Economic Outlook: Here We Grow Again? Matt Croucher PhD Chief Economist Arizona Public Service Co.
There and Back Again: Design Industry to a Design PhD
41
There & Back Again Academia/Design/Academia…. Vicky Teinaki Design Interest May 2012
-
Upload
vicky-teinaki -
Category
Technology
-
view
104 -
download
1
description
Why give up a good job in the design industry to do a PhD in it? What is a PhD in design anyway? In this talk for the May Design Interest event in Newcastle I discussed what it's like (with a bit of background) and some pros and cons.
Transcript of There and Back Again: Design Industry to a Design PhD
There & Back AgainAcademia/Design/Academia….
Vicky TeinakiDesign Interest May 2012
AcAdemiA
industry
AcAdemiA
industry
BProdDes MDes
gap
Image http://www.flickr.com/photos/mutedsinger/5695037327/
BProdDes + MDes: Unitec “used to be a mental institution, AWESOME!”
How the stThe stones come in a set of eight: dhas twelve coloured buttons labellednote scale e.g. red = C. Pressing any
stone change
All other buttons are wirelessly alter(e.g. if yellow/E is selected on the mmajor). Touching any of the three so
make it sound the assigned
Singing Stones Bachelor of Product Design Final Year Thesis ProjectBronze Award BEST Awards
Aiming to fi nd an intuitive way for people to create music, Singing Stones combine Hungarian composer Zoltaire Kodaly’s moveable-do scale and colour-sound synaesthesia in an electronic product for one or many players.� e product was presented both as a non-functioning hard model and an interactive Flash demo (see interactive section).
Start by pressing the silver select button on any of the stones.
Choosing any of the coloured buttons (representing the 12 note scale) while holding down the select button ...
do
ti
la
sol
fa
mi
re
do
do...mastonup incolou
C
D
E
F
G A
B
C#/Db
D#/Eb
F#/Gb
G#/Ab
A#/Bb
Using the
stones
do
ti
la
sol
fa
mi
remi
do
ti
la
sol
fa
mi
re
do
do
Low octave
High octave
Mid octave
To make a sound, press any of the three lit up areas on each of the stones. They play the same note at different octaves (low C)
(high C)
(mid C)do
ti
la
sol
fa
mi
re
do
fa
Change key
Major or minor
Key
options
Making
sounds
Learning to play Twinkle Twinkle Little Star
C D E F G A B C D E F G A B
C# D# F# G# A#
Db Eb Gb Ab Bb
C# D# F# G# A#
Db Eb Gb Ab Bb
The use of speci! c colours for different notes mean that they can be referenced to teach scales. A coloured xylophone with the equivalent colours would be an
appropriate accessory.
twinkle
do do sol sol la la sol
fa fa mi mi re re do
sol sol fa fa mi mi re
sol sol fa fa mi mi re
do do sol sol la la sol
fa fa mi mi re re do
Twin-kle twin-kle lit-tle star
How I won-der what you are
Up a-bove the world so high
Like a dia-mond in the sky
Twin-kle twin-kle lit-tle star
How I won-der what you are
Playing
tunesdo
ti
la
sol
fa
mi
re
do
do
am
ido
doti
la solfa m
ire
do re
sfa
mi
redo m
doti
lasol
do
ti
la
sol
fa
mi
re
do
midoti
la
solfa
mire
dofa
d
do
ti
la
sol
fa
mi
re
do
sol
do
ti
la
sol
fa
mi
do
ti
la
sol
fa
mi
re
do
lado
ti
la
sol
fa
mi
re
do
ti
do
tila
sol
fa m
ire
do
do
Playing a tune consists of deducing the melodic shape, setting a key and sounding the notes.Tunes can be learned either from written material or by recognising the melodic shape by
ear.
1
2
3
4
56 7
G#/Ab
do
ti
la
sol
fa
mi
re
do
do...makes the stone light up in that colour...
