Fall 2012 Project Studio: Civic Media, Food Systems, and Interaction Design

Course Instructor: Carl DiSalvo
Office: 317-C TRSB
Office Hours: By appointment

Course Times
Seminar: Mondays 1-3pm (required)
Open Studio: Mondays 3-4pm (optional, but strongly recommended)

DESCRIPTION
This project studio will investigate the design and use of civic media. Specifically, we will explore participatory and collaborative approaches to interaction and information design in the context of contemporary food cultures. Subjects will include: collective practices and methods in design, the computational representation of food data, the design of software and services for the exchange of food information, and the role of design in food politics.

This project studio combines design research and practice. Activities will include reading across the disciplines of design, human-computer interaction, and science and technology studies; the analysis of existing products and services; design ethnography; and the design and production of digital media products and services. Students from any discipline are welcome to enroll.

COURSE SCHEDULE

Aug 20: Introduction to the Project Studio (What is Civic Media?)

Aug 27: What is Design Research?
Buchanan “Wicked Problems in Design”
Fallman, “The Interaction Design Research Triangle”
Gaver, “What Should We Expect from Research Through Design”
Ehn, “Participation in Design Things”

Sep 3: What is Collectivity? (meet alternate day/time)
Excerpts from Sennett Together
Excerpts from Kester The One and the Many

Sep 10: Collectivity and Digital Media
Excerpts from The Wealth of Networks
Rhinegold, “Technologies of Cooperation”
Catmull, “How Pixar Fosters Collective Creativity”

Sep 17: Contemporary Food Cultures
Excerpts from Food is Culture
The Future of Food (Hulu)…or…
El Bulli: Cooking in Progress (Netflix)…or…
TED Talks Food Theme
Bowers, “The Logic of Annotated Portfolios”
Gaver, “Making Spaces: How Design Workbooks Work”

Sep 24: Food Cultures and Digital Media
Comparative analysis of current projects

Oct 1: Collectivity, Digital Media, and Food Cultures
Present background research on design opportunities in-class

Oct 8: Design Proposals Due

Oct 15: Fall Recess – No Class

Oct 22: First Iteration Due

Oct 29: Studio

Nov 5: Studio

Nov 12: Second Iteration Due

Nov 19: Studio

Nov 26: Review Documentation

Dec 3: Final Presentations

December 10: Final Materials Due (5pm)

RESOURCES
http://www.ediblegeography.com/

http://www.foodandtechconnect.com/

http://www.gastronomica.org/

http://interactions.acm.org/

Posted in design, education | Leave a comment

Walker Kitchen Lab

Since the fall of 2011, I’ve been working with Betsy and the Education and Community Programs staff at the Walker Art Center to develop the Walker Kitchen Lab. As part of the project, we are researchers-in-residence at the Walker Art Center this summer, with the Open Field program. After months of planning, the residency has officially begun, with the public launch of the project on June 18th.

What is the Walker Kitchen Lab?
The Walker Kitchen Lab is a design research project exploring the kitchen as a site for cultural expression and social action. It’s part of the 2012 Open Field programming at the Walker Art Center. From June 18th to June 29th, a collective of researchers, designers, artists, students, and educators will work together to investigate the design and use of kitchens, and create a series of prototype objects and events that support novel ways to make and share food.

That’s the “blurb” and it does a fine job of describing the work we’ll be doing from June 18th to June 29th.

It’s going to be an exciting two weeks, and you can follow the work on daily basis on the Walker Kitchen Lab blog.

But the motivation, and the work, extends these two weeks.

Over the past year, I’ve become interested in so-called “social innovation” and “social practice” and the role of design in these endeavors. One of the things I’ve been thinking about is how to design infrastructures to support social innovation and practice. Another thing I’ve been thinking about is the collectivist quality of these endeavors. The Walker Kitchen Lab is, in part, a platform for exploring these interests — a kind of constructed field site for experimenting with and reflecting on infrastructures for social practice and collectivist action. My hope is that this project will be start of a new line of work, and that from the project I’ll be able to identify some markers of collectivist action and some qualities of infrastructure for social practice.

It also marks a new direction in my design research with regard to food. While I’ll continue working on interaction design and small-scale agriculture, the Walker Kitchen Lab provides a new perspective on food and interaction design, which emphasizes participatory approaches to the making and sharing of food. Certainly, there is a wealth of work in this area, including the design history of kitchens and kitchen products; speculative kitchens of tomorrow; the emerging field of food design; and notions of radical hospitality). I’ve yet to articulate precisely what my take on this will be, but this project should provide a starting point for investigating the domain. More on that, as it develops…..

