2. There is one heading, however, under which we discuss and
judge the quality of our material culture, viz., design.
Accordingly I propose we think of design as the excellence of
material objects. Design in this objective sense is everyone’s
concern.
(Albert Borgmann, s. 13)
To stress the coordination between design in its objective sense
as the excellence of the material culture and design in its
practical sense as a profession is eminently urgent and
desirable. Design, taken as an objective quality, needs design
as a professional practice because the quality of the material
culture urgently needs the care and advocacy of professionals.
(Albert Borgmann, s. 14)
DESIGN AS THE EXCELLENCE OF
MATERIAL OBJECTS
3. Når vi designer og taler om IT-Didaktisk design beskæftiger vi os altså med
materielle objekter i en materiel kultur.
Det vil sige at vimå være reflekterede omkring et designs materialitet,
håndgribelighed og ekspressivitet.
Et design bør altså indeholde lige dele ‘fornuft & følelse’
Og hvis det at lære gennem design skal være engagerende må designet altså
tage højde for disse forhold.
Vi kan altså ikke ‘arrangere,’ ‘diktere’ eller ‘skabe’ læring gennem designet
(engineering design) og vi kan ikke lave et læringsdesign der ‘frikøber’ læreren
og lærer eleven automatisk og universelt
Hvad vi istedet må gøre er at invitere eleven gennem en æstetisk-materiel appel
til ‘fornuft & følelse’, ‘sansning & håndgribelighed,’ ‘ekspressivitet & indtryk’
(aesthetic design)
As engagement has declined, so has aesthetic design (Albert Borgmann, s. 15)
As aesthetic design has declined, so has engagement
Hvordan forholder jeres design sig konkret til og tager hånd om disse aspekter?
DESIGN AS THE EXCELLENCE OF
MATERIAL OBJECTS
4. Aesthetic design inevitably is confined to smoothing the
interfaces and stylizing the surfaces of technological devices.
Aesthetic design becomes shallow, not because it is aesthetic,
but because it has become superficial. It has been divorced
from the powerful shaping of the material culture. Engineering
has taken over the latter task. But it in turn conceals the power
of its shapes under discreet and pleasant surfaces
(Albert Borgmann, s. 15)
DESIGN AS SURFACE DESIGN?
5. Indeholder jeres design æstetisk dybde eller er det blot en smuk
overfalde?
= er det digitale bare den søde overflade (eller forlystelsespark)
der skal få brugeren til at sluge den bitre læring (eller gå i skole)?
Hvis ikke – hvordan kan man så se det i designet?
Er jeres design bare en ‘automatisering’? En ‘aflastning’ der skal
få brugeren til at blive ‘forbruger’ mere end ‘fokuseret deltager’?
Hvis ikke – hvordan kan man så se det i designet?
Hvilke æstetiske krav stiller jeres design mht. brugerens
engagement?
Hvordan er det digitale mere og andet end overflade? Hvordan er
det digitale ‘digitalt’? Dvs. Ikke bare ‘mere af det samme bare
digitalt’?
DESIGN AS SURFACE DESIGN?
6. If we are concerned to revive engagement, we must try to
recover the depth of design, that is, the kind of design that
once more fuses engineering and aesthetics and provides a
material setting that provokes and rewards engagement.
(Albert Borgmann, s. 16)
More important, comprehension shades over into engagement,
and it is depth of engagement that truly allows and calls for
depth of design.
(Albert Borgmann, s, 17)
THE DEPTH OF DESIGN
7. Hvis formålet med designet er at engagere brugerne til at lære,
opleve eller interagere så må designet altså sammensmelte
æstetisk ekspressivitet, sansning og fordybelse med
udformningen af en designet invitation til læring, oplevelse
eller interaktion.
Hvordan provokerer & inviterer jeres design brugeren til at
engagere sig? Og hvordan er denne provokation & invitation
meningsfuld for brugeren i den kontekst hvori brugeren befinder
sig?
Hvordan belønner jeres design brugerens anstrengelser og
engagement?
Skaber jeres design et rum for et dybt vedvarende engagement
hos brugeren? Hvordan? Eller gør jeres design noget helt andet?
THE DEPTH OF DESIGN
8. People who do house work extend themselves tangibly and
subtly into the texture of their ownmost environment. They do
so in furnishing, cleaning, repairing, adorning, and ordering
their home. They lead a more extended and competent life than
persons who are merely inserted into a prefabricated container.
(Albert Borgmann, s. 18)
More particularly, I want to urge, designers are charged with
making the material culture conducive to engagement.
(Albert Borgmann, s. 18)
DESIGN AS CONDUCIVE TO ENGAGEMENT
9. Hvordan bidrager jeres design til brugerens engagement i
konteksten?
Giver designet brugeren mulighed for at række ind I og påvirke
konteksten? Eller omslutter det brugeren og afskærer
ham/hende fra at have meningsfuld indflydelse på konteksten
og konteksten fra at have meningsfuld indflydelse på brugeren?
Har I som designere formået at skabe et design der bidrager til
brugerens engagement i konteksten?
DESIGN AS CONDUCIVE TO ENGAGEMENT
10. Things that invite engagement are distinguished not only by the
wealth of their experiential properties but also by the disclosing
power of those properties. A car does not really allow for
engagement although it has a fair number of different kinds of
experiential qualities. But normally the tendency is to make a
car as insensitive as possible to the wider world, to outside
noise and temperature and to the surface, grade, and curves of
the road. The kitchen utensils of the gourmet cook, to the
contrary, disclose the texture, color, and taste of the food. The
depth of the utensils opens on the depth of the world at large.
They do not represent the world, as technological devices do;
they allow the world to be present in its own right. Things,
however, can have and hold this deeply disclosive power if they
are so designed.
(Albert Borgmann, s. 19-20)
DESIGNING ENGAGING ACTIVITIES
11. Skaber jeres design en udfoldet og åben invitation til engagement
som brugeren kan (be)gribe og gøre til en engagerende aktivitet?
Hvordan har I taget jeres professionelle didaktiske ansvar
alvorligt? Og hvordan har I taget jeres professionelle designer
ansvar alvorligt? Hvordan kan man se det i designet?
Er jeres design ‘en bil’ eller ‘et køkkenredskab’?
Hvilken metafor beskriver den invitation til engagement jeres
design udgør? Hvordan har I udfoldet og implementeret denne
invitation i jeres design? Og hvordan kommer invitationen til
udtryk som design?
Design is deep and consequential. It is not confined to the
cosmetics of a skyscraper’s skin
(Albert Borgmann, s. 20)
DESIGNING ENGAGING ACTIVITIES
