Designing for an alternative temporal experience means understanding the ways in which multiple temporali-ties intersect, whether these frame a person’s working day, or allow a family to spend time together. While scheduling technologies do of course have a role to play here [see e.g. 31], many of the temporal structures that frame everyday life are not so much scheduled as unfold in a way that isunremarkable [54], or are so firmly established that they are no longer seen as alterable.

As noted by Zerubavel, “[t]ime is definitely one of the principles that can best allow us to establish and organ-ise priority in our lives as well as to symbolically display it” [59, p. 53].

The temporal experience is as much a product of the ways in which the technologies are used as it is a feature of their design. This points to how, just as has been argued for the case of clocks, digital technologies and practices have coevolved to underpin particular experiences of time.

sregarded. Temporal Design attempts to counteract these effects by drawing attention to social practices of time. Time is a social process, tacitly defined through everyday practices. It is rehearsed, learned, designed, created, storied, and made. This aspect however is often overlooked not only by designers, but also by society in general. Designers can have a key role in unlocking the hegemonic narratives that restrict cultural understandings of time and in opening up new ways of making, living and thinking

As the original visions for Slow Design and Slow Technology suggest, the world is comprised of multiple temporal expressions, which play important roles in our lives, even if disregarded within dominant accounts of what ti

The documentation of routines invited the students to reflect on the multiplicity of practices that shape temporality inside the school community, making the social layering of time more perceptible. Far from being restricted to timetables, buzzers and timed tasks, school time is a fusion of personal times, rhythms and temporal force

While the Printer Clock focused on emphasising the embodied and situated nature of time, pointing to the mesh of activities and characters that come together to create time, the TimeBots drew attention to personal rhythms and how they played out within the context of the classroom

e students. The TimeBots interacted with each other on a different level, revealing the subjective timescap

4.3.3 TimeBotsWhile the Printer Clock focused on emphasising the embodied and situated nature of time, pointing to the mesh of activities and characters that come together to create time, the TimeBots drew attention to personal rhythms and how they played out within the context of the classroom. The aim was to challenge the idea that the world is in a state of constant acceleration by inviting children to reflect on the multiple speeds of their day. In contrast to the slow movement, which assumes acceleration as a universalised condition and attempts to counteract this condition by promoting opportunities to slow down, the intention here was to invite the students to explore the variant speeds at which they l

ast. Moving from a quantitative time to a qualitative one, the Printer Clock tells time through the activities of others and the variety of pictures reveals the multiplicity of rhythms within that

Temporal Design could thereforeinvolve:•Identifying dominant narratives, including the forces and infrastructures that sustain them or which they help to support;•Challenging these narratives, e.g. by revealing more nuanced expressions of time;•Drawing attention to alternative temporalities, their dynamics and significance;•Exposing networks of temporalities, so as to illustrate multiplicity and variety.The approach would bring several benefits:•Acknowledging that slow and fast rhythms co-occur and are often interdependent would challenge the assumption of universal acceleration,•Acknowledging that the times of some are more invested in than others, would enable challenges to temporal inequalities.•Acknowledging that the natural world has multiple rhythms would change the assumption that ittherefore provides a stable background for human-made ‘progress’(McKibben, 2008

LARISSA PSCHETZ, MICHELLE BASTIAN, CHRIS SPEED 6With this in mind we propose Temporal Design as a shift within design towards a pluralist perspectiveon time. Temporal Design attempts to identify and challenge expressions of dominant narratives of time, as it recognises that everyday rhythms are composed of multiple temporalities, whichare defined by both direct and indirect factors. It also seeks to empower alternative notions that are neglected by these narratives. It suggests that designers should start looking at time as something that emerges in relation to a complexity of cultural, social, economicand political forces.Temporal designers wouldtherefore observe time in the social context, investigating beyond narratives of a universal time and linear progression, and beyond simple dichotomies of fast and slow. This is not to simply negate dominant notions but acknowledging that they co-exist with several other expressions in all aspects of life. There is a multiplicity of temporalities latent in the world. Designers can help to create tools that disclose them, also revealing the intricacies of temporal relationships and negotiations that take place across individuals, groups, and institutions. They would then consider a network of times that accommodates the multiplicity of temporalities in the everyday, the natural world, and in intersections between these re

Despite a clear social motivation, the alternative approaches to time in design described above have been constrained by dominant narratives of time. Further they have often only considered time in terms of pace, direction and flow rather than the more complex ways that it is involved in social life (e.g. Gre

Thus in developing a theoretical framework which could support an understanding of time as multiple, heterogeneous and deeply entangled within various social formations (which may be discrete or overlapping), work in the social sciences, particularly anthropology and sociology, has proven to be more useful. Such approaches enable us to ask different questions about what time is and how it works. Rather than seeing time as a flow between past, present and future (whether this be linear or nonlinear), it becomes possible to ask how time operates as a system for social collaboration (Sorokin and Merton 1937), how it legitimates some and ‘manages’ others (Greenhouse 1996), or how it works within systems of exclusion (Fabian 1983). We thus move from time as flow to time as s

tries (Prado 2013). Here again, instead of looking at the present as a heterogeneous context, the present isconsidered as uniform and following a linear trajectory toward

(Dunne, 1999). The call has influenced movements such as Critical Design (Dunne and Raby, 2001), Design Fictions (Bleecker, 2009) and Design for Debate (Dunne and Raby, 200

Design has also taken a critical approach to time in its attempt to anticipate the impacts of present actions in the future, particularly those concerning the introduction of new technologies. This attitude may be generally identified in particular design projects but is most evident in speculative design movements such as Design Fictions, Critical Design and Design for Debate.Since design is often focused on yet-to-exist interventions in a given context, it is often said to be invariably future-oriented (e.g. in Dunne & Rab

evices. Similarly, Phoebe Sengers (2011) reflects on the way slower attitudes could be promoted by ‘‘making fewer choices, accessing less information, making productivity less central, keeping our lives less under formal control’’; she further considers how this attitude could be reflected in the design of communication technologies. Instead of reinforcing dichotomies, Fullerton (2010) and Sengers (2011) draw attention to practices that emphasise alternative expressions

The association of alternative approaches to time with a rejection of technology reinforces dichotomies that do not reflect the way people relate to artefacts and systems (Wajcman 2015). As a result, these proposals not only risk being interpreted as nostalgic or backward looking, but also leave little space for integrating more complex accounts of time (particularly those arising in the social sciences) or for discussing more nuanced rhythms, as well as more complex forces and consequences related to temporal decisions. As a result, instead of challenging dominant accounts of time, these proposals arguably reinforce the overarching narrative of universalised acceler

gs done. Accepting an invitation for reflection inherent in the design means on the other hand that time willappear, i.e. we open up for time presence” (Hallnas & Redstrom 2001). A slow technology would not disappear, but would make its

In Slow Technology, Hallnas & Redstrom (2001) advance the need for a form of design that emphasises reflection, the amplification of environments, and the use of technologies that a) amplify the presence of time; b) stretch time and extend processes; and c) reveal an expression of presenttime as slow-paced. Important here is the concept of “time presence”: “when we use a thing as an efficient tool, time disappears, i.e. we get things done. Accepting an invitation for reflection inherent in the design means on the other hand that time willappear, i.e. we open up for time presence” (Hallnas & Redstrom 2001). A slow technology would not disappear, but would make its

There’s a great saying that is so true here – just because you know something doesn’t mean you understand it. I know that the sky is blue, but that doesn’t mean I can explain to you the science behind why. Students may be able to correctly answer 8 x 6 on a math test, but that doesn’t mean that they can also show you what 8 x 6 represents with a box of manipulatives or in a real life situation.

We are advocating the reverse: One starts with the end—the desired results (goals or standards)—and then derives the curriculum from the evidence of learning (performances) called for by the standard and the teaching needed to equip students to perform. T

We’ve run into roadblocks, and people really appreciate hearing about them because for the most part they’re running into the same issues

they can develop a action plan to communicate change

to embed their organizational aims in it

We designate a room. We’re like, “This is the sleeping room. If you want to fall asleep, we turn off the lights, and you just go to sleep there.” It runs from noon to noon.

In “Getting Real,” Barad proposes that “reality is sedimented out of the process ofmaking the world intelligible through certain practices and not others ...” (1998: 105). If,as Barad and other feminist researchers suggest, we are responsible for what exists, what isthe reality that current discourses and practices regarding new technologies makeintelligible, and what is excluded? To answer this question Barad argues that we need asimultaneous account of the relations of humans and nonhumansandof their asymmetriesand differences. This requires remembering that boundaries between humans and machinesare not naturally given but constructed, in particular historical ways and with particularsocial and material consequences. As Barad points out, boundaries are necessary for thecreation of meaning, and, for that very reason, are never innocent. Because the cuts impliedin boundary making are always agentially positioned rather than naturally occurring, andbecause boundaries have real consequences, she argues, “accountability is mandatory”(187). :We are responsible for the world in which we live not because it is an arbitraryconstruction of our choosing, but because it is sedimented out of particular practicesthat we have a role in shaping (1998: 102).The accountability involved is not, however, a matter of identifying authorship in anysimple sense, but rather a problem of understanding the effects of particular assemblages,and assessing the distributions, for better and worse, that they engender.

In her analysis ofcomputer-based work, Susanne Bødker (1991) has discussed the shifting movement of theinterface from object to connective medium. She observes that when unfamiliar, or at timesof trouble, the interface itselfbecomes the work’s object. At other times persons work asshe puts it ‘through the interface’, enacted as a transparent means of engagement with otherobjects of interest (for example, a text, or an interchange with colleagues).

Finally, the ‘smart’ machine's presentation of itself asthe always obliging, 'labor-saving device' erases any evidence of the labor involved in itsoperation "from bank personnel to software programmers to the third-world workers whoso often make the chips" (75).

Chasin poses the question (which I return to below) of how a change in our view ofobjects from passiveand outside the social could help to undo the subject/object binaryand all of its attendant orderings, including for example male/female, or mental/manua

One consequence of thisposition is a more radical understanding of the sense in whichmateriality is discursive (i.e., material phenomena are inseparable from theapparatuses of bodily production: matteremerges out of and includes as part of itsbeing the ongoing reconfiguring of boundaries), just as discursive practices arealways already material (i.e., they are ongoing material (re)configurings of theworld) (2003: 822).Brought back into the world oftechnology design, this intimate co-constitution ofconfigured materialities with configuring agencies clearly implies a very differentunderstanding of the ‘human-machine interface’.

The trope of configuration animates another study of surgical practices by MargunAanestad (2003), who focuses on the labors (carried out predominately by women)involved in aligning a complex sociotechnical environment for the conduct of so-called‘minimally invasive’ or ‘keyhole’ surgery. The latterrequires, among other things,displacing the direct gaze of the surgeon and attendant practitioners from the interior ofthe patient’s body– formerly achieved only through a correspondingly large incision– to aview mediated through camera and video monitors. Aanestad’s analysis follows thecourse of shifting interdependencies in the assemblage, as changes to existingarrangements necessitate further changes through what she names thein situwork of“design in configuration” (2). She emphasizes that, incontrast to views of technologydesign as the province of (predominately male) ‘inventors’ located in research anddevelopment labs, the ongoing work of design takes place in the worksite, and isaccomplished by actors rarely recognized as designers.. Moreover, her analysis makesclear again how in such a setting the capacity for action is relational, dynamic andcollective rather than inherent in specific network elements, and how the extension of thenetwork in turn intensifies network dependencies.

The feminist orientations of these studies add crucial sensibilities to thereconceptions of agency under development in STS more broadly. First, feministresearchdisplaces traditional preoccupations with abstracted and decontextualized formsofknowledge in favor of particular, specifically situated practices of knowing in action.Second, feminism directs attention always to the labors (particularly those previouslyignored) that are an essential and ongoing aspect ofsociotechnical assemblages and thecapacities for action that they enable. And finally, feminist research orients us not only torelations and symmetries among persons and things, but also to the politics of difference.The boundaries that constitute things as separate and different are treated not as pre-given, but as enacted, and practices of boundary-making and the enactment of differenceare inevitably political.

Medical ethics and accountability, sheargues, need to be founded not in thefigure of the rational, informed citizen but in theconditions for the maintenance of those crucial relations that configure identities andselves, and that might allow them to be reconfigured in desired ways.

its role in bringing archeologists’ perception into theservice of a particular organizational/bureaucratic endeavor, that is, professionalarchaeology.

A rich body ofempirical studies have further specified, elaborated, and deepened the senses in whichhuman agency is always inextricably tied to the specific sociomaterial arrangements ofwhich we are part.These studies provide compelling empirical demonstration of howcapacities for action can be reconceived on foundations quite different from those of anEnlightenment, humanist preoccupation with the individual actor living in a world ofseparate things. Insofar as we see the politics of technology to be based in fundamentalassumptions about where agency is located,and whose agencies matter, these approacheshave at least the potential to work as powerful allies to feminist projects. In particular,these scholars align with feminist theorizing in their emphasis on the always relationalcharacter of our capacities for action; the constructed nature of subjects and objects,resemblances and differences; and the corporeal grounds of knowing and action.

