Shifting Perspectives
(Asynchronous - Online Only)
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Adversarial Knitted Fashion: Method for Making a Knitted Fabric that Reproduces an Adversarial Image View Digital Media
Paper Presentation in a Themed Session Giovanni Maria Conti, Rachele Didero
The present investigation refers to the Jacquard knitwear sector, in particular the invention refers to a method for obtaining a knitted fabric that reproduces an adversarial image. “Adversarial Knitted Fashion” combines engineering, textile, and fashion knowledge to create a product that makes customers aware of the importance of preserving their privacy and allows them to protect their identity in the presence of facial recognition cameras. An entirely adversarial fashion collection has never been designed and created, which is why it was felt the need to create this project thinking of a target persona who cares about problems related to modern world society and human rights and who wants to show himself as an example and leader in order to create awareness and sensibility for an extremely current phenomenon. Phenomenon related to an increasingly frequent problem in everyday life and which involves citizens from all over the world. The idea was born in New York in 2019 from a discussion on privacy and human rights. The first experiments with computerized knitting machines were carried out at the Politecnico di Milano in January 2020. The project was developed in the textile workshops of the Shenkar College of Tel Aviv, where the creator of the garments was on a University exchange. On February 8, 2021, the patent of the industrial process for the production of the adversarial knitted textile was filed.
Posthuman Design and Creativity View Digital Media
Paper Presentation in a Themed Session Rewa Wright
This paper explores the emergent field of posthuman design and how that both challenges and fuels human creativity. Posthuman design investigates the aesthetics and materiality of new human-computer design assemblages. In this convergent techno-cultural landscape, new confluences of technology and human creativity are arising at increasing pace, incorporating a complex network of elements. There is not scope to cover everything within this study, however I will sketch an overview of the concept, delve into posthumanism as a philosophy and look at some essential techno-social forces of interest to current design culture.
Alternative Design Practice Mode: Ways for Shifting Perspectives in Design Practice for Ecological Thinking View Digital Media
Paper Presentation in a Themed Session Jihyun Park
My research started with two questions. An internal one - how do I see the world? And a professional facing one - how can a design or design process contribute to shifting contemporary dualist, human-centred perspectives derived from modernity to ones that are more relational, pluriversal, and ecological? My research is a personal journey, to ponder how it is that I have been tamed by modern society, to mark out how I have adapted to these constraints and to find alternative approaches to counter them. As a way to shift my own perspective and assumption of the design process, I have applied epistemic artefacts found in the modern world to my own process of different modes in design practices. Reflections at the end of each of these stages enabled me to identify my next steps. My early stages of research were developed through a cognitive design practice made up of actions for: Relating, Transposing, and Merging. In the second stage of my inquiry, I embraced an empirical design practice made of actions that were: Engaging and Embodying. Outcomes from my research trajectory show how flexibility and connectivity of my perspective and relationships can affect the process of designing artefacts and demonstrates how I sought out ways to negotiate and communicate with nature. My work, detailed in this paper, provides other designers provocative tactics to think about how we live and be with nature and concurrently contribute through our work as designers.
Featured Postindustrial Participation: Designing Architectures of Experience View Digital Media
Paper Presentation in a Themed Session Michael Salvo, John Sherrill
Along with the “infrastructural turn” over the past two decades, participatory design has become ubiquitous, integrated as part of the infrastructure for contemporary practice. User-participation is a widely recognized component of work—regularized as crowdsourcing, cognitive surplus, and augmentation of salaried employees—unpaid participants contribute ideas, support feedback, and generate innovation. Harnessing such labor is a job itself. Automated design becomes ever-more routine work of advanced organizations with the support of AI and related technologies. The argument specifically addresses emergent situations where feedback is limited, asserting that rhetoric remains foundational for understanding implications of ethical, cultural, and social dimensions of emergent praxis. While numerous schema utilize artificial intelligences, personae to represent user feedback, and modeling to stand in for users, the presentation interrogates the utility of virtual users, articulating levels of user input necessary to meaningfully label a process User-centered. This study analyzes how AI as infrastructure is impacting participatory design, and argues that the value of practice lies in their ability to solve complex problems while designing systems that facilitate new forms of participation and user-generated content. Our conclusion recognizes infrastructural developments alter user research, methods of data gathering, roles that users play, and attitudes towards users; novel AI design practices should be understood as developments of user-centered and user-participatory methods. That is, as infrastructure changes, design remains central. We argue that with the assistance of AI designers both “fit distinct pieces together into a stable whole” and “produce fleeting moments of alignment suited to particular tasks with materials ready-to-hand”.
Advocating for the Landscape: Using Research Through Design to Speak From the Landscape’s Point of View View Digital Media
Paper Presentation in a Themed Session Otto Paans
Who speaks for the landscape? It has no voice, yet it communicates. It is not represented, yet it has interests. The multitude of spatial claims on the landscape makes the tension between these interests and functional and/or economic demands often painfully clear. Here, we discuss how our practice advocates for the interests and concerns of the landscape. Instead of treating it as a bare substrate that we can manipulate, we treat it as a dynamic life support system for humanity and our common future existence. Far from being a passive, receptive substrate on which economic, infrastructural and agricultural activities are deployed, the landscape is an active, open and systemic totality composed of interacting abiotic, biotic and anthropogenic systems. By understanding the interactions of these systems and dynamically linking their features, we create “landscape frameworks” in which we make the landscape qualities and identities speak for themselves. In response, we develop “landscape frameworks” in which we make landscape qualities and identities speak for themselves. When we have grasped with sufficient clarity what the landscape tells us, we advocate for it, and provide roadmaps to address upcoming transitions like sustainable agriculture, climate adaptation, the energy transition and space claims for residential and industrial areas. In this paper, we show two such landscape frameworks that we developed for municipalities in Southern Limburg, The Netherlands. We explain their possibilities, their appealing perspectives, and the demands they pose on designer and client alike.
Modern Translation of Ancient Landscape Painting: A Case Study of Modern Landscape Installation Design View Digital Media
Paper Presentation in a Themed Session Shengdan Yang
The paper explores the modern translation of traditional Chinese landscape painting and discusses the design idea of the landscape installation of “Ink·Rhyme·Spirit·Movement”. By analyzing the artistic characteristics of the scroll painting titled “Landscape for Kexue”, the cavalier perspective, composition, mood, pen and ink techniques and abstract mountains and waters of the painting are translated into the form and structure of landscape installation. New materials and construction methods are adopted for the landscape installation, and intelligent technologies such as modular design, 3D printing and material recycling are used. The modeling, structure, and construction method of “Ink·Rhyme·Spirit·Movement” landscape installation were obtained and the installation can adapt to different sites, climates, human postures and use needs. The design method to translate ancient landscape painting into modern landscape installation is put forward, which can be used as a reference for urban landscape and public installation design.
How Art as a Vehicle for Ideas-based Ideologies Can Facilitate the Understanding of Climate Change and Help People Explore a Speculative and Sustainable Future View Digital Media
Paper Presentation in a Themed Session Wenwen Liu
Climate change is impacting all aspects of contemporary life. Many artists provide a compelling vision for speculative futures awakening a creative consciousness using imagined worldviews. This paper presents my practice-based research that aims to establish how visual art can engage with issues-based concepts and ideologies through presentation, re-presentation, and interpretation as a framework for engaging with issues of climate change and realigning society to sustainable futures. This paper takes theory and artistic practice as methods to respond to themes and issues of climate change. In the context of practical research, the arts-based approach and art theory research alternate between planning, theoretical research, practical action, reflection, and evaluation. Through digital art, this study creates a discursive space that relates to daily life, where people can deeply understand the interconnecting relationships between humans and the planet; simultaneously, it also shows people an achievable ecological future and encourages people to think and find an existence conducive to all. This existence is not the present, but a possibility for human beings to explore the future through the reshaping and re-imagining of the present.