CC
How the stThe stones come in a set of eight: dhas twelve coloured buttons labellednote scale e.g. red = C. Pressing any
stone change
All other buttons are wirelessly alter(e.g. if yellow/E is selected on the mmajor). Touching any of the three so
make it sound the assigned
Singing Stones Bachelor of Product Design Final Year Thesis ProjectBronze Award BEST Awards
Aiming to fi nd an intuitive way for people to create music, Singing Stones combine Hungarian composer Zoltaire Kodaly’s moveable-do scale and colour-sound synaesthesia in an electronic product for one or many players.� e product was presented both as a non-functioning hard model and an interactive Flash demo (see interactive section).
Start by pressing the silver select button on any of the stones.
Choosing any of the coloured buttons (representing the 12 note scale) while holding down the select button ...
do
ti
la
sol
fa
mi
re
do
do...mastonup incolou
C
D
E
F
G A
B
C#/Db
D#/Eb
F#/Gb
G#/Ab
A#/Bb
Using the
stones
do
ti
la
sol
fa
mi
remi
do
ti
la
sol
fa
mi
re
do
do
Low octave
High octave
Mid octave
To make a sound, press any of the three lit up areas on each of the stones. They play the same note at different octaves (low C)
(high C)
(mid C)do
ti
la
sol
fa
mi
re
do
fa
Change key
Major or minor
Key
options
Making
sounds
Learning to play Twinkle Twinkle Little Star
C D E F G A B C D E F G A B
C# D# F# G# A#
Db Eb Gb Ab Bb
C# D# F# G# A#
Db Eb Gb Ab Bb
The use of speci! c colours for different notes mean that they can be referenced to teach scales. A coloured xylophone with the equivalent colours would be an
appropriate accessory.
twinkle
do do sol sol la la sol
fa fa mi mi re re do
sol sol fa fa mi mi re
sol sol fa fa mi mi re
do do sol sol la la sol
fa fa mi mi re re do
Twin-kle twin-kle lit-tle star
How I won-der what you are
Up a-bove the world so high
Like a dia-mond in the sky
Twin-kle twin-kle lit-tle star
How I won-der what you are
Playing
tunesdo
ti
la
sol
fa
mi
re
do
do
am
ido
doti
la solfa m
ire
do re
sfa
mi
redo m
doti
lasol
do
ti
la
sol
fa
mi
re
do
midoti
la
solfa
mire
dofa
d
do
ti
la
sol
fa
mi
re
do
sol
do
ti
la
sol
fa
mi
do
ti
la
sol
fa
mi
re
do
lado
ti
la
sol
fa
mi
re
do
ti
do
tila
sol
fa m
ire
do
do
Playing a tune consists of deducing the melodic shape, setting a key and sounding the notes.Tunes can be learned either from written material or by recognising the melodic shape by
ear.
1
2
3
4
56 7
G#/Ab
do
ti
la
sol
fa
mi
re
do
do...makes the stone light up in that colour...
CC
“Talk to undergrads like they’re grads; talk to grads like they’re undergrads.”
“This is the best trick I’ve learned in 11 years of teaching. Undergraduates have youth, fearlessness, and great tolerance for being pushed around. What they don’t have is people talking to them like they matter. They are used to being talked to like children by people of authority (high school didn’t help), and will be stunned when you address them like real designers who have ideas of worth.
“Graduate students have wisdom, life experience, and a desire to actually be in school. But graduate students also are old enough to know that ideas have consequences, and as a result they run, basically, on fear. They have refrains like “I didn’t think that idea would be any good, so I didn’t mock it up,” or “I wasn’t sure what to build, so I read these books.”
“Treat the undergrads like they’re grown-ups (which they are); show them crazy respect, and ask their opinions all the time. Tell your graduate students to stop talking and start building; tell them not to come to class next week if they don’t bring in 12 sketches. And then thank your lucky stars when they arrive with 3. “
Allan Chocinov, Core77 http://core77.com/reactor/09.06_chochinov.asp
AcAdemiA
industry
BProdDes MDes
interaction design
gap
AcAdemiA
industry
BProdDes MDes PhD (in progress)
Interaction design
[gap]
PhD: Northumbria “Jonathan Ive studied here, b*tches!” University
http://www.flickr.com/photos/bramhall/1798816585
What is a PhD?Especially a design PhD?
