Practicing designers must usually relate to branding in some manner. A designed artifact must support the brand in a constructive way and help establish positive brand experiences, which in turn have strategic value for the brand's institution. While there is obvious application of visual branding knowledge to the visual form of interactive artifacts, interviews with expert practitioners reveal a lack of systematic means to craft an interaction aesthetic to support a brand. Our empirical study relates attributes of interactive experience to that of 'brand personality', a common way of quantifying how a brand should be perceived. We show that particular attributes of interactivity, such as whether an interaction has a continuous rather than discrete flow, are related to particular brand traits. Our empirical results establish a clear commercial significance for deeper, systematic ways of analyzing and critiquing interactive experiences.

Djupgående analyser av filmerna Konspiration 58 och Forgotten Silver, tillhörande genrehybriden mockumentärfilm.

Detta dokument är tänkt att belysa hur innovationskultur kan förstås samt att ge stöd i förändringsarbete, och också stimulera medarbetare och chefer i detsamma. Förhoppningen är även att detta dokument kan ge politiker och andra aktörer en bild av hur det är att arbeta med verksamhetsnära projekt. Dokumentet belyser erfarenheter från en kunskapscirkel som genomförts inom ramen för projekt Testbed för äldreomsorgen, vilket inbegriper samverkan Malmö stad och Mötesplats Social Innovation (MSI) vid Malmö Högskola. Detta dokuments tillkomst hade inte varit möjlig utan medverkan av deltagarna i kunskapscirklarna, chefer, övriga medarbetare och förtroendevalda. Varmt tack till alla. Tack också till Vinnova som varit medfinansiär till Testbed för äldreomsorgen. Kunskapscirkeln planerades och genomfördes av detta dokuments författare. Malmö stad har etablerat en testbädd i nära samarbete med Mötesplats Social Innovation, Malmö högskola och Medeon AB med finansiellt stöd av VINNOVA. Det har skett inom ramen för projektet – ”Testbed för äldreomsorgen i Malmö stad”, juni 2013-oktober 2016. Sedan november 2016 ingår testbädden i ordinarie verksamhet. Testbed för äldreomsorgen erbjuder innovatörer att utveckla och testa behovsdrivna idéer och lösningar i praktiken, i reell miljö. Idéerna och lösningarna ska svara mot behov hos kvinnor och män som är 65 år eller äldre och som bor i ordinärt boende. Lösningarna ska bidra till att öka kvaliteten i vård och omsorg (Mötesplats Social innovation, 2016; Malmö Stad, 2017). En central del av Testbed för äldreomsorgen har varit att försöka skapa grundförutsättningar för en innovationskultur inom Malmö stads vård- och omsorgsverksamhet. Med innovationskultur avses i dokumentet en kultur där personalen har möjlighet att ta initiativ till och vidareutveckla idéer och lösningar som på olika sätt kan förbättra den dagliga verksamheten.

The focus of this paper is rural inhabitants in Sweden and their re-negotiation of rural spaces through mediated practices. This question is primarily based on the idea that individual actors’ chances to negotiate space have increased due to mediatization processes. Practices of different kinds – professional, political, social and cultural – are not to the same extent as earlier tied to particular time-space contexts. In addition to this underlying point of departure, rural inhabitants’ negotiation of space can be related to the prevailing complex and dynamic relationship between the urban and the rural. With a ‘Lefebvrian’ perspective this relationship is a three-fold construction, constituted by (1) (material) localities, (2) (mediated) representations and (3) everyday life (including imaginations) (Lefebvre, 1974/1991; cf. Halfacree, 2007; Jansson and Falkheimer, 2006). When communication is considered in such a framework the following can be stated: (1) the infrastructure of communication (roads, public transports broadband, etc) has increased the bonds between the country and the city. For example, it is very possible to live in either the city or the countryside and work in the ‘other’ area. Commuting and telecommuting (but also ‘urban sprawling’) blur the geographic boundaries. This is then in contrast to (2) media representations, which tend to reproduce the distinction between urbanity and rurality, for example through depictions of ‘hectic and stressful city life’ in contrast to ‘calm rural idylls’. Worth mentioning here is lifestyle media, for example glossy magazines and TV-programmes, which often create paradoxical links between the urban, creative and dynamic nodes and the aestheticized, ‘idyllicized’ and presumed ‘fixed’ countryside (cf. Jansson, 2010). This leads to the empirical focus of this article; (3) everyday life and its imaginations. Based on ethnographical interviews with rural inhabitants in southern Sweden, the paper argues that the inhabitants mediated practices may contribute to convergence of rural and urban spaces – as well as separation between them. Of particular interest in this context are mediated practices related to salaried work (telecommuting) and communication practices in support for a local village community – practices, which many times are conducted by the same people. The paper will consider and problematize the spatial aspects of these practices; the consequences for: the individuals and their activity spaces; the local community and its boundaries; and, at last, the general relationship between the urban and the rural.

