Design and Its Political Nature: Reframing Design Context
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The document discusses the evolving nature of design, emphasizing its political implications and the shift in design processes from individual creation to collaborative engagement. It highlights the need for designers to develop emotional and intellectual maturity while encouraging participation from the broader community. Quotes from various experts illustrate the importance of context, interdisciplinary approaches, and the role of design in social and political discourse.
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Transformative Storytelling_ Insights from the Sankofa Writing Intensive.pdfDr. Rema
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The intensive is structured around workshops and individual writing sessions to facilitate deep reflection and discovery. Participants engage with various genres, from memoirs to reflective essays, each chosen to amplify the introspective process.3D-IC Design Kits for Drop-in Chiplets MDK, ADK, TDK - 20250121_PreConH_Wong_...
3D-IC Design Kits for Drop-in Chiplets MDK, ADK, TDK - 20250121_PreConH_Wong_...huyth14
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3D-IC Design Kits for Drop-in Chiplets MDK, ADK, TDK×îаæÃÀ¹úÍþ˹¿µÐÇ´óѧÆÕÀÌØά¶û·ÖУ±ÏÒµÖ¤£¨±«°Â±Ê±ÏÒµÖ¤Ê飩԰涨ÖÆ
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2025Ô°æÍþ˹¿µÐÇ´óѧÆÕÀÌØά¶û·ÖУ±ÏÒµÖ¤Êépdfµç×Ӱ桾qÞ±1954292140¡¿ÃÀ¹ú±ÏÒµÖ¤°ìÀíUWPÍþ˹¿µÐÇ´óѧÆÕÀÌØά¶û·ÖУ±ÏÒµÖ¤Êé¶àÉÙÇ®£¿¡¾qÞ±1954292140¡¿º£Íâ¸÷´óѧDiploma°æ±¾£¬ÒòΪÒßÇéѧУÍƳٷ¢·ÅÖ¤Êé¡¢Ö¤ÊéÔ¼þ¶ªÊ§²¹°ì¡¢Ã»ÓÐÕý³£±ÏҵδÄÜÈÏ֤ѧÀúÃæÁÙ¾ÍÒµÌṩ½â¾ö°ì·¨¡£µ±ÔâÓö¹Ò¿Æ¡¢¿õ¿Îµ¼ÖÂÎÞ·¨ÐÞÂúѧ·Ö£¬»òÕßÖ±½Ó±»Ñ§Ð£ÍËѧ£¬×îºóÎÞ·¨±ÏÒµÄò»µ½±ÏÒµÖ¤¡£´ËʱµÄÄãÒ»¶¨ÊÖ×ãÎ޴룬ÒòΪÁôѧһ³¡£¬Ã»ÓлñµÃ±ÏÒµÖ¤ÒÔ¼°Ñ§ÀúÖ¤Ã÷¿Ï¶¨ÊÇÎÞ·¨¸ø×Ô¼ººÍ¸¸Ä¸Ò»¸ö½»´úµÄ¡£
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¶þ¡¢»Ø¹ú½ø˽Æó¡¢ÍâÆó¡¢×Ô¼º×öÉúÒâµÄÇé¿ö£¬ÕâЩµ¥Î»ÊDz»²éѯ±ÏÒµÖ¤ÕæαµÄ£¬¶øÇÒ¹úÄÚûÓÐÇþµÀÈ¥²éѯ¹úÍâÎÄƾµÄÕæ¼Ù£¬Ò²²»ÐèÒªÌṩÕæʵ½ÌÓý²¿ÈÏÖ¤¡£¼øÓÚ´Ë£¬°ìÀíÃÀ¹ú³É¼¨µ¥Íþ˹¿µÐÇ´óѧÆÕÀÌØά¶û·ÖУ±ÏÒµÖ¤¡¾qÞ±1954292140¡¿¹úÍâ´óѧ±ÏÒµÖ¤, ÎÄƾ°ìÀí, ¹úÍâÎÄƾ°ìÀí, ÁôÐÅÍøÈÏÖ¤Exploring the Diverse Types of Textual Aids
Exploring the Diverse Types of Textual Aidsjenicahmendoza1
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Exploring the Diverse Types of Textual AidsMULTI SENSORY EXPERIENCE DESIGN RESEARCH
MULTI SENSORY EXPERIENCE DESIGN RESEARCHSamuel Thuo
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Excited to share insights from my Dissertation Thesis on Multisensory Experience Design in Art Museums, focusing on Nairobi, Kenya! I have to say that this is the work that set me on my current trajectory and led me to my current design philosophy of design for all senses.
Have you been to a #museum, wanted to touch an exhibit and there you saw an injunction, "Please don't touch"....or "Please speak softly",,,,or "Please no eating in the museum".....or "Please don't use strong perfume".... these injunctions have made museums to be mono-sensory experience oriented, alienating the visitors. These injunctions speak volumes of our innate and inherent desire to want to engage holistically with all our #senses with objects. This is a major problem especially in Kenya's museums, which is a paradox with its rich cultural, and anthropological exhibits that require engagement with all the senses.
Inspired by David Howes' insights from Concordia University, my thesis challenges this status quo by exploring historical precedents. Did you know that in the 18th century, museums encouraged multisensory interaction? Today, there's a global shift towards enhancing museum experiences through multisensory #design, yet Kenya's museums often lag behind international standards.
This research isn't just about aesthetics....it's about fostering meaningful, educational, and socially enriching experiences. By embracing multisensory design, museums can bridge cultural divides and create environments where every visitor feels welcomed and engaged. And want to go back.
Let's spark a conversation about the future of museum experiences. How can we leverage design to make cultural institutions more accessible and inspiring for all? Aimee White Visual Thinking, Graphic Design, Livermore
Aimee White Visual Thinking, Graphic Design, Livermoreaimeewhite13
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Why Hire a professional Graphic Designer? Learn what makes great design and what it can do for your business.
Unified: Consistency brings trust, recognition, and recall.
If all your work can be recognized by the viewer as coming from you, they will more easily recognize you, gain a sense of trust in your business, and remember you and your message better.
Organized: Well designed content is clean and easy to take in. You want the audience to be able to quickly get your message
and have their eye drawn to elements in the order you choose by placement and scale.
White space is a good thing. It gives the eye room to rest
between elements and see your message as a whole.
Meaningful: Define your goals, your audience, and what critical information they need to know in order to act.
Genuine: Tell your story and engage your audience to
make them care about that information. The emotional
connection or human component is a powerful
compliment to analytical content.
Concept: With clear insight into your intent and your target audience¡¯s needs and issues, design to solve the problems and bring clarity with a solution that¡¯s valuable to the viewer.
Aimee White, Visual Thinking
for Design that Connects.Guildford Flames Adam Long Helmet Design Challenge 2025
Guildford Flames Adam Long Helmet Design Challenge 2025Tom Hutchinson
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This is my submission for the 2025 Guildford Flames Goaltender Helmet Design Competition for Adam Long. This presentation goes over the different design elements I incorporated into my design of the helmet and justifies what was chosen. It also includes comprehensive views of the helmet from all three side which were to be edited in accordance to the brief.AI-Driven-Personalization-in-UX-Designing-for-One-in-a-Million.pdf
AI-Driven-Personalization-in-UX-Designing-for-One-in-a-Million.pdfSultan Shalakhti
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Why you should attend this event
Talk Title: AI-Driven Personalization in UX: Designing for One in a Million
In this session, Sultan Shalakhti explores how artificial intelligence is reshaping user experience through smart, adaptive personalization. From e-commerce to banking, personalized design has become a key differentiator¡ªwhen done right. Learn how to apply AI tools to enhance user journeys, balance personalization with privacy, and build experiences that feel uniquely human. This talk blends strategy, ethics, and real-world use cases for UX professionals ready to embrace the future.
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What you will learn in this session
Understand the Core Concepts of AI-Driven Personalization
Explore UX Design Strategies for Hyper-Personalization
Identify Key Tools and Technologies Behind Personalization
Evaluate the Ethical and Privacy Considerations
Apply Personalization Tactics to Real UX ChallengesAd
Design and Its Political Nature: Reframing Design Context
- 1. Core77 Image Industrial Designers Society of America Education Symposium - Boston 2012 Design and Its Political Nature Reframing Design Context Christopher Arnold - Associate Professor Auburn University (USA), Industrial and Graphic Design
- 2. ¡°My policy colleagues say they went into politics because they wanted to challenge the status quo and make things better for ordinary people. That's certainly why I went into design. So maybe design is more political than you think.¡± - Jennie Winhall (2006)
- 6. design in transition from craft to facilitation
- 7. the changing face of design changing relationships
- 8. Richard Buchanan, ¡°Branzi¡¯s Dilemma: Design in Contemporary Culture¡±, Design Issues, Spring 1998
- 9. NextD¡°Design 1.0, 2.0, 3.0, 4.0: The Rise of Visual SenseMaking¡±, March 2009
- 10. Spiritual 1st Order Form & Structure Material Craftsmanship Cultural Function Technique Systems Science Political ?& ?Legal Economy Aesthetics Environmental Social Linguistic 3rd Order 2nd Order Value, Meaning, Purpose Function & Feeling MP Ranjan, ¡°Hand - Head - Heart: Ethics in Design¡±, 2009
- 11. ¡°The reason good design is hard to come by is that its creation demands a high degree of emotional and intellectual maturity in the designer, and such people are not found too often.¡± George Nelson Problems of Design, 1957
- 12. ¡°Earlier generations solved this problem by using many hands and minds over periods of centuries, as in the case of the axe, or the teacup.¡± George Nelson Problems of Design, 1957
- 13. ¡°The ¡®designer¡¯ then was not an individual, but an entire social process of trial, selection, and rejection.¡± George Nelson Problems of Design, 1957
- 14. ¡°·¡³æ±è±ð°ù³Ù¡± ¡°User Centered¡± I know I found out
- 15. ¡°±Ê²¹°ù³Ù¾±³¦¾±±è²¹³Ù´Ç°ù²â¡± ¡°Co-Creation¡± we discovered we explored
- 16. with vs for
- 17. open to interpretation recent discourse
- 18. ¡°We cannot afford to be passive anymore... As designers, we could use our particular talents and skills to encourage others to wake up and participate as well.¡± - Katherine McCoy (2003)
- 19. ¡°Design gives material form and directionality to the ideological embodiment of a particular politics.¡± - Tony Fry (2010)
- 20. Langdon Winner (1986) Bernward Joerges (1999)
- 21. ¡°In the first decade of the 21st century, however, we are experiencing two important shifts: firstly, in where design skills are being applied, and secondly, in who is actually doing the designing.¡± - Burns, et.al. (2006)
- 22. ¡°I am here to entreat you to use your money, your status and your education to travel in Latin America. Come to look, come to climb our mountains, to enjoy our flowers. Come to study. But do not come to help.¡± - Ivan Illich (1968) ¡®To Hell with Good Intentions¡¯
- 23. Design Politics Complexity Disciplines Questions Language Change
- 24. In Education Question based on issues Blur lines between disciplines Facilitation and engagement Live and breathe context
- 25. ¡°What is important is using one¡¯s talent, intellect, and energy in order to gain an appreciation and affection for people and place.¡± - Sambo Mockbee
- 27. thank you Christopher Arnold email : christopher.arnold@auburn.edu twitter : @cjarnold Associate Professor, Auburn University, USA Department of Industrial and Graphic Design