“The submission is the culmination of the Student’s work. It is their own achievement and (for doctoral students) their own original contribution to knowledge. A sense of ownership gradually emerges (for the Student) over the duration of the research programme; the Student acknowledges this when they eventually claim copyright of the thesis, and this ownership is also asserted through the formal declaration in the submission.”
suBmittinG FOr eXAminAtiOn: GuidAnce FOr reseArcH deGree students And suPerVisOrs: northumbria university
UK PhDs 3 years min (full-time), a projectUS PhDs 1 year coursework, then thesis (3+ years)Scandinavian PhDs up to 5 years (studentships usually include a teaching component)
Not all PhDs are the same ….
(and then there are DPhils—Professional Doctorates….)
0 2 1 2 2 2 3 2 0 7 1 7 2 70 4 1 4 2 4 3 4 3 70 9 1 9 2 90 5 1 5 2 5 3 5 3 81 0 2 0 3 00 1 1 1 2 1 3 1 0 6 1 6 2 6 3 6 3 90 3 1 3 2 3 3 30 8 1 8 2 8
PhD Timeline — Vicky Teinaki
Stagegates
Literature Review
Parallel Fields
Existing Languages
Use of Touch in Design
Pilot Studies
Revea/expert interviews
Design Probes/Languages
Identify /pilot methodologies
Collate proposed
vocabulary
Writeup of methodology
Data collection
Workshops with designers
Situate in design process
Valorising proposed frameworks
Writeup
here there be dragons
IPA Year 2 Writeup Viva
The Timeline of Death….
Hapticshaptikos: ‘pertaining to the sense of touch’
Carnal? Embodied? Different from touch? ARISTOTLE MERLEAu-POnTy WSyChOgRAD
http://www.flickr.com/photos/jakescreations/52190954
Haptic Aesthetics in relation to visual aestheticsBAuhAuS, gESTALT PSyChOLOgy (KEPES, 1995)
TOUCH & LaNGUaGe:
Methods of understandingLEDERMAn & KLATSKy (1985)
Global dimensions of touchAKERMAn ET AL (2010)
Fig. 2. The 24 real telephone samples in the SD test.
to view them thoroughly and then evaluated themon the basis of their impressions. They were al-lowed to assess the telephone samples in randomorder. To avoid interference in evaluating the tele-phone samples, the subjects were asked not to talkto each other during the test.
3. Results and discussion
The raw evaluation data and preference scores ofthe designers and users were analyzed primarilywith regard to the following points:(1) Evaluation and preference score distribution;
(2) Factor analysis (principal component analysis)of the subject's perceptual space;
(3) Relative importance of design elements;(4) Design reference model.
3.1. Distribution of the raw data
The raw data } mean scores and standard devi-ation } for the 14 adjective pairs rated by designersand users re#ected that the designer is better ablethan the user to tell one product form from another.Because the users are not clear about the productform, they tend to give the telephone samplea mid-scale evaluation. For example, the range of
S.H. Hsu et al. / International Journal of Industrial Ergonomics 25 (2000) 375}391 379
TOUCH & LaNGUaGe:
Consumer response centredE.g. DAgMAn ET AL (2010), hSu, ChAng, & ChAng (2000)
… or looks to rationalise designersE.g. KAnSEI EngInEERIng (SEE SChüTE (2005))
Is this the result on a focus on visual semiotics?JACuCCI & WAgnER, 2007
Image from Hsu, Chang, & Chang (2000)
http://www.flickr.com/photos/elgincountyarchives/4306624931
aPPreNTiCeSHiPS:
Novices learn by picking up language of expertsSEELy BROWn ET AL (1989)
There is a concept nexus between touch & languageACKERMAn ET AL (2010)
Criticism(Interaction)
ReaderViewer
ResidentClothes-wearer
Listener
Literary hermeneuticsReception theoryReader response
Novel Church
ScriptFilm
Structure
Post-structuralismSemiotics
NarratologyFormalism
New criticism
End UserManagerConsumerEmployee
EthnomethodologySurveys, interviewsMental modelsCognitive walkthroughHCI hermeneutics
Website GUIVideogameAPI Tangible UI
AuthorPoet
ArchitectComposer
Painter
Interaction DesignerUsability EngineerUser Experience Designer
UsabilityHeuristicsPrototypingpattern languageRemediation
Religious hermeneuticsBoigraphical criticism
Psycholanalytical
Porfolio (collection of works)Reflective practictionerDesignerly style
GroupsEnvironment
social Classrace
gender
GroupsSocial ClassEnvironmentRace GEnder
MorscioismFeminism
New historicism
Workplace studygroups research CSCWContextual inquiryActivity theory
Creator (Designer)
Artifact (Interface)
Social Context (Social Context)
Consumer (User)
Bardzell (2011): Criticism and interaction design
LiTeraTUre:
Interaction CriticismBARDzELL (2011)
CRITICISM hELPS InfORM PERCEPTIOn;SPuR uS On TO fuRThER ACTIOn
LiTeraTUre:
Worth MappingCOCKTOn (2010)
QuALITIES RELATE TO ExPERIEnCES AnD vALuE
Materials Qualities Experience outcomes (positive)
outcomes (negative)defects
Features
means endsbeneficiaries
evaluation
worth
designed co-produced
iNTerViewS
10 students
Transcribed, phenomenological coding.
