{"title":"Introducing special issue on Experiments in Design Research: Expressions, Knowledge, Critique","authors":"T. Markussen, Anna Vallgårda","doi":"10.14434/ARTIFACT.V3I2.12977","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I2.12977","url":null,"abstract":"This special issue of Artifact presents eight contributions from the Nordes 2013 design conference \"Experiments in Design Research: Expressions, Knowledge, Critique,\" June 9-12, 2013 at the Royal Danish Academy of Fine Arts, School of Design","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131780125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The True Benefits of Designing Design Methods","authors":"Jungjoo Lee","doi":"10.14434/ARTIFACT.V3I2.3951","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I2.3951","url":null,"abstract":"This paper calls for a new way of understanding and using methods in human-centred design. Design researchers have recently been active in developing new types of methods aimed at greatly improving their empathic understanding of people’s holistic experience, and their design imagination. The strong motivation for a new methodology stems from critical reflection on scientific rationalisation of human-centred design, which attempts to pin down the design process and develop abstract user models. Despite this, the design community has shown a tendency to use a conventional, scientific rationalisation when applying a stream of new design methods. In this paper, I analyse misinterpretations of the new design methods, which I call ‘empathic design methods’, and seek a more constructive way of understanding and describing how they actually work, going beyond ‘method-recipe’ convention. By analysing design students’ learning diaries, I investigate what learning is going on in method-making processes and demonstrate how those processes help design students to gather contextual knowledge of a design project and to develop their empathic understanding of users.","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"146 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127246293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Concepts and Realities: Marian","authors":"P. Barnes","doi":"10.14434/ARTIFACT.V3I1.5176","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I1.5176","url":null,"abstract":"Paul Barnes' contribution to the conference Conceptual Type – Type led by ideas, Copenhagen, 19. November 2010. Where are the idealistic fonts, the artsy fonts, the non fonts, the political fonts, the funny fonts, the difficult fonts, the fonts that do not look like fonts, fonts that are frontiers of new belief? We would like to focus on the ideas and concepts behind type. Rather than talk about type by asking who made it and what does it look like, we will start a new decade by asking why do we make it and what does it mean? In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art.'Sol LeWitt. 'Paragraph on Conceptual art', Artforum, 1967. We would like to borrow from Sol LeWitt's vision and replace ‘art’ with ‘type’, looking for the idea-type-machines of our time. [From the conference call]","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125180914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Considering conceptual type","authors":"N. Bonde","doi":"10.14434/ARTIFACT.V3I1.5040","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I1.5040","url":null,"abstract":"Nanna Bonde's contribution to the conference Conceptual Type – Type led by ideas, Copenhagen, 19. November 2010. Where are the idealistic fonts, the artsy fonts, the non fonts, the political fonts, the funny fonts, the difficult fonts, the fonts that do not look like fonts, fonts that are frontiers of new belief? We would like to focus on the ideas and concepts behind type. Rather than talk about type by asking who made it and what does it look like, we will start a new decade by asking why do we make it and what does it mean? In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art.'Sol LeWitt. 'Paragraph on Conceptual art', Artforum, 1967. We would like to borrow from Sol LeWitt's vision and replace ‘art’ with ‘type’, looking for the idea-type-machines of our time. [From the conference call]","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115852383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"When is typography conceptual","authors":"Steen Ejlers","doi":"10.14434/ARTIFACT.V3I1.5041","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I1.5041","url":null,"abstract":"Steen Ejler's contribution to the conference Conceptual Type – Type led by ideas, Copenhagen, 19. November 2010. Where are the idealistic fonts, the artsy fonts, the non fonts, the political fonts, the funny fonts, the difficult fonts, the fonts that do not look like fonts, fonts that are frontiers of new belief? We would like to focus on the ideas and concepts behind type. Rather than talk about type by asking who made it and what does it look like, we will start a new decade by asking why do we make it and what does it mean? In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art.'Sol LeWitt. 