Another week has past! I am yet to understand the world, but feel enlightened in terms of grasping another method that might help me to do so.
After taking part in a very interesting seminar on the theme of design research, I have come to understand that I would most probably want to engage in this type of process oriented research should I ever continue my studies on a post graduate level. The way in which design researchers constantly change and interact with the material they work with (in contrast to working with "traditional" data sets e.g.) has gotten me intrigued. The method feels organic; the analysis of design processes is what makes it research, because it is there that the motivation of what and why questions are asked and conclusions drawn. The study grows together with the researcher.
In the seminar, I brought my thoughts on the commercial and artistic concepts of design up to discussion. For me, the term 'design' is very linked to aesthetics, and the optimizing of things for both visual and practical purposes. Articulating this and having a short discussion about why I sometime mix up the terminology, made it easier for me to accept that one must separate these notions (design research and aesthetic design). Design researc
h is not about aesthetics; its about shining light on specific processes.
When reading the assigned papers of this theme, Finding design qualities in a tangible programming space by Fernaeus & Tholander, and Differentiated Driving Range by Lundström, I came to wonder whether the work they conducted would be accepted by natural science scholars who are more used to proof only being brought by hard data. I asked Anders Lundström, our seminar teacher, whether design research is considered a legitimate research form among the great academic masses, but the answer I got was quite ambiguous ("It is, but then again it isn't"). As the notion of design research and process orientation is rather new, Lundström stressed the fact that it isn't very strange that the method isn't recognized by all. Plus, he planted a seed in my mind concerning whether or not all hard science research really should be considered the legitimate. Because, where does the proof actually come from? What did the process leading up to it look like, and can anything ever be said to be objective?
In the book "Vetenskapsfilosofi - En bok om vetenskapen och den vetenskapande människan", scholar Bengt Molander discusses the concept of knowledge. He claims that in its most basic form, knowledge is drawing attention to something that was previously unknown. On a personal level, this would mean that we gain new knowledge for example by reading a new book, or meeting a new person. Regarding design research, the knowledge contribution lies in the attention the research brings to the process, and I think that Molander's definition of knowledge is strikingly accurate regarding this research form!
Even with its slightly diffuse concepts, I have enjoyed this past week's theme. I have gained more understanding of the field of design research, and I have started to think of my own life and my quest to understanding the processes that constitute it. Perhaps all of our lives are big personal design research projects; we build prototypes on how to act and who to be, and when these are tested we evaluate whether we can come up with a better way of understanding the process of living a human life.