ID OBJECT(S) MATERIALS nOTED
n Lampshade Concrete, copper, brass Tape Dispenser Concrete, copper, brassL Rings Coloured copper wire, previous materials (stones), silverA necklace Sheet aluminium, aculon, vacuum formed plasticL Chair Ash, walnut (laminated), Stoneware Stoneware/ silicon rubber Bowl PewterC Jewellery Coper, brass (decayed)C Rings Acrylicy Coffee table Ash (green)J Chair Wood, pewterE Bowl glassM Stool glass, metal, wood Clock Wood, acrylic
order. The three models visualizing “something that flows
out of a crack in the mountain” exhibit a somewhat
different time frame (Figure 2). These models have been
developed in several months of work and they are
indicative of a shifting focus in the students’ thinking.
Although they have been produced in a sequential order,
they maintain their relevance as they communicate
complementary aspects of the design project.
Let us look once more at the first semester student who
studied a saw and its movements, translating it into a
physical model (Figure 9, see also Figure 5 and 8). In a
later session, using different light sources, he highlights
details of the model that exhibit distinctive material
features, such as the dents of the saw. Using multiple
projections he transforms a collage of these details into a
spatial installation. We can look at this as a particular
material feature ‘circulating’ through different
representations, in a sequence, helping the student to
explore its significance for creating an architectural space.
Each transformation deepens the student’s understanding of
the material and makes the design concept mature. These
students explore the properties of concrete step-by-step,
with one discovery leading them to the next design
intervention. Another type of temporality can be identified
in the ways the students make use of the big shared model
(see also Figure 4 right). Here we observed a more
ephemeral apparition of material features, with students,
from day to day, leaving material traces of their design
thinking on the model or overwriting them in the next
collaborative design session. These (temporary) traces
serve as indices to planned or discussed interventions in the
mountain valley. They change or disappear with the
progress of students’ discussions. Also the ‘carving out’
example has a temporal dimension. It shows how one
model is transformed, over the course of a few days, to
perform different visual effects through its changing shape
and material features. This resonates with Russian designer
Vladimir Tatlin, who held that design should “derive from
exploring and exploiting a material’s intrinsic qualities, and
be considering how it might combine with other materials”
([6], p. 53). A more general point is illustrated by these
examples: There is a temporal framework connected to
material features which elucidates how these emerge in
specific events. Hence our notion of ‘material events’.
These events range from: long-term activities, such as
creating a material-dense work environment or design
space; to creating design representations from different
materials or exploring a specific material through
circulating it through different representations – gradually
transforming and translating the design concept or even
‘jumping’ between formats, scales and media (all activities
of medium durée); to short communicative events (leaving
temporary traces).
