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"Design-Philosophy"
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Speculative Everything
Today designers often focus on making technology easy to use, sexy, and consumable. InSpeculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be -- to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose \"what if\" questions that are intended to open debate and discussion about the kind of future people want (and do not want).Speculative Everythingoffers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more -- about everything -- reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures.
eBook
L' Homme Comme un « Être D'habitude »
No detailed description available for \"L'Homme comme un « être d'habitude »\".
eBook
Bioinspired Multilegged Piezoelectric Robot: The Design Philosophy Aiming at High‐Performance Micromanipulation
Micromanipulation robots are powerful tools to explore and reform the microscope world, but it is difficult to integrate high precision, long stroke, strong carrying capability, and multi‐degree of freedom (DOF) motions in a single robot. To address this challenge, herein a bioinspired hexapod piezoelectric robot (PER‐hexapod) aiming at high‐performance micromanipulation is presented. Specifically, two piezoelectric elements are integrated in a functional module to provide 3‐DOF precise motions, the collaboration of six functional modules generates the multi‐DOF motions, and the multimode fusion of three gaits facilitates the cross‐scale motion. The robot outputs 6‐DOF motions with resolutions higher than 4 nm or 0.2 μrad, and unlimited traveling ranges of in‐plane motions are accomplished. PER‐hexapod, whose weight is 0.45 kg, can stably drive a carrying load of 10 kg. In addition, PER‐hexapod realizes the accurate positioning with the root‐mean‐square error less than 5 nm. Thus, it has potential applications in the precise positioning in a large range, such as the batch injection of multiple cells and micromachining on large surfaces. Not only PER‐hexapod, but many other robots can be also designed with the same philosophy to construct micromanipulation systems for various requirements. Based on the ideas of functional module, collaborative operation, and multimode fusion, a design philosophy of bioinspired multilegged piezoelectric robots is presented in this work. This philosophy accomplishes the integration of high precision, long stroke, strong carrying capability, and multi‐DOF motions in a single robot, so it is very suitable for high‐performance micromanipulation.
Journal Article
Body Language for Personal Robot Arm Assistant
This article presents an exploratory study aimed at: (i) understanding participants’ first impression of the Cyton Gamma 1500, a small machine-like robot arm, and (ii) designing robot body language to convey certain intentions with regard to a personal assistant robotic application. The between-group study comprised of three distinct groups of participants. Each group had a different first encounter with the robot arm: the first group saw an idly sitting robot arm; the second group watched another person working with the robot; lastly, the third group worked with the robot themselves. They rated the robot arm on a bipolar adjective questionnaire after the first encounter which gives us insights into participant’s “first impression”. Then they performed a categorization task where they chose the most suitable posture for conveying specific messages. The objective here was to select postures that can easily convey the robot assistant’s intentions to users in future. The two main findings of the study are: (1) participants’ impression of the robot arm does not differ significantly across the three groups despite having different “first encounter” with the robot, and (2) certain postures are easily relatable to the message they convey (like, Robot is saying “Hi!”), while certain others are not (like, Robot has surrendered). In light of phenomenological theories of communication, it was concluded that tempered forms of anthropomorphic or zoomorphic postures are more easily identified than completely abstract postures. The findings of this study can be used to design robot-specific body language for robot arms.
Journal Article
Designers, users and justice
\"How do we design for users? How might users best participate in the design process? How can we evaluate the user's experience of designed products and services? These fundamental questions are addressed in Designers, Users, and Justice, through a series of dialogues between a design scholar and a designer. In a series of conversations, the scholar and the designer address the concepts and practice of user centred design, examining whether a 'just method' necessarily leads to a just design, consider different models for understanding user experience and socially productive design, including the capability approach and utilitarianism, and ponder how an ethical framework for evaluating design might be developed. Throughout, the scholar and the designer draw on their particular experiences in design practice and design education, and propose alternative conceptualisations of the key ideas of user centred design, highlighting and seeking to address the ethical shortcomings of mainstream user centred design practice\"-- Provided by publisher.
Book
The Aesthetics of Imagination in Design
In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena -- material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research. Folkmann considers three conditions in design: the possible, the aesthetic, and the imagination. Imagination is a central formative power behind the creation and the life of design objects; aesthetics describes the sensual, conceptual, and contextual codes through which design objects communicate; the concept of the possible -- the enabling of new uses, conceptions, and perceptions -- lies behind imagination and aesthetics. The possible, Folkmann argues, is contained as a structure of meaning within the objects of design, which act as part of our interface with the world. Taking a largely phenomenological perspective that reflects both continental and American pragmatist approaches, Folkmann also makes use of discourses that range from practice-focused accounts of design methodology to cultural studies. Throughout, he offers concrete examples to illustrate theoretical points. Folkmann's philosophically informed account shows design -- in all its manifestations, from physical products to principles of organization -- to be an essential medium for the articulation and transformation of culture.
eBook