šŸ‘ The Science and Poetry of MessyĀ thinking

Liked The Science and Poetry of MessyĀ thinking by Derek Jones (distancedesigneducation.com)

So hereā€™s the List of Fun Things to Try with Conceptual Metaphors:

  1. Start with conceptions, not solutions or tech. Instead of saying ā€˜I need a Virtual Design Studioā€™, ask yourself what the studio space should feel like (using conceptions). What is the ā€˜quality without nameā€™ youā€™re looking for (just because you canā€™t name this it doesnā€™t mean you canā€™t describe it)? Have a look at theĀ dimensions listed hereĀ for ideas and use these to brief, specify and discuss requirements with others. You do not have to fall into the trap of using reductive tech language to ask for what you need for your students.
  2. Use conceptual metaphors, not tech names. Someone else mentioned this at the CHEAD event, but to call a lecture a ā€˜Webinarā€™ is to deliberately draw attention to the technical medium. We donā€™t call seminars ā€˜f2f-inarsā€™ ā€¦ (OK, clunky exampleā€¦). If an event is a tutorial then itā€™s OK to call it a tutorial regardless of where and how itā€™s arranged ā€“ itā€™s the human value thatā€™s more useful to communicate than the medium or mode.
  3. Make some key things more complex, not less. If you need a particular atmosphere or feeling (a ā€˜quality without nameā€™) in your studio or class then state that clearly. Be confident about your uncertainty ā€“ describe this as boundaries of knowledge rather than just ignorance (youā€™re technically an agnotologist). But donā€™t hide it either ā€“ be open about how we use uncertainty with colleagues and especially students (give them something solid if they need it).
  4. Be critical and reflective when you do this. I havenā€™t touched on the dark side of this type of cognition (it can be very dark indeed) so make use of the other major tool in our design toolkits ā€“ our ability to evaluate the process at the same time as engaging in that process. Using some simple, critical frames to help you critique from other perspectives.

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