Materiality in Performative Events
Our analysis points to a diversity of material resources for
collaborative creativity. The different material features of
an artefact engage our different senses and are connected to
different techniques of working with materials –
perceiving, expressing and experiencing. The spatiality –
an artefacts size, shape, proportion, location in space and
weeks
days
translation of material features from a saw ….. to a model……
……….to a spatial representation
temporary arrangement of materials as traces of
discussions
days
staging material features of the model
….changing the model and staging it again, from outside and inside
Figure 9 Material events
80
FUTUre wOrK
The current apprenticeship system of design could be improvedE.g. SOnnnEvELD (2004), JACuCCI & WAgnER, (2007)
From Material Moments, Jacucci & Wagner (2007)
Why do it?
AcAdemiA
industry
BProdDes MDes PhD (in progress)
Lecturing
Post-doc
Design researcher
Interaction design
[gap]
You get to do design research
Antony dunne
Jane mcGonigal
dan Lockton
Jayne Wallace
Rigour
Research into design desiGn HistOry etc
Research for design InduSTry meThodS
Research through design tHrOuGH PrActice
Frayling (1994)
Research and Design
Design Issues: Volume 24, Number 3 Summer 200814
exploration would be likely to pose another question altogether—what qualities would an ideal mobile phone embody?
Create/Change—Explain/Understand—Suggest/Provoke. Striving to create and change implies that design practice is a proactive activity of creation and intentional change. In design studies, the researcher instead aims to better under-stand a phenomenon to be able to explain and predict it. While design practice aims to change, and design studies aim to explain, design exploration—owing to its transcen-dental character—on the contrary often aims to suggest alternatives, problematize, criticize the current state of affairs, and provoke.
Client—Peers—Critics. The role of the guarantor (i.e., the body guaranteeing the quality and validity of the work), typically is quite different between the three activity areas. While design practice tends to emphasize the role of the client and various business goals in this process, design studies usually relies on peer reviewing to guarantee good quality. When it comes to design exploration, the answer is not straightforward. Other design fields such as architec-ture and graphical design have recognized design journals that publish design critiques. Such a tradition is yet to be established in the interaction design field.30
Commercial design organizations
Commercial design organizations
Other disciplines
Philosophy
Idealistic, Societal, and Subversive
Design critique, Art, Humanities
RealJudgement, Intuitive, and TasteCompetenceParticular and contextualClientCreateChangeInvolving and Synthetic
Cumulative, Distancing, and Describing
Context driven, particular, and synthetic
TrueLogic
KnowledgeUniversal
PeersExplain
UnderstandDistancing and Analytic
Design StudiesDesign Practice
The possibleShow alternatives
IdealsTranscend
ProvokeExperiement
AestheticsProactive
Societal, “Now”-orientedCritiquePolitical
Design Exploration
Figure 3 A more complete model of interaction design research.
30 Olav Wedege Bertelsen and Soren Pold, “Criticism as an Approach to Interface Aesthetics,” Proceedings of Third Nordic Conference on Human-Computer Interaction (2003).
Fallman, D. (2008) The Interaction Design Research Triangle of Design Practice, Design Exploration, and Design Studies, Design Issues, Vol. 24, No. 3, p. 4-18, MIT Pres
2. Examples
This research asks the question How can we use documentaryfilm in discovery research? Answers are sought throughstudying films and theory, as well as making films formultidisciplinary design teams. Design is nowadays athoroughly multidisciplinary discipline. It is called uponever more in society and industry to address problems andcreate opportunities. As a result design touches on manyaspects of our everyday lives, and knowledge about howpeople live is an important asset in design processes.
In design processes discovery research is used from thestart, to get access to knowledge about how people live andwhat matters to them. But that is not its only role. Ideally,it also inspires design processes. Video has been used tosupport both roles since the 1980s, but has not movedmuch beyond registering discovery research activities. Forthe first time, this research adds documentary film to themultidisciplinary mix in design in a fundamental way.With more than a hundred years of experience inportraying everyday life, documentary film brings manyinspiring ideas and techniques to discovery researchfor design.
Documentary film has a strong connection to reality, anddeveloped a rich film language. The films that inspire thisresearch in particular present the perspectives of peoplebehind and in front of the camera in conversation witheach other, and invite viewers to join and continue theseconversations. The three notions reality, language andconversation have become the foundation of designdocumentaries, the new method for discovery research indesign that this research introduces. The name designdocumentaries was chosen to stress their origin, theirhybrid form and their particular purpose: to inform andinspire design.
Filmmakers have explored and developed countlesstechniques since 1895. This research groups them asobservation, compilation, intervention and performancetechniques. Observation techniques are driven by a desireto not disturb the situations that are being filmed.Intervention techniques on the other hand interfere insituations by asking questions, adding narration, and so on.Compilation techniques use archival and found footagesuch as tv broadcasts or home movies. Performancetechniques recreate situations from the past throughre-enactment, or create completely new situations withthe protagonists, and possibly the filmmaker, performingroles. These techniques provide an inspiring toolbox fordiscovery research.
Documentary films such as Chronicle of a Summer (JeanRouch and Edgar Morin, 1961) and Lift (Marc Isaacs, 2001)mix the three ideas (reality, language and conversation)and four techniques (observation, intervention,compilation and performance) to tell a story about everydaylife that leaves many idiosyncrasies and complex detailsintact. These films can be seen as discovery research. Notresearch that is filmed – the film itself is the research. Thisis also the starting point for my own filmmaking practice.My films explore how documentary filmmaking canbe(come) discovery research.
During the research, I made several films for and withdesign teams. Fred, Kent and Debra (2004) are films aboutheart patients commissioned by Philips Medical Systems.Drift and Swim (2006) explore the application of smarttextiles, for several small companies. I assisted filmmakerXiaoxiao Sun in making Alena’s Strawberry Farm (2006),for Goldsmiths College and France Telecom/Orange. Inpractice, making design documentaries for design teamsturned out to be an iterative process where documentaryfilm influences discovery research and vice versa. Thinkinginspired making, and making inspired thinking. The twoactivities came together into an iterative process fromwhich design documentaries emerged.
The design documentaries I made raised practical,theoretical and ethical issues which can be grouped aroundthe three ideas that characterise documentary film: reality,language and conversation. Design documentaries connectto reality by accepting the complexity of everyday life.They use film language as a tool to tell stories whichappreciate and handle the complexity of everyday life.Working with participants, researchers and designers duringthe filming happens in a conversational way and createsrelationships between people. Good working practice seemsto be close to the existing, diverse practice in documentaryfilmmaking where possible ways of dealing with similarissues have been explored extensively.
Design documentaries appropriate the three ideas fromdocumentary film for discovery research. The idea thatfilm is like reality is focused on embracing diversity andambiguity in everyday life in the research. The use of filmlanguage becomes an exploration of film aesthetics aimedat expressing these ambiguities and the perspectivesdeveloped during the research. The idea that films areconversations is further developed when designdocumentaries are used to create conversations in designprocesses. Together, these appropriated ideas empowerdiscovery research to communicate stories in new ways,and also to tell new stories. Design documentaries interferedeeply with how discovery research is conducted,communicated and used in design.
Design documentaries offer new ways of doing discoveryresearch based on their characteristics: embracing diversity,exploring aesthetics and creating conversations. In practice,they have shown that research can be part of design, anddesign can be part of research: design documentaries createnew shared spaces for research and design to co-exist. Theymake mixing and moving between research and designeasier, which encourages connections between designand everyday life. Design documentaries introducedocumentary film to the multidisciplinary mix in design,and invite researchers and designers to engage withvideo and everyday life creatively, to inform and inspiredesign processes.
Design teams appreciated the direct access to the peoplein the design documentaries, allowing them to discoverthe context of the situations they were designing for.The creative use of film language, instead of registration,was inspirational for the teams. The perspectivesresearchers added to the films stimulated designers to bringtheir own perspectives to discussions on the research.This facilitated the continuation of conversations thatstarted between researchers and participants during thefilmmaking into the design process.
Thought-provoking insights into everyday life:a new contribution to discovery research in design
Bas Raijmakers PhD (RCA)
Xiaoxiao Sun, 2006
Bas Raijmakers, 2006
Bas Raijmakers, 2004
Marc Isaacs, 2001
See the films at www.designdocumentaries.com
Jean Rouch and Edgar Morin, 1961
Anthony Dunne Ramia Mazé
Catherine Dixon
Bas Raijmakers
Joe EastwoodDaria Loi
From Yee, J. Journal of Research Practice http://jrp.icaap.org/index.php/jrp/article/view/196
Design Practice Design Studies
Design ExplorationDesign critique, ArtHumanities
Context driven, particular, and synthetic
Idealistic, Societal and Subversive
Commercial design organisations
Cumulative, Distancing, and Describing
Other disciplines
5
6
1
2 4
3
1. Anthony Dunne2. Catherine Dixon3. Daria Loi4. Joe Eastwood5. Ramia Mazé6. Bas Raijmakers
Figure 1. PhD examples placed in Fallman’s (2008, p.5) Interaction Design Research Model
From Yee, J. Journal of Research Practice http://jrp.icaap.org/index.php/jrp/article/view/196
Anthony Dunne
Ramia Mazé
Catherine Dixon
Daria Loi
Bas Raijmakers
Joe Eastwood
From Yee, J. Journal of Research Practice http://jrp.icaap.org/index.php/jrp/article/view/196
2. Examples_Summary
3 Dunne does not explicitly state the research methods that were used in the review of the projects. However, judging from Seago’s description of ‘highly considered artefacts’
(in Seago and Dunne 1999 paper), it would seem to suggest that some form of reflective practice process took place.
How was the research conducted? (Frayling, 1993)
What was the focus of the investigation? (Cross, 1999)
PhD Examples Ontological and epistemological influences
Methodological influences
Methods
Into Through For People Process Product
Anthony Dunne
Material critical theory Critical design - Exploratory projects - Reflective practice3
X X X X
Catherine Dixon
Pragmatic and applied Design as research - Visual survey - Reflective practice - Peer review
X X X X
Daria Loi Postmodern and qualitative Constructivist paradigm Artistic inquiry
Methodological bricolage (dialogic research, storytelling, play, creative action, action learning)
- Playful triggers - Observation and interviews - Reflective practice - Exploratory installations - Multisensorial writing - Experimental techniques
X X X X X
Joe Eastwood Phenomenological Design as research - Interviews - Fieldwork documentation
using photograph, notes and audio recording
- Visual analysis - Exploratory projects
X X
Ramia Mazé Critical and post-critical architecture
Criticality from within - Exploratory projects - Reflective practice
X X X X
Bas Raijmakers
Hermeneutics and phenomenology
Design as research - Literature studies - Film studies - Exploratory projects as case
studies
X X X X
The Dark Side…
PhD Guilt
http://www.flickr.com/photos/elvishuang/2926614746
The PhD Baby
aka woe betide the partner of a doctoral students!
http://www.flickr.com/photos/charissa1066/4331881160/
Losing your hand in the craft….
Rigour
60k+ words (though this may be changing)
Daria Loi, Thesis in a Suitcase http://sitem.herts.ac.uk/artdes_research/papers/wpades/vol3/dlabs.html
To PhD or not to PhD?
Or, why give up my good income or spare time to end up having to understand pragmatism
and semiotics?
Imagine a circle that contains all of human knowledge. By the time you finish elementary school, you know a little. By the time you finish high school, you know a bit more. With a bachelor’s degree, you gain a specialty.
A master’s degree deepens that specialty. Reading papers takes you to the edge of human knowledge. You push at the boundary for a few years. Until one day, the boundary gives way.
And, that dent you’ve made is called a Ph.D.
Ph.D.
Of course, the world looks different to you now. So, don’t forget the bigger picture.
Keep pushing.
!rrreeepppaaarrreeeddd bbbyyy MMMaaagggCCClllooouuuddd fffooorrr VVViiiccckkkyyy TTTeeeiiinnnaaakkkiii... GGGeeettt mmmooorrreee aaattt mmmaaattttttmmmiiiggghhhttt...mmmaaagggccclllooouuuddd...cccooommm...
http://matt.might.net/articles/phd-school-in-pictures/
If you’re prepared to create new knowledge in a scholarly context, and are prepared for a marathon, not a sprint. (And to not get to make stuff for a while!)
Some resources to check out:The Thesis Whispererthethesiswhisperer.wordpress.comPhD Comics (XKCD for postgrads)phdcomics.com
me: @vickytnz aestheticsoftouch.com (semi-blog of reserach)