Posted in design, kitchen lab, social practice | Leave a comment

What is Adversarial Design?

I’ve heard from many people who have read the book and provided me with welcomed feedback. Thank you!

A common question I get from people who haven’t read the book yet is “What is Adversarial Design?” Well, the book is an answer to that question. But it also makes sense to have a shorter answer to that question, something I can point people to when they ask. So here it goes….

Adversarial design is a term I use to describe designed objects that highlight contemporary political issues in ways that provoke a reaction from the people who use or see those objects. That’s what I mean when I say adversarial designs are political provocations — they incite us to consider various societal values, beliefs, power structures, and desires, expressed through artifacts and systems.

I also often say that adversarial design is design that does the work of agonism. What is agonism ? Agonism is a political theory that claims contention and dissensus are foundational to democracy, and so, those committed to democracy should strive to enable contention and dissensus. Adversarial design describes some of the ways that objects express and allow us to express conflicting perspectives about how our social world should be structured and experienced.

Why is this important? It’s important because it provides a new way to think about and do politically relevant design. There’s a lot of talk these days of so-called social design. And with the US elections around the corner, we are beginning to see discussions of how design and technology will figure into those campaigns. If we want to engage these topics and opportunities, we need a range of perspectives on what democracy is and how design might contribute to democracy. Adversarial design contributes one more perspective to that discussion.

Posted in agonism, book, design | Leave a comment

Architectures of Agonism


Image by Susy Bielak

April 12-14th I’ll be participating in the Architectures of Agonism symposium at the Walker Art Center (co-hosted by Northern Lights). It’s exciting for a number of reasons, not least of which is that advance copies of Adversarial Design should be available in the Walker book store. Two of the artists that are central to Adversarial Design will also be participating and we will get to share a stage—Warren Sack and Mark Shepard—and I’ll get to meet Marisa Jahn. The event has developed by Steve Dietz, Susy Bielak, and Ashley Duffalo.

It addition to speaking about political design, the symposium is also a chance for me to consider how to use the ideas developed in Adversarial Design as the basis for design practice. On Saturday I’m co-hosting a workshop with Carl Skelton. In this workshop we’ll take some of the tactics of agonistic design and apply them to dilemmas surrounding the re-design of Hennepin Ave. It should be insightful and hopefully inspiring, both for how to think about this particular design dilemma and to think more generally about teaching and practicing agonism.

The symposium runs from Thursday thru Saturday. It’s an event that involves a lot of people, and frankly, a lot of my favorite people. If you happen to be in Minneapolis/St. Paul, stop by.

Posted in book, design | Tagged , , , , , | Leave a comment

Graphic Design: Now In Production

There are few graphic design exhibitions. There are fewer excellent graphic design exhibitions. Graphic Design: Now In Production is one of those few. It provides a wide-ranging overview of recent design projects that not only involve visual communication, but that also explore a variety of forms of authorship, production, and distribution. In doing so, the exhibition highlights important changes in graphic design, as designers (once again) move beyond just providing services to corporations and governments and instead engage in more (though not completely) autonomous acts of cultural production.

Three aspects of the exhibition stood out for me.

The first was the section on information design. I was pleased to see information design included in the overall exhibition and the pieces included were well chosen. I particularly enjoyed Ben Fry’s project “On the Origin of Species: The Preservation of Favoured Traces“, which visualizes the development of On the Origin of Species over multiple editions. Though the project is digital in it’s genesis, the exhibition includes a printed visualization as well, which reinforces the ways in which print is so valuable in expressing the enormity of content in data visualizations.

The second was a commissioned project by Metahaven, titled FaceState. The project is best described on the Walker Art Center’s Design blog, but in summary, it’s a critical exploration of the possible future relationship between social media and governance. It’s yet another example from Metahaven of how graphic design can contribute to a practice of critical design in intelligent ways.

And third, I enjoyed seeing Christophe Szpajdel’s hand-drawn black metal logos. It’s good when museum exhibitions reach afield to explore the fringes of practice. And of course, there’s my own fondness for the genre.

The exhibition travels:
Walker Art Center, Minneapolis
October 22, 2011–January 22, 2012

Cooper-Hewitt, National Design Museum, Governors Island, New York
May 16–September 2, 2012

Hammer Museum, Los Angeles
September 30, 2012–January 6, 2012

Contemporary Arts Museum Houston, Texas
July 19–September 29, 2013

Southeastern Center for Contemporary Art (SECCA), Winston-Salem, North Carolina
October 24, 2013–February 24, 201

Posted in design | Leave a comment