Recension av: Edström, Maria, TV-rummets eliter : föreställningar om kön och makt i fakta och fiktion, Göteborg : Institutionen för journalistik och masskommunikation, Göteborgs universitet (JMG), 2006, ISBN 91-88212-40-8

In present paper, the debates around mediatization and transnationalism constitute the backdrop for a discussion on the media and communication practices among Swedish expatriates in the Netherlands and forced migrants from Bosnia in Sweden. The complex relationship between (transnational) identity, place and mobility is studied at three intersections between media and migration: (1) creativity and connection-making, (2) The boundaries of mediated freedom and (3) the transnational production of locality. The paper stresses the importance of a contextual and non-media-centric perspective (see Morley, 2009); it is in agents’ daily activities – where media practices and social practices are interwoven with each other – the interplay between processes of deterritorialization and reterritorialization take place.

Influenced by the call for ‘non-media-centric media studies’, and based on interviews with transnational professionals and forced migrants, this article scrutinises transnational identifications under mediatised conditions. With the point of departure in space/mobility and everyday life practices – the common denominators in the perspectives of transnationalism and mediatisation – the analysis shows that mediated deterritorialisation is conditional due to migrants’ sociocultural resources and earlier life experiences. Hence, experiences of war and conflict may reduce the potential of mediated mobilities. The article demonstrates how media are an integrated part of migrants’ multiple identifications with the city they reside in and their country of origin. Besides establishing multiple identifications, the article shows how these identities are linked to particular contexts, practices and socialities in the migrants’ everyday lives. The conclusion is that mediatisation and transnationalism are complex matters yet a transdisciplinary, contextual and ‘non-media-centric’ approach seems to be a promising way to grasp these complexities.

This paper focuses on the global presence in the local processes of place-making in a rural area in Sweden. As a result of increased competition--fueled by a reorganization of global capitalism--between places, symbolic strategies (i.e. place marketing and place branding) have become a central dimension of both urban and rural governance. As a consequent, places–while still being sites for the residents’ day-to-day life–are being turned into commodities in the market of potential investors and tourists to a great extent. Subsequently, this paper deals with how this global agenda affects a rural municipality in the Swedish countryside suffering from depopulation. The paper confirms earlier statements (Woods, 2007) that globalization processes should not be considered as external forces reshaping and homogenizing rural villages; rather, globalization processes are locally negotiated. This, however, does not mean globalization has no impact on rural places. In these negotiation processes global and local virtues are intertwined but not evenly. In some municipal strategies, the impact of global discourses is more explicit, for example, policy-makers accept and incorporate strategies of place branding and policy networks while they neglect other aspects of a relatively standardized “place marketing tool kit”. Furthermore, the study shows that rural residents, also, consider the village and its global future carefully but differently from the policy-makers. The residents dislike expressions of urbanity and advocate a general small-scaleness as a strategy for the future.

I en dialog mellan medieforskare ur två generationer diskuteras centrala frågor kring kulturperspektivets aktuella roll i medieforskningen. Begreppet kulturalisering relateras till medialisering och mediering; det slås ett slag för mediekulturbegreppet och ett vidgat mediebegrepp prövas kritiskt. Samspelet mellan gränsdragningar och överskridanden tematiseras på olika nivