A scholarly journal of thought leadership, education and practice in the discipline of visual communication design.
Pleased to introduce Dialectic, a scholarly journal of thought leadership, education and practice in the discipline of visual communication design.
The entirety of the contents of Volume 1, Issue 01 (V1, I1) of Dialectic, the new, fully open access scholarly journal administrated by the AIGA Design Educators’ Community, can be viewed in full at:
A printed version of Dialectic is also available for $19.99 on Amazon at:
Each of the pieces that has been published in Dialectic V1, I1—their titles and author’s names appear below—may be read or viewed in full online by navigating to the URL listed above and then clicking on the “CONTENTS” box in the upper right corner of Dialectic’s home page. Additionally, each of these pieces may be freely downloaded in .pdf form by anyone in the world who has a viable internet connection and electricity.
The Table of Contents for Dialectic’s inaugural issue is located at:
The content of Dialectic is organized in three sections: “Front Matter,” “The Feature Well,” and “Back Matter.”
The Front Matter section contains the following:
It’s time to stir the pot… An Introductory Letter from Dialectic’s Managing Editor and its Producer by Michael R. Gibson and Keith M. Owens
Journaling through the Back Door by Stephen McCarthy
A New North American Design Research Organization by John Zimmerman, Carlos Teixeira, Erik Stolterman and Jodi Forlizzi
The Feature Well section contains the following:
The Concept of the Design Discipline by Paul A. Rodgers and Craig Bremner
First Issues, First Words: Vision in the Making by Jessica Barness
Tip of the Icon: Examining Socially Symbolic Indexical Signage by Terry Dobson and Saeri Cho Dobson
On Web Brutalism and Contemporary Web Design by Aaron Ganci and Bruno Ribeiro
A Visual Essay: My Life as a Fake by Jenny Grigg
A Survey Paper: Doctoral Education in (Graphic) Design by Dori Griffin
A Position Paper: Defining Design Facilitation: Exploring and Advocating for New Strategic Leadership Roles for Designers and What These Mean for the Future of Design Education by Pamela Napier and Terri Wada
The Back Matter section contains the following book reviews:
Developing Citizen Designers by Elizabeth Resnick; reviewed by Ann McDonald
Leap Dialogues by Mariana Amatullo, Bryan Boyer, Liz Danzico and Andrew Shea; reviewed by Annabel Pretty
Are We There Yet? Insights on How to Lead by Design by Sam Bucolo; reviewed by Heather Corcoran
Mapping the Grid of Swiss Graphic Design: A Review of 100 Years of Swiss Graphic Design by Christian Brändle, Karin Gimmi, Barbara Junod, Christina Reble and Bettina Richter; reviewed by Richard Doubleday
Leonardo Three-Year Symposium on the Ph.D. in Art and Design
In 2017, the journal Leonardo celebrates 50 years of publishing research and works of art at the intersection of art, science and technology. As part of the celebrations, we initiated a 3-year symposium to address issues surrounding the development of the Ph.D. in Art and Design. The first articles are about to appear.
Universities around the world are now debating this issue. While the MFA is a terminal degree for professional practice, the Ph.D. is a research degree — the doctor of philosophy. The debate began in the U.K. when independent art and design schools merged with universities or obtained university status in their own right. This led to the question of the standards for appointment and promotion to programs once located in separate institutions that are now located within universities. Universities in Europe, Asia, Australia and North America have joined the conversation by establishing new Ph.D. programs or initiating serious debates on whether — and how — to build them. The question of the Ph.D. for art and design raises many challenging issues. First among these is the nature of research, research training, and the Ph.D. While this issue is obvious to those who have earned a Ph.D. in the natural sciences, social sciences, or liberal arts, it remains complicated in understanding the Ph.D. for art and design.
- What is the Ph.D. in art?
- What is the Ph.D. in design?
- What should a Ph.D. be in a field of professional practice?
- Should there be several kinds of Ph.D. in art and design or one major model?
- Why pursue such a degree?
- What is the nature of such a Ph.D. with respect to
research quality as distinct from the quality of art or design practice?
- Why are so many programs struggling or going wrong?
- Why do universities and accrediting authorities permit problematic programs to continue?
- Why, in the past, did artists interested in research choose to take a Ph.D. in disciplines outside art?
- Are there specific skills all researchers require without respect to their discipline?
– Improving sustainable product design methods by researching what designers and engineers value in them, and how they can act as innovation tools. Including integrating life-cycle assessment into product design process. (Strong design / needfinding skills, or LCA skills, wanted)– Inventing new materials and/or technologies for sustainable 3D printing of compostable biomaterials that enable low-energy printing processes. Special emphasis on achieving low cost and high mechanical strength while maintaining compostability. (Hands-on experience 3D printing alternative materials wanted; ideally also material science or chemistry background.)
Please see below for your consideration a call for papers for a special issue of the CoDesign journal:
CoDesign Special Issue: Understanding, Capturing and Assessing Value in Collaborative Design Research
Simon Bowen, Newcastle University, United Kingdom
Roger Whitham, Lancaster University, United Kingdom
Chris Speed, Edinburgh College of Art, United Kingdom
Simon Moreton, University of the West of England, United Kingdom
Abigail Durrant, University of Northumbria, United Kingdom
In this special issue, we seek to discuss how the value of design research programmes can be understood, communicated, and inform work as it progresses. Funders typically evaluate research according to impact that can be readily described in economic or societal terms. Whilst this indeed demonstrates value, it does not completely capture forms of value that collaborative design research produces, because often they are less amenable to measurement or do not produce quantifiable results within or soon after the funded period.
Design research is apt to be collaborative, involving diverse stakeholder groups and forms of knowledge, leading to outcomes that range in nature from discrete products and services, to new experiences, processes and infrastructures. This diversity and connectedness is a core strength of the discipline, but also a challenge in articulating its value to assessors, and indeed to the discipline of design research itself. There is an acute need to consider how collaborative design research understands and captures the value it offers to the world, addressing the demand for articulating quantifiable value without losing the distinctive theoretical and practical resources design research has to offer society.
We invite authors to consider, illustrate and reflect upon the practical and conceptual challenges and opportunities of understanding design research value. We invite authors to respond to the following issues and questions:
Conceptions of value in collaborative design research:
What forms of value are most relevant to design research?
How can value that is distributed socially, organisationally and temporally be understood?
How can understandings of value respond to co-produced and emergent forms of knowledge?
Practical problems of identifying and capturing the value of collaborative design research:
How has the effect and value of design and design research been successfully (or unsuccessfully) captured in existing work?
How might emergent, diffuse, infrastructural and dynamic forms of value be meaningfully captured?
What are the ethical implications of identifying and capturing the effect of design research?
Assessing value in collaborative design research:
Given constraints on the time and expertise of assessors, what forms of evidence could equip evaluators with the tools needed to understand value?
How have assessment methodologies been meaningfully employed, and what new research has this enabled?
How can assessment account for new and disruptive forms of knowledge and value?
March 2017: launch of the call
30th June 2017: Submissions deadline for intentions to contribute
31st August 2017: Notification of relevance sent to authors
30th of November 2017: submission of full papers
5th March 2018: post-review notification of accept / reject / revisions to authors
1st June 2018: Deadline for submission of revised papers
1st August 2018: Final selected papers to production
February 2019: Publication of the Special Issue
For further details and instructions for authors, please see:
Even if you can´t go, it´s a great source of top references – experts in almost all the design fields.
Visit site: http://conference.collegeart.org/
Time: Wednesday 2/15
“SO NEAR AND YET SO FOREIGN: NEGOTIATING TOURISTIC EXPERIENCE THROUGH DESIGN
Chair: Sara Desvernine Reed, Virginia Commonwealth University
The Tropicana: Designing Cosmopolitan Cubanidad
Erica Morawski, Smith College
To and From Ticul: Uses of the Maya Pot in California Design, Science, and Counterculture
Robert J. Kett, San Francisco Museum of Modern Art
How to See Japan: Japan Tourist Bureau Images for Western Tourists of the 1930s
Dori Griffin, Ohio University School of Art + Design
From Hotels to Home: Designing Ghana’s Tourism Industry through Asanti Textiles
Allison Joan Martino, University of Michigan
Arriving and Departing from American Sāmoa
Kelema Lee Moses, Occidental College
ENERGY EXCHANGE: CREATIVE PROBLEM SOLVING
Synaptic Leaps: Energy Interchange in Contemporary Printmaking
Deborah Cornell, Boston University
Once You Know, You Can’t Unknow: Creative Problem Solving in Computationalist Culture
Zachary Kaiser, Michigan State University
The Efficacy of Painting in the Landscape Imagination
Sandy Litchfield, University of Massachusetts Amherst
Emotional Location: A Reflection on the Digitally Rendered Surface
Barbara Rauch, OCAD University
BITE: Recipes for remarkable research is an edited field book capturing the research, learning and experiences of an international network of scholars studying effective and creative research environments. The book encapsulates what it is that enables remarkable research, and offers, as Professor Lizbeth Goodman says, “practical, evidence-based instantiations of ideas and innovations” as well as theoretical knowledge. It is set out as a recipe book, with supporting academic papers and case studies.
The recipes present research and advice from a wide range of subject areas in an instantly recognisable format. Each recipe enables the reader to take practical steps to understand and develop their own research at all levels, from personal solo work and group collaborations, to an institutional and architectural dimension.
Whether you are a PhD student, early career researcher, professor or decision-maker, these recipes, case studies and papers invite you to consider research habits, approaches and environments in interesting and different ways.