Must those not presentlyidentified as creative be shown in fact to be inventors in order tobe fully recognized? Thisquestion suggests that we need to pay close attention to the tensions and contradictionsthat arise when we adopt a strategy that distributes practices previously identifiedexclusively with certain people and places (for example, with privileged white menworking in elite institutions of science and technology) across a wider landscape (one thatincludes women). In distributing those practices more widely, they are givencorrespondingly greater presence. A counter project, therefore, is to question the valueplaced on innovation itself. The aim is to understand how a fascination with change andtransformation might not be universal, but rather specifically located and with particularpolitical consequences for women, both in termsof the possibilities that are available tothem, and the visibility of their already existing contributions.

Recent research on the actual work involved in putting technologies into usehighlights the mundane forms of inventive yet taken for granted labor, hidden in thebackground, that are necessary to the success of complex sociotechnical arrangements.

While not all of the authors and works cited would identify asfeminist, they share with feminist research– in my reading at least– a commitment tocritical, but also reconstructive engagement with received conceptions of the human, thetechnological and the relations between them.

we must not place the burden of safety on users in terms of who is responsible and who suffers the consequences

STRONG COMMUNITIES GIVE RISE TO MORE CONSENTFUL TECHNOLOGIESWhen attention is paid to relationships, stronger communities result. This is the case in physical communities as well as digital. Users and makers can strengthen their communities and improve consent therein by asking:• How can we better protect each other? For example, is there a technical way to have other community members see and respond to harassing messages, so the person who is targeted does not have to deal with the barrage alone?• How can we hold each other accountable as a community? What are some community-based strategies for addressing non-consensual actions that work on the roots of the issue?• How can we better support and uplift each other? How can we normalize asking for consent on our platform?Small changes can make a big difference when we add a little friction to pathways used for abusive behaviour, and when we make it easier for people to help each other. For example, new users might have a quieter voice until they’ve been around awhile, or messages mentioning you could be downvoted by your friends so you won’t see them.

Community accountability is a community-based strategy, rather than a police/prison-based strategy, to address violence within our communities. Community accountability is a process in which a community — a group of friends, a family, a church, a workplace, an apartment complex, a neighborhood, etc — work together to do the following things:• Create and affirm values & practices that resist abuse and oppression and encourage safety, support, and accountability• Develop sustainable strategies to address community members’ abusive behavior, creating a process for them to account for their actions and transform their behavior• Commit to ongoing development of all members of the community, and the community itself, to transform the political conditions that reinforce oppression and violence• Provide safety & support to community members who are violently targeted that respects their self-determination1What would a community accountability approach to digital communities look like?

Some people have called for police departments to become more knowledgeable about current technology, and for lawmakers to create harsher punishments for people who are committing violence online. But the problems with this approach mirror those that are rampant in enforcement of sexual assault laws.

We have found that asking people directly, as one would in a physical interaction, is a strong practice. How might your experience of the Internet shift if people who had access to your digital body, whether in the form of photos or contact information, were to check in with you from time to time about it? What technologies would we need to build to help us manage ongoing and direct consent processes?

Platforms like Google are incorporating periodic check-ins with users about what they’ve consented to, which is a good start.

If we can’t make it safer then we can acknowledge the remaining risks and educate users about them.

IDEAS FOR TECHNICAL MECHANISMSA technique called differential privacy1 provides a way to measure the likelihood of negative impact and also a way to introduce plausible deniability, which in many cases can dramatically reduce risk exposure for sensitive data.Modern encryption techniques allow a user’s information to be fully encrypted on their device, but using it becomes unwieldy. Balancing the levels of encryption is challenging, but can create strong safety guarantees. Homomorphic encryption2 can allow certain types of processing or aggregation to happen without needing to decrypt the data.Creating falsifiable security claims allows independent analysts to validate those claims, and invalidate them when they are compromised. For example, by using subresource integrity to lock the code on a web page, the browser will refuse to load any compromised code. By then publishing the code’s hash in an immutable location, any compromise of the page is detectable easily (and automatically, with a service worker or external monitor).Taken to their logical conclusion these techniques suggest building our applications in a more decentralized3 way, which not only provides a higher bar for security, but also helps with scaling: if everyone is sharing some of the processing, the servers can do less work. In this model your digital body is no longer spread throughout servers on the internet; instead the applications come to you and you directly control how they interact with your data.

We can do better. By designing the system so certain things are impossible, we lower the trust barrier for that system.

Non-technology folks can contribute to building consentful tech by:• Holding the platforms we use accountable to how they use our data• Advocating for consent-focused policy and legislation • Intervening in development processes through community organizing (petitions, demonstrations, etc.)• Signing on to platforms that are consentful • Learning more about code, policies, and legislationTech folks can contribute to building consentful tech by:• Advocating for diverse teams• Opening up design & development processes to people who those who are vulnerable to harm• Working towards a culture of consent in our companies and organizations• Mentoring newcomers, particularly those who are often excluded or marginalized from mainstream tech communities• Growing our knowledge on concepts like collaborative design processes and intersectionality • Consistently reviewing our development processes

Can people consent to Specific things in this system and not others? Can people select which aspects of their digital bodies they want to have exposed and have stored?

Are people Freely giving us their consent to access and store parts of their digital bodies? Can potentially harmful personal information about a person be displayed or stored without their consent? Does our system allow for Reversible consent? How easy is it for people to withdraw both their consent and their data?How are we fully and clearly Informing people about what they’re consenting to? Is important information about the risks a user might be exposed to buried in the fine print of the terms & conditions?How are we making sure that the consent is Enthusiastic? Is there an option not to use this technology, which means that people use it because they prefer to use it?

There are many ways to make technology more just and equitable, and consent is one important consideration. Non-consentful features and interactions can be minor nuisances for some people, but can be very harmful to others. When Facebook introduced photo tagging, anyone could tag you in a photo, whether or not you were okay with it. For some users, that could lead to embarrassment if the photo wasn’t particularly flattering. But for other people, the harm could be much more serious. For trans users, tagging photos from their pre-transition lives without their consent could lead to them being outed, which can have consequences for employment, housing, safety, and more.In response to user outcry, Facebook eventually implemented a process by which users can approve tagged photos. However, it required a critical mass of complaints to make this happen. And, Facebook still stores photos that are tagged with your face in its database, which informs its facial recognition algorithms. Whether you consented to being tagged or not, Facebook has a 98% accurate idea of what your face looks like.