'Paragraph on Conceptual art', Artforum, 1967. We would like to borrow from Sol LeWitt's vision and replace ‘art’ with ‘type’, looking for the idea-type-machines of our time. [From the conference call]","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115710479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conceptual Hybrids: Type in the 1990s","authors":"R. Poynor","doi":"10.14434/ARTIFACT.V3I1.5038","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I1.5038","url":null,"abstract":"Rick Poynor's contribution to the conference Conceptual Type – Type led by ideas, Copenhagen, 19. November 2010. Where are the idealistic fonts, the artsy fonts, the non fonts, the political fonts, the funny fonts, the difficult fonts, the fonts that do not look like fonts, fonts that are frontiers of new belief? We would like to focus on the ideas and concepts behind type. Rather than talk about type by asking who made it and what does it look like, we will start a new decade by asking why do we make it and what does it mean? In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art.'Sol LeWitt. 'Paragraph on Conceptual art', Artforum, 1967. We would like to borrow from Sol LeWitt's vision and replace ‘art’ with ‘type’, looking for the idea-type-machines of our time. [From the conference call]","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128770635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Design and the Question of Aesthetics","authors":"Carsten Friberg","doi":"10.14434/ARTIFACT.V3I3.3247","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I3.3247","url":null,"abstract":"In the article an approach to aesthetics is suggested with the focus on the education of the designer rather than on the outcome of the design. Design is taken to be an interpretative intervention into a social context which requires a sensibility for the context. The forming of this sensibility is the goal of an aesthetic education. Through discussions of different approaches to aesthetics like Grant Kester’s dialogical aesthetics and Kant’s critique of the faculty of judgement, it is emphasized how sensibility as the key focus of aesthetics rather than art and beauty makes the ability to manoeuvre in the social context a central issue of aesthetics. Here, is the argument, is the link to an aesthetic education understood as an education of our senses through cultural products which is also a link to a perspective that appears to be absent in present debates on aesthetics in relation to design. Taking up this approach to aesthetics, is the argument, is to suggest a more profitable view on aesthetics in relation to design and an educational aspects of the designers competences.","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122275598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conceptual Type - a commentary on the Internet’s design development?","authors":"Ida Engholm","doi":"10.14434/ARTIFACT.V3I1.4365","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I1.4365","url":null,"abstract":"Ida Engholm's contribution to the conference Conceptual Type – Type led by ideas, Copenhagen, 19. November 2010. Where are the idealistic fonts, the artsy fonts, the non fonts, the political fonts, the funny fonts, the difficult fonts, the fonts that do not look like fonts, fonts that are frontiers of new belief? We would like to focus on the ideas and concepts behind type. Rather than talk about type by asking who made it and what does it look like, we will start a new decade by asking why do we make it and what does it mean? In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes art.'Sol LeWitt. 'Paragraph on Conceptual art', Artforum, 1967. We would like to borrow from Sol LeWitt's vision and replace ‘art’ with ‘type’, looking for the idea-type-machines of our time. [From the conference call]","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133308687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conceptual Type: Type Led by Ideas","authors":"Steen Ejlers, Ida Engholm, M. Quistgaard","doi":"10.14434/ARTIFACT.V3I1.4368","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I1.4368","url":null,"abstract":"In the hopes of launching a non-dogmatic effort to discover the idea-type-machines of our time, a conference was held in Copenhagen in 2010, where designers and theorists convened to discuss the current status of type design with a point of departure in what was proposed on the invitation quoted above. The conference attracted more than 500 graphic designers, type designers and theorists from all over Europe and the large turnout and the huge interest in debating type inspired us to make use of the conference and the concept of ‘conceptual type’ as the basis of a combined book and special issue of Artifact. We call this combination a signature edition.","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127429428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"ON THE BEAUTY OF THINGS: AN INQUIRY INTO 20th CENTURY LEGACY TO DESIGN AESTHETICS","authors":"Anna Calvera","doi":"10.14434/ARTIFACT.V3I3.3961","DOIUrl":"https://doi.org/10.14434/ARTIFACT.V3I3.3961","url":null,"abstract":"","PeriodicalId":380141,"journal":{"name":"Artifact: Journal of Virtual Design","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134083195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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