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The aim of this Conversation is to inquire taken-for-granted foundations for design aesthetics, often informed by semantics and the social order established around the privileged designer. Hence, the Conversation is set up to disrupt former social orders and support a shared Conversation about the nature of the questions we need to ask in order to respond to the shift in design aesthetics. The session is structured around group work, with each group's discussion revolving around a given disruption: capitalism, the anthropocene, and technocentrism. Key to the Conversation will be conversation-triggers in form of media and creation of 'narratives' that represent what kind of questions can be asked and what kind of answers we aim for. The purpose is to inspire diverse discussions around ways we can push for the kinds of aesthetics that align with democratic meaning-making, beyond the idea of universal modernist functionality.

We describe an inquiry into how we relate to each other in design, as we design. In particular, we are interested in to what extent, and in what ways, we acknowledge diversity in knowledge, experience, and skill. We have conducted a series of project courses within design education to make students explore different ways of doing design together. Our findings point to two main tendencies: towards cultures of pluralism, of coming together as who we are; and cultures of representation, of coming together as what we are. This points to important issues related to how methodology and process structure the way we perceive and relate to each other. Indeed, in a disciplinary methodological framework ultimately oriented towards convergence and the making of a final design, how do we evolve and engage with that which must not converge to a single point but where difference and diversity must be acknowledged?

Design deals with the material, social, political, cultural, economic, and more, and in relation to history—past, present, and (possible) future(s) At the same time, the objects of design are becoming less traditionally thing- like and rather connected, dynamic, ‘smart’ components of product and service ecosystems. We need, then, to find ways to grapple with (eco)systems, contextual specificities, new forms of technologies, and societal needs in a changing world where we have yet to even begin to adequately come to grips with the implications of our dwindling resources and impending climate collapse; political structures are often woefully ineffective; and advanced capitalism seems to be spinning disastrously out of control. The aim of this conversation is to speculate about future articulations, practices, and contexts of postindustrial design (research), and in the process to prototype the inclusive, rich, realistic yet hopeful discourse among passionate partial perspectives that is necessary to support it. This is a process of developing our ‘response-abilities’—our ‘collective capacity to respond’.

While science typically approaches complexity through analysis, that is, by unpacking a complex whole into distinct and more manageable parts, the challenge of design is typically to do the opposite; to resolve often contradictory issues and bring together a meaningful whole. We think that there are more to forms of doing design together than our current terminology allows us to articulate. In particular, we want to explore if there are forms of design doing that open up for a kind of bringing together that is qualitatively different from collaboration, in the same way as the meaningful whole design deals with is something qualitatively different than a combination of parts coming out of an analysis. To learn more about doing design together in design education, we have done a series of experiments with multi disciplinary teams. Analysing the results using Arendt’s distinctionbetween work and action, we suggest that there is a difference between collaborative design where people come together as what they are, and a kind of design togetherness where people come together as who they are. In conclusion, we argue that design education might need to revisit its artistic and methodological foundations with respect to participation.

This paper presents design steps to bundle innovation skills in an educational model that in our previous research involved ideas and construct foundations rooted in a game plan ideology that aims at examining innovativeness [1]. In this paper, our ambition is to deepen students' abilities for self-governed innovative practices within a team. The paper presents an educational model towards embracing design creativity building on the foundations of a game plan ideology formed to examine innovation-driven practices. It also sets out to find a way to communicate a coveted and sustainable knowledge and to motivate the learning since it will affect the momentum of a self-driven learning process. We have used a series of workshops, focus groups and course analysis with engineering design students to frame and concretize the 'Innopoly' educational platform. The educational prototype 'Innopoly' consists of an inclination model inspired by Bloom's taxonomy whose ambition is to prepare our students for future challenges. The implementation efforts of specific interdisciplinary design elements aim to strengthen the acknowledgement of how to carry out a common and open innovative process and a holistic perspective. The ambition to examine innovative practices is fulfilled by incorporation of skills applied to manifest an autonomous level of performance and integrity. 'Innopoly' carries the outline logics from the innovation process - identification, research, ideation, concept, prototyping, testing and commercialization - similar to the increase of value that can be traced back to the original game form. In summary, the proposed 'Innopoly' prototype comprises both an operational (i.e. course activity) level of description and a strategic (i.e. course design) level rooted in Bloom's taxonomy to leverage students' innovation-related experiences and knowledge. In this paper we focus on the operational level; the learning and game fundamentals.

