HTML), I worked alongside engineers at the region's first Internet service provider, a mid-size conglomerate, to produce promotional webpages for hotels and tourist attractions. I was not a trained designer: I had taught myself basic photography and graphic design out of interest, and thanks to a childhood spent with computers could train myself to code in HTML and to use software such as Adobe Photoshop and Illustrator. My efforts to render Kanazawa's famously succulent prawns even more enticing on tourist websites tell a story about social change: I had begun a summer internship in the conglomerate's central administrative division. As a woman, I was assigned a turquoise and white uniform and directed to stuff envelopes alongside the other young women in the administrative track, which ran alongside the career track for male university graduates. But my line manager swiftly moved me to the IT division, in a more specialized role, once my amateur computing and design skills became known, and I was offered a full-time role in the company following university graduation. It is unclear whether a Japanese woman would have been offered the same opportunity, so difficult to say whether my reassignment represented a re-evaluation of women's roles within the company, but at the very least indicates that the firm was open to foreign hires. My male colleagues' employment itself demonstrated change as well: some had postgraduate degrees, which complicated their position and

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“…A frequent source of disagreement between educators and learners pertains to the inherent subjectivity involved in the evaluation of these assignments. Given that design is fundamentally a subjective process [8], it is not unexpected that the evaluation of designs is also subjective, despite its theoretical basis. In numerous instances, it is possible for students to hold differing perspectives from their teachers regarding the incorporation (or omission) of Gestalt principles in a design.…”

Section: B Marking Of Designsmentioning

confidence: 99%

Machine learning as a feedback tool for the gestalt principle of proximity

Haskins,

Haskins

2023

iCARTi

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When teaching students about the underlying structure of images, the Gestalt Principles are frequently used. Students and teachers may not always agree on the Gestalt Principles that an image contains, making assessment activities focusing on this topic very subjective. When working with large class sizes or when using multiple markers, this subjectivity becomes more problematic. A DBSCAN-based feature generation process and a multi-layer perceptron-based model are suggested in this study for categorising images as exhibiting the principle of proximity. When classifying images as containing aspects of proximity, the model displays a high level of accuracy. The model was integrated as a component of a larger process that alters the original input images to highlight areas that demonstrate proximity. The use of these annotated images can aid in giving students feedback. However, as the model was trained on a synthetic data set, its accuracy on real-world student submissions is yet to be tested.

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It's Personal: Subjectivity in Design History

Cited by 8 publications

References 50 publications

Designing Futures for an Age of Differentialism

Designing Futures for an Age of Differentialism

Design EducationinHigher Education

Machine learning as a feedback tool for the gestalt principle of proximity

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