With our digital bodies, there is also more to consent than a “yes” or “no.” As our physical bodies become increasingly interlinked with our digital bodies, harm can’t be prevented by trying to avoid technology. And harm can’t be justified because someone checked a box that said “I agree to these terms and conditions.”Instead, cases like those on the previous page point to a need for a cultural and technological shift in how we understand digital consent, as well as a political shift in how we advocate for control over our digital bodies. We want to offer up the idea of consentful technologies to help us move toward this. Consentful technologies are applications and spaces in which consent underlies all aspects, from the way they are developed, to how data is stored and accessed, to the way interactions happen between users.We use consentful instead of “consensual” because the latter implies a singular ask or interaction. Consentful technology is about a holistic and ongoing approach to consent

Mechanism design studies solution concepts for a class of private-information games. Leonid Hurwicz explains that 'in a design problem, the goal function is the main "given", while the mechanism is the unknown. Therefore, the design problem is the "inverse" of traditional economic theory, which is typically devoted to the analysis of the performance of a given mechanism.'[1] So, two distinguishing features of these games are: that a game "designer" chooses the game structure rather than inheriting one that the designer is interested in the game's outcome

How to Make a Mockup for Website?

Web Design & Development

17. SAY NO TO SPEC WORK Speculative work, or spec work, is a request by a potential client for uncompensated creative and design work at the inception of a project. Avoid this like the plague—it’s a devaluation of the entire design process and marginalizes our efforts as a whole. AIGA.org has great resources for dealing with spec work, including a sample letter that you can personalize and send to clients explaining why their request is unappreciated (see No. 19).

9. BUILD YOUR BOOK One piece of advice I give young designers looking to fill out their portfolios is to find the best local arts organization with the worst visual brand identity or website and make a trade. They get some great design work, and you get creative control and real-world projects in your book that other potential clients will recognize.

6. LEARN TO SAY ‘NO’ Some of your best design business decisions will ultimately be saying “no” to clients or projects. Unfortunately, it usually takes a few disasters to gain the experience to know when to walk away from an impending train wreck. Carefully measure the upsides of any project—creative control of your design work, long-term relationship-building and gross billing—versus the potential downsides—the devaluation of the creative process, being treated like a “vendor” and ongoing scope creep (where the volume of what you’re expected to deliver keeps expanding, while the schedule and budget don’t).

“The most important inspirations and influences in your life and career will come from places other than the design world. Get away from the design scene and cultivate other interests, skills, and experiences. Those are the things that will give you passion and distinguish you.”

“Almost any situation gets better when you ask yourself this: How can I be most useful right now? — Most useful to your employer, to your client, to the people you care for in your personal life, even to your future self. Asking ‘How can I be most useful right now?’ will get you past too little ambition, past too much ambition, past many interpersonal conflicts, boredom, frustration, and creative block. Sometimes the answer is ‘I can be most useful to everybody — including me — by leaving,’ but usually it’ll lead you to creating better work!”

“What did I know? I knew that relationships were critical in design. I knew that hard work was required. I knew that I needed inspiration beyond graphic design. “What did I not know? I didn’t know that time is forgiving. Saul Bass told me that success is defined by a series of successful projects over an extended period of time. I didn’t listen. I was convinced that every project was my last chance to succeed. Alternatively, each failure signaled the end of my career. Saul was right. Some projects were as ugly as something the cat coughed up, but the next one was better. And some projects were incredibly successful, and then the next one came along and it was left behind. The world isn’t black and white.”

“There’s a lyric from the song, Ooh La La by The Faces that says, ‘I wish that I knew what I know now, when I was younger.’ I think of this any time someone asks me what advice I would give young people just starting out. On the one hand, there are a thousand things that I’ve learned over the years that would have made my early professional life easier; things I know now. On the other hand, the great joy of life is learning and growing and making one’s own mistakes. I’d feel robbed if— when I was younger— someone had taken that away from me. “So my advice is to remember that success is a map of failures; Explore with courage. Draw the contours with grace.”

“Make sure to balance work and life. Without balance you may experience early career burn out or create undue emotional strain on yourself and the ones you love. “Connect with nature. Get out of your head and into your body. Nature reminds us to listen, think, and feel in ways that feed our intuition. “Travel. It enriches your life on every level. But there’s more to it because it takes us out of the context of what we know. It challenges us to exercise muscles that we don’t normally use. “There’s so much to learn from immersion in the unfamiliar. The benefit is a heightened sense of empathy and compassion — along with a sprinkling of humility. Chance invites spontaneity and play, which fuel creativity. Being open to chance — wherever you are — is a fearless act.”

“Work for things, and with people, you believe are good. Good work and good people attract more good. “Work outdoors. If you’re stuck, go outside and watch squirrels or take a walk. Take paper and a pen. “Give your own work devotion.”

“Talent is essential for success as a creative professional, but you also need mastery of current methodology and tools, excellent people skills, and business savvy to make your career sustainable over the long haul.”

“Never stop learning. Embrace what interests you and stay on top of it. Everything you need to know is a never-ending pursuit. It doesn’t stop when you are handed a degree or when you accept your first job. Keep taking classes. Find ways to mingle with other designers who do what you do. Actively research and discover what is out there and who is doing it really well. Ignite discussions with them. Share your passions with your colleagues, friends, spouse. Keep acting as your own teacher and play, practice, experiment and share. Above all else, stay curious and authentic.”

“Early on, if anyone had been able to tell me exactly the right thing, I would have dismissed it as preposterous because the world has just changed too much in unforeseen ways. “However, here’s my advice: get a second degree in something totally different— neuroscience, medicine, linguistics, or whatever feels right. “Design is what all humans do when they have intent and act upon it. Good design skills are most powerful when applied where they intersect with another discipline or two, or three. It is no longer enough to be a specialist only in design. Make your niche at those points of intersection, where future innovation will bloom.”

“Be interested in something besides design. It is invigorating to work with a designer that is passionate about what they do, but I am finding myself in too many conversations with designers that only know their field and nothing else. Read anything that you can. Know the classics for reference purposes, understand mythology, know how a steam engine works, how to change a bobbin, calculate compound interest, and why the North Star doesn’t move. “Yes, great design skills, knowledge, and draftsmanship are fundamental. It’s what you know beyond that world that allows you to conceive of a solution your fellow designers are oblivious to. Load your chamber with everything you can so when it’s your turn to take a shot, you have something to fire at the challenge besides surface.”

In website design, it was important to combine the interests of different stakeholders: marketing, branding, visual design, and usability. Marketing and branding people needed to enter the interactive world where usability was important. Usability people needed to take marketing, branding, and aesthetic needs into account when designing websites. User experience provided a platform to cover the interests of all stakeholders: making web sites easy to use, valuable, and effective for visitors. This is why several early user experience publications focus on website user experience

Resetting expectations. As corporate leaders become aware of the power of design, many view design thinking as a solution to all their woes. Designers, enjoying their new level of strategic influence, often reinforce that impression. When I worked with the entertainment company, I was part of that problem, primarily because my livelihood depended on selling design consulting. But design doesn’t solve all problems. It helps people and organizations cut through complexity. It’s great for innovation. It works extremely well for imagining the future. But it’s not the right set of tools for optimizing, streamlining, or otherwise operating a stable business. Additionally, even if expectations are set appropriately, they must be aligned around a realistic timeline—culture changes slowly in large organizations. An organizational focus on design offers unique opportunities for humanizing technology and for developing emotionally resonant products and services. Adopting this perspective isn’t easy. But doing so helps create a workplace where people want to be, one that responds quickly to changing business dynamics and empowers individual contributors. And because design is empathetic, it implicitly drives a more thoughtful, human approach to business.

Embracing risk. Transformative innovation is inherently risky. It involves inferences and leaps of faith; if something hasn’t been done before, there’s no way to guarantee its outcome. The philosopher Charles Peirce said that insights come to us “like a flash”—in an epiphany—making them difficult to rationalize or defend. Leaders need to create a culture that allows people to take chances and move forward without a complete, logical understanding of a problem. Our partners at the entertainment company were empowered to hire a design consultancy, and the organization recognized that the undertaking was no sure thing.

Several years ago, I consulted for a large entertainment company that had tucked design away in a select group of “creatives.” The company was excited about introducing technology into its theme parks and recognized that a successful visitor experience would hinge on good design. And so it became apparent that the entire organization needed to embrace design as a core competence. This shift is never an easy one. Like many organizations with entrenched cultures that have been successful for many years, the company faced several hurdles.

IBM and GE are hardly alone. Every established company that has moved from products to services, from hardware to software, or from physical to digital products needs to focus anew on user experience. Every established company that intends to globalize its business must invent processes that can adjust to different cultural contexts. And every established company that chooses to compete on innovation rather than efficiency must be able to define problems artfully and experiment its way to solutions.

Design thinking is an essential tool for simplifying and humanizing.

“There’s no longer any real distinction between business strategy and the design of the user experience,” said Bridget van Kralingen, the senior vice president of IBM Global Business Services, in a statement to the press. In November 2013 IBM opened a design studio in Austin, Texas—part of the company’s $100 million investment in building a massive design organization

the iterative process works at GE: “GE is moving away from a model of exhaustive product requirements. Teams learn what to do in the process of doing it, iterating, and pivoting.” Employees in every aspect of the business must realize that they can take social risks—putting forth half-baked ideas, for instance—without losing face or experiencing punitive repercussions.

Tolerate failure. A design culture is nurturing. It doesn’t encourage failure, but the iterative nature of the design process recognizes that it’s rare to get things right the first time. Apple is celebrated for its successes, but a little digging uncovers the Newton tablet, the Pippin gaming system, and the Copland operating system—products that didn’t fare so well. (Pippin and Copland were discontinued after only two years.) The company leverages failure as learning, viewing it as part of the cost of innovation.

In design-centric organizations, you’ll typically see prototypes of new ideas, new products, and new services scattered throughout offices and meeting rooms. Whereas diagrams such as customer journey maps explore the problem space, prototypes explore the solution space. They may be digital, physical, or diagrammatic, but in all cases they are a way to communicate ideas. The habit of publicly displaying rough prototypes hints at an open-minded culture, one that values exploration and experimentation over rule following.

The better a designer understands his or her audience and the unique needs of that particular audience, the more efficiently and effectively he or she will be able to develop, design, implement, and evaluate instructional materials in a rapid format. 

This corporate scale-up is not purely a US phenomenon. Rumor has it that Barclays is now the biggest employer of design talent in London, and Singtel has built out a massive floor for its design team in Singapore. __But no one has been more aggressive in building design into their core capabilities than IBM, which is on track to grow their design team to 1,000 people, making them by most measures the largest design firm in the world. __According to one friend they had 50 designers start the same week this summer. There are rumors that IBM offered a job to every single CMU grad this year in the interaction design program.

But advertising and design are fundamentally different businesses: in the world of advertising, user experiences are typically a loss leader to sell media buying services that are much more reliable and higher margin. Design, by contrast, is studio-driven, not account-driven—and does not benefit from the reliable, recurring revenue streams of ad spends. Ideas are not a loss-leader, they are the core value for design. __This difference may not be visible to corporate buyers, but it is quite meaningful to creative talent, the lifeblood of both industries. If you walk into a meeting in which you are pitched fully-formed concepts as part of the sales process, you are probably not talking to a design firm. __

rather than to comprehend them

Bypresenting information in a temporal context – in terms of, for example,trajectories, rhythms, and horizons, although potentially too according toother metaphors such as timelines – we can provide tools for more effectivelymaking sense of information and its consequences (Reddy et al., 2001)

The MVPs are evaluated in terms of the current ways in which they are being used; they are not being evaluated as (prospective) designs. Certainly these platforms are not finished products; there is a clear sense that they remain in-process; ever-frequent updates and even complete pivots will be made. In this sense, prototyping is no longer a stage within design, but the only outcome of design. Without forethought, prior evaluation, whether against a strong vision, or of consequential risk, is this still design? Is designing as foreseeing disappearing beneath permanent iteration?

Designing is the process of making futures (see the important Open University textbook Man-Made Futures, [8]). There are at least two distinct aspects to this process. Each aims at a different sense of “the possible” or what it means “to create.” One is disruptively innovative; it seeks to break with how things currently are, open up the new. The other is more instrumentally pragmatic; it seeks to work out how current things might be transformed, what it is practicable to make.

They can enable individuals to reflect on the personal and social impact of new technologies, and provide a provocative, speculative, and rich vision of our technological future that avoids the clichés of consumerist-oriented industrial design.

Critically engaged language can do detailed surgery on a topic, but critical objects can hit like an emotional sledgehammer if thoughtfully implemented.

reflection on unconscious values embedded in computing and the practices that it supports can and should be a core principle of technology design

Values in design is an approach to studying sociotechnical systems from the perspective of values, and starts from the assumption that technology is never neutral

Offering consultation services to clients is no longer optional in a world where websites can be generated by Squarespace and other white label services.

The model of future successful brand agencies is a hybrid approach of digital and brand, neither one prioritized over the other.

While none of these are a traditional logo, each of them represents a touch point between a human and a brand. Just like a logo, these types of interactions represent the tip of the iceberg of a brand. These days, a brand mark does not need to be visual–touch, interaction, or sound can equally be a brand mark.

At a time when brand experiences are often based upon touch, sound, and voice, how can a branding process that starts out from a purely visual perspective ever possibly succeed?