A child’s playfulness and ability to fantasize are also key creative mechanisms in adulthood. Allowing low formal control functions and high self determination is valuable for intrinsic motivation, triggering new ideas, curiosity, experimentation and the desire to impact and change traditional practices – creating innovativeness. This paper sets out to do three things: provide a literature review of the different aspects and angles of knowledge- and competence learning, and the area of creative techniques and an innovative team process; offer experiences and learning from the unique case studies used; and thirdly, to present the concept of Innovopoly - a new tool to better achieve creative learning and examination in higher education through both the innovative working process and the creative process. These elements together give us the ability to discuss how higher education could best implement courses and methods in order to prepare our students for the future. 

För en industridesigner är både resultat och arbetsprocess av central betydelse. Arbetet genomsyras av ett objektivt förhållningssätt

men i processen ingår även moment med t.ex. subjektivt skapande. Det här arbetets konstnärliga frågeställning kommer

ursprungligen från en användarinriktad holistisk designprocess, där individen är en viktig länk att förstå önskemål och behov i det

vardagliga livet. Utan att skapa en personlig relation med informanten/individen, söker man att förstå och vidareutveckla något

både genom analys och med en intuitiv kreativ process. Vanliga metoder för att inhämta information är att arbeta med dagböcker,

bilder från vardagen och intervjuer. Bearbetningsprocessen av materialet kan liknas med en hermeneutisk lärandeprocess för

designern med analys och reflektion. Efter bearbetningen vidtar olika processer däribland en skapandeprocess, där materialet

omformas till någonting nyskapande. Analys skapar förståelse och kunskap kring en komplex utgångspunkt och grundar sig i

bedömning och tolkning av bakomliggande data och tolkningar. Nyskapande design grundar sig i analys men tar därefter en annan

reflekterande processväg för skapa något unik. I reflektionen använder designern sina erfarenheter, kunskaper och kompetenser.

Erfarenheter skapas genom vår upplevelse av fenomen. För att uppleva och fånga ett fenomen måste vi se förbi våra fördomar och

förutfattade uppfattningar om den objektiva världen, till att betrakta en genomlevd värld. I den genomlevda världen spelar kroppen

en central roll. Vi har erfarenhet av en upplevelse. Människan är odelbar, kroppen kan inte ses som ett separat objekt. Vi har inte en

kropp – vi är i vår kropp (Merleau-Ponty, M. 1997, s 115).

Min forskningsfråga har varit Vad blir till när ditt blir mitt?

Mitt mål har varit att dela upplevelsen med en annan person och göra den till min upplevelse utifrån mina erfarenheter genom att

involvera min egen livsberättelse. Jag har medvetet lämnat det objektiva förhållningssättet till förmån för det subjektiva.

Med personliga fotografier tagna av andra och mig själv som utgångspunkt, har jag arbetat med gestaltande experimentella texter

för att lämna analys och mina mest självklara tolkningar. Texterna har sedan gestaltats till fysiska objekt som representerar resultat

av Vad blir när ditt liv blir mitt.

Rapportens form och struktur har jag valt för att kommunicera på vilka grunder mitt resultat har uppkommit och för att öppna upp

min process. Rapporten är uppdelad i tre delar; Inledning, Gestaltningsarbete och Slutord. Gestaltningsarbetet beskriver min

transformationsprocess och för att beskriva tidsordningen är det indelat med underrubrikerna: Förarbete, Ditt, Mellanrum och

Mitt. De experimentella texterna skapas i Mellanrum och objektgestaltningen i Mitt. Arbetet grundar sig i bilder från informanter,

min reflektionsdagbok samt mitt gestaltande arbete med experimentella texter och objekt. Texten innehåller olika nivåer och

metoder för reflektion och det kommuniceras genom att särskilja löpande text och de starkt reflekterande textavsnitten från de

experimentella texterna. Texterna presenteras som kursiv grå text i separat spalt. Textavsnitt med citat och ordspråk som är

bakgrundsinformation, presenteras med kursiv indragen svart text.

Mitt gestaltade resultat består av 4 fysiska objekt/kollage med varsin tillhörande experimentell text (se bilagor). I rapportens

efterord gör jag en metareflektion av mitt resultat och syfte med arbetet.