On the stage, a very adept and confident speaker jokingly mentioned a web-related joke that feels decades old (which she was sarcastically referring to as being decades old) and the whole room fell about laughing; it was the first time they had heard this reference. It was in that moment I realised the web industry had changed as we knew it. I looked at the other speakers and they too, had a similar look of realisation on their faces.

The Three Dimensions of Inclusive Design

your future success depends on developing a new kind of expertise: the ability to leverage your proprietary knowledge strategically and to make useful connections between seemingly unrelated knowledge assets or tap fallow, undeveloped knowledge.

Your competitors will have access to the same kinds of data and general industry knowledge that you do.

It’s a vote of confidence in the company’s capacity to protect enough tacit knowledge to stay ahead of the competition.

will make more money if more people build on the platform he has provided

The ease of knowledge sharing is directly proportional to the degree of knowledge codification

speeding up codification will increase the value of knowledge

Companies that figure out how to manage this complexity will enjoy a powerful competitive advantage in finding and selecting innovations.

In the short term, digital design will move beyond screens to physical surfaces and augmented or artificial environments, and designers will occupy more positions where they are directing or consulting on larger and more complex systems of experience. Design is already less visual and more collaborative, and will continue along that trend. It’s not enough, though, to look five or ten years in the future. Will there be a Machine-Learning designer in 2050? Maybe. But in forty years, it’s just as likely that jobs will no longer exist, or at least not in a way that we would recognize them.

Japanese people tend to require more information before reaching a purchasing decision. So for printed brochures, it is standard practice for Japanese companies to create one text-heavy version for the Japanese domestic market, and another “rest of the world” version that gets localized into multiple languages for markets worldwide. Often the Japanese domestic version goes into more detail and mentions this or that technology as part of a product’s appeal. The non-Japan version focuses more on user benefits, oftentimes not even mentioning the technology that makes those benefits possible. Western thinking is, consumers want to acquire an experience, not a technology. Japanese thinking is, those promises feel more real when somehow linked to technology.

The baseline here is detecting technical issues (counting errors, service availability, etc) but it's also worth monitoring business issues (such as detecting a drop in orders).

Visitor design pattern

La noción de diseño difuso se refiere al hecho de que todo el mundo está dotado con la capacidad de diseñar, mientras que la de diseño experto se refiere al conocimiento profesional del diseño. Entre las dos distinciones se abre un espacio para repensar ‘el diseño en un mundo interconectado’. En el modelo de Manzini este espacio funciona como un recurso heurístico que permite visualizar modos de diseño, desde los ‘activistas culturales’ comprometidos con el diseño difuso y la construcción de sentido hasta las formas de intervención tecnológica centradas en la solución de problemas bajo el liderazgo de expertos (

el mundo está experimentando una gran transición; el diseño puede contribuir a fomentar una cultura de localismo cosmopolita que vincule, efectivamente, lo local y lo global a través de infraestructuras resilientes que acerquen la producción y el consumo con base en sistemas distribuidos; (c) las acciones de la gente para cambiar sus condiciones de vida cotidianas se llevan a cabo, cada vez más, a través de organizaciones colaborativas; los expertos en diseño, como piezas importantes en este redescubrimiento de la colaboración, ayudan a crear las condiciones para el cambio social;

Production and post-production is, by many accounts, the most profitable element of the entire agency equation, and holding companies aim to boost those totals

as clients' marketing budgets decrease and agency profit margins feel the squeeze.

One boss allegedly followed a round of layoffs by warning employees that all production work needed to remain in-house if they wanted to keep their jobs, in part because production is the agency's only profitable department.

All major agency holding companies have launched their own production and postproduction units in recent years as part of what one agency veteran called "a revenue grab." In some cases, they have publicized this information, but the new divisions largely operate under the radar despite employing hundreds of people. "This isn't a threat to high-end production companies," said one source who has worked in that industry for years, "But it will wipe out the whole middle range of independent companies."

Some students have been conditioned by experience in other online courses to expect to be able to read and study quietly by themselves for a few weeks, post a minimum number of discussion board posts in a single day, and complete an exam or writing assignment at the end of a unit or module. The chunky model, with its frequent required interaction, may disappoint students who want to be able to proceed more independently. For that reason, we encourage students to refl ect and comment on the process as we go along. We make design visible by asking students to engage and respond to the course content and design in real time. Inevitably, some students will express resistance, arguing that they enrolled in an online course specifi cally to be able to “work on my own schedule.” So it is important to take those concerns seriously and encourage students to express them. In a writing course, we argue that students can measurably benefi t from breaking major writing projects into a series of steps that can be completed in short units of time.

utomatic interaction analysi

This means developing a flexible learning environment in which information is presented in multiple ways, students engage in learning in a variety of ways, and students are provided options when demonstrating their learning.

Coherence

Details

Designing

The selection committee declares that whatever LMS the university chooses next must work exactly like Blackboard and exactly like Moodle while having all the features of Canvas. Oh, and it must be "innovative" and "next-generation" too, because we're sick of LMSs that all look and work the same.

they depended mostly on pre-recorded videos for content (following the Khan Academy) model. This was content that was intended to be 'learned' by students.

if the children are from more than one class, the app is programmed with rules that determine which curriculum appears on the iPad.

carefully crafted learning outcomes

how to balance supporting a system as complex as Domain of One’s Own without dictating how people use it

definition of field: The field of instructional design and technology encompasses the analysis of learning and performance problems, and the design, development, implementa- tion, evaluation and management of instructional and non-instructional processes and resources intended to improve learning and performance in a variety of set- tings, particularly educational institutions and the workplace. Professionals in the field of instructional design and technology often use systematic instruc- tional design procedures and employ a variety of instructional media to accomplish their goals. More- over, in recent years, they have paid increasing atten- tion to non-instructional solutions to some performance problems. Research and theory related to each of the aforementioned areas is also an important part of the field. (Reiser, in p

Richardson argues that “open design” in the maker movement encourages diversity and collective participation in the production process. Being “pre-hacked” provides an alternative way to think about participation in technological produc-tion. The maker movement tenuously embraces open design, even if they have less success in considering how these practices might scale.

The Liminal Role of Instructional Designers

Design Talent or Design Skill?

Can Design be Taught or Do you Need Talent?

Research debt is the accumulation of missing interpretive labor. It’s extremely natural for young ideas to go through a stage of debt, like early prototypes in engineering. The problem is that we often stop at that point. Young ideas aren’t ending points for us to put in a paper and abandon. When we let things stop there the debt piles up. It becomes harder to understand and build on each other’s work and the field fragments.

For design this is a crucial factor, and a profound change. The designer of such ‘pages’ / sites is no longer the ‘author’ of an authoritative text, but is a provider of material arranged in relation to the assumed characteristics of the imagined audience. The power of the designer is to assemble materials which can become ‘information’ for the visitor, in arrangements which might correspond to the interests of the visitor. For the visitor however “Information is material which is selected by individuals to be transformed by them into knowledge to solve a problem in their life world” (Boeck, 2002)

But further than that, at a fundamental level, graphic design works as a kind of user interface; we organize information visually to allow people to navigate through and understand the world. As graphic designers we channel interactions through a primarily visual funnel, stripping out everything that can’t be accommodated in the medium. But as sensors, processing power and machine intelligence become more portable, ubiquitous, and increasingly part of the designer’s lexicon, we will one day find that our user interfaces are no longer primarily visual, but more sonic, haptic, and multi-sensory. With that comes a brand new palette of output at our disposal. Allow me to take this to a more extreme conclusion: We’re beginning to interface with our devices in more conversational terms as natural-language-processing algorithms improve, and in more gestural terms with improvements in computer vision and virtual reality. When coupled with renewed interest in anticipatory design, a massive signal appears pointing to a future in which graphic designers are barely required at all. But by taking a designer’s mindset to problem-framing and solving, we have skills that position us well to help shape the deployment and development of this new artificial intelligence in design; helping to develop new tools, new interfaces, and new interactions that shape future worlds in unimaginably profound ways.

The next design trend is one that eliminates all choices Written by Anne Quito Obsession Design June 18, 2015

Application developers will also likely win in all this. While the APIs and the data available will be pretty standardized, the manner in which it’s displayed will become a battleground of creativity. Innovation here will be key, doing something different and better than what everyone else is doing is the only way an app will stand out.

If there’s a definite winner in this possible future Internet, it is the content creators. If the only thing that sets one company or organization apart from their competition, then those who can create high-quality content will be in high demand. The thousands of dollars that a company used to be spent on website design will be funneled into website content instead.

Multimedia content will also still have a strong market. Those who can produce high-quality videos and even web-based apps (for things like Chrome OS) will have a strong business for years to come.

And all these touchpoints need to be designed, planned, and managed. This is a job that will continue to exist, regardless of the channel. We will still need cohesive experiences and valuable content across smart climatizers, virtual reality devices, electronic contact lenses, and whatever we invent in the decades to come.

The Cooper Hewitt, Smithsonian Design Museum’s The Jazz Age: American Style in the 1920s is billed as the “first major museum exhibition to focus on American taste in design during the exhilarating years of the 1920s.”

Every designer should have and be comfortable with these tools: Pencil and/or pen Sketch pad Everything after that is a matter of preference or specialization. I've been in this business for 15 years now and I have not met a single designer, art director, or creative director that does their best without first sketching it out. You can jump right into the computer but it's never as free as early concepts should be. As for the other items listed here ... Remember that digital makes up the majority of the market these days. Print isn't dead, but it isn't the only option for professional design. In fact, it's an afterthought much of the time. Pantone? That's for those print junkies. X-acto? Nice, but mostly just for print. Light table, tape, tracing paper, ink erasers!? You guys are as bad as me. That's all for us fussy history buffs. I hardly pull that stuff out any more. My art supplies are more like a museum than a tool kit. They come in handy every few months but that's only when I'm doubling as an illustrator. Or just playing around. I could probably save my clients some money and go buy royalty free icons next time ;)

Digital art will rival the real thing. “Will a 3D-printed sculpture have the same value as a sculpture made by someone 50 years ago with their hands? People sometimes see digital art as a lesser form of art. Oh, that is done by computer, not hand! Then people think it should be cheaper. I worry that consumers will see 3D art as something cheap — not the real thing. But once you can print a masterpiece from an artist and have it as your own, people will think differently. I am pretty sure that if Michelangelo had a computer, he would have used it.”

3D printing will continue to grow in importance. “As creatives, it’s our duty to incorporate 3D printing into our work. When you have the possibility to make your work tangible, that gives it more richness. I hope 3D printing allows people to fully customize their lives. One day if we need shoes or more silverware, we can just print them in our home. I think this will be true for all of our household basics. We’re going to have more creatives in the world because things that have traditionally been done on an industrial scale will be able to be done by anyone with 3D printing.”

You’ll have to broaden your skill set. “You can have a great design, but if you can’t communicate the story behind it, it will be the downfall of the greatest designers. It’s important to learn the ‘soft skills’ which are learning how to speak publicly to grab attention, keep attention, and clearly articulate your ideas. You should learn to negotiate your prices, as well as know how to read a room and when you should disappear. The other side is the psychology of the business upfront, the questions of: Why am I building this? Why is it important? Or what impact am I going to have on the world? It’s important to answer before you design. Having the business and designer mindset is important.”

Specialization + communication = a career win.  “Instead of trying to become a jack-of-all-trades, young designers should be trained in one specific design discipline, communication design, product design, interior design, fashion design, or digital media design. The design student should develop an understanding of how the respective design discipline interfaces with technology and business. Students should work in projects together with students from other design disciplines and preferably also with students from engineering and business. This is training for young designers and a time to nurture communication skills.”

Visual VR is just the start.  “There really is a lot of opportunities and means for expression inside VR. For example, Axon VR is developing full body virtual reality, both the software and hardware. The apparatus is somewhat imposing, and the leap to a first-person experience is astounding when you add visual, sound, and the sense of touch. The visual power of the experiences has sky-rocketed as a result. When you put that in the hands of creative people, there’s a real opportunity for the experiences that come out of it to be completely, utterly fantastic.”

Storytelling will have no clear narrative arc. “The amount of investment/heat around virtual and augmented reality will be the next big challenge for creative professionals, and understanding the self-navigating narrative like that is not a part of most creative disciplines. Traditionally, we’ve always told linear stories. I think the biggest nut to crack will be how creatives design story games that the users can tell themselves.”

Experience design will become increasingly important. “Retail shopping is not solely about the transactional experience any more. It’s about going into a store, feeling the vibe of that brand and getting that bigger lifestyle out of it. Right now that’s very much an urban, high-end experience, so how do we do that in a more populous way? We are looking a lot at the mall K11 in Hong Kong, and how they have incorporated so many different things in their experience, from having art everywhere to farms that are growing mushrooms that you can pick and have incorporated into your meal to programs for kids. And it’s all very-well curated, so there are always new exhibitions and programs.”

Crooked career paths will be the norm. “More and more I am seeing people who haven’t followed the traditional career path. When hiring, I look for the narrative that stitches the person’s career together: Why did they make the decisions that they did? What was the trajectory that they found themselves on? I don’t really care that much anymore if you went to a pedigree design school or started at a prestigious company. What I care about is that you learned and grew and there was an intent behind what you were building towards.”

The line between design and business will continue to blur. “The more a designer understands how the business works, the more valuable they will be to employers. Designers who understand a company’s value proposition and mission can help them thrive and grow. They just need to learn the language that someone who is running a company actually speaks. When they can articulate exactly what they bring to the table, executives will realize that they didn’t just hire a designer — they also hired a strategist!”

According to a recent study by online job matching service TheLadders, the fastest growing jobs are in user experience design, iOS and Android development, and business intelligence–some of which didn’t exist before 2007.The study, which gathered key word search data from among its 6 million members, also found that middle management jobs are being phased out. Among the top 10% of growing jobs, less than 2% of titles contain the word “manager” or “director,” which points to a trend that you can still be a professional in a high-paying position, but the end game isn’t a gold plaque with a management title tacked to your name.Mark Newman, CEO of digital interviewing service HireVue, says the company is witnessing similar trends as it helps place people with companies such as Hilton, GE, Chipotle, and others. “Overall, HireVue is seeing that jobs of the future are design and data scientist jobs,” he says.

We focus on a particular topic (e.g., racial prejudice), use a particular resource (e.g., To Kill a Mockingbird), and choose specific instructional methods (e.g., Socratic seminar to discuss the book and cooperative groups to analyze stereotypical images in films and on television) to cause learning to meet a given standard (e.g., the student will understand the nature of prejudice, and the difference between generalizations and stereotypes).

Furthermore, the format of the test causes many educators to erroneously believe that the state test or provincial exam only assesses low-level knowledge and skill. This, too, is false. Indeed, the data from released national tests show conclusively that the students have the most difficulty with those items that require understanding and transfer, not recall or recognition.

he Three Stages of Backward DesignThe UbD framework offers a three-stage backward design process for curriculum planning, and includes a template and set of design tools that embody the process. A key concept in UbD framework is align-ment (i.e., all three stages must clearly align not only to standards, but also to one another). In other words, the Stage 1 con-tent and understanding must be what is assessed in Stage 2 and taught in Stage 3.

Do Designers Need to Go to College?

JLW: Did these electronic or highly technical things come naturally to you? Or is it a case of working with the right collaborator? PS: It’s always a case of working with the right collaborator. I don’t like equipment. I don’t even take pictures.

I find that with 3D work it’s the opposite of graphic design for print. The computer has revolutionised this kind of work – the way you can see work before it is built. The jobs come out almost identical 
to my Photoshop rendering, and usually something is selected in the first or second round. These things, they’re a whole different speed. They take a very long time to realise. There’s a lot of expense involved, trying out materials – they go on forever. I’ve been working on the High Line [a New York park built on the 1930s elevated railway] for a million years [since 2000].

I told you I’m not a craftsperson. Anything I do where I think I make a breakthrough, in five minutes someone’s going to come along and do it better than I did it. JLW: So you keep moving … PS: Well I have to because I’m never going to develop the craft well enough. That’s been true for me my whole life.

My view is that to grow as a designer you have to allow yourself to be who you are irrespective of the technology, but let the technology inform you in ways that it can. When you look at periods you find designers whose body of work is completely connected to one technological form and then it stops there. I see it in some of my ex-students – it’s quite a sad thing. Students who learned to work on the computer in the late 1980s and 90s who are now approaching 40 are having a hard time working because the younger kids who are right out of school are not only cheaper but they can adapt to the technology much faster and much more easily, so they’re actually better at the gig. It leaves a whole generation cold in relation to advancement.

The thing I do – which is why I became less interested in style and more interested in finding a way to do it – is to create expressionist typography. Words have meaning and typography has feeling. When you put them together it’s a spectacular combination. I think the reason I responded so negatively to Helvetica way back when was that it neutralises feeling. A Modernist would argue that that’s terrific because then the words speak and you’re not influencing the content by creating disorder with them. It’s almost like an understood, generic form … that you can say OK take the words as they are because they’re laid out very clearly in Helvetica. All other styles imbue the words with a shade or meaning, which changes them, which is where I think all the fun is!

First I had a design teacher who gave us Basel basics: move a black square around a white page, make a white on white piece – things that involved seeing and craft, but I was very sloppy, so for me that form of exercise was terrible. Y’know, the notion of lining things up and making things function, and then later designing a business card or putting typography on a grid was virtually impossible to achieve and depressing for me. I felt I was cleaning up my room in some kind of ordered system where the goal of life is to be neat. I remember seeing Kathy McCoy talk about it from her perspective and she had said that the biggest compliment you could give to something was that it was ‘clean’. C’mon, there’s gotta be more than that… That can’t be it! What about expression, what about emotion, what about feeling? You had to be engaged with it in some way. If you could be neat, it seemed that you could achieve it. And that didn’t seem right to me about a form of expression and communication. If anybody can achieve it, why bother to do it, why don’t we all do it ourselves?

Designing with OER (DOER) Fellows

For instance, a set of stairs does not just afford climbing, but based on the angle of construction, may facilitate an easy climb, pose challenges to climbing, or be unclimbable entirely

graphic design has more opportunity for impact than ever, as institutional liveries now live not just on signs and letterhead, but in apps and physical installations that span landscapes, and typefaces can breathe and grow in response to their environments

I use backwards de-sign to develop our lesson plans: What do we want our students to write, and why? What skills are required, and how do students acquire those skills (Wiggins and McTighe 34)?

Technologists are not noted for learning from the errors of the past. They look forward, not behind, so they repeat the same problems over and over again.”

Six Steps to Superior Product Prototyping: Lessons from an Apple and Oculus Engineer

“An individual building, the style in which it is going to be designed and built, is not that important. The important thing, really, is the community. How does it affect life?” I.M. Pei

Thiết kế website

Hoe kan een digitale applicatie ervoor zorgen dat bekkenfysiotherapeuten meer controle hebben over de oefeningen die ze de patienten meegeven en daarbij minder tijd kwijt zijn aan het beschrijven van de oefening.

My plea to designers and software engineers: Ignore the fads and go back to the typographic principles of print — keep your type black, and vary weight and font instead of grayness.

It wasn’t hard to isolate the biggest obstacle to legible text: contrast, the difference between the foreground and background colors on a page. In 2008, the Web Accessibility Initiative, a group that works to produce guidelines for web developers, introduced a widely accepted ratio for creating easy-to-read webpages.To translate contrast, it uses a numerical model. If the text and background of a website are the same color, the ratio is 1:1. For black text on white background (or vice versa), the ratio is 21:1. The Initiative set 4.5:1 as the minimum ratio for clear type, while recommending a contrast of at least 7:1, to aid readers with impaired vision. The recommendation was designed as a suggested minimum contrast to designate the boundaries of legibility. Still, designers tend to treat it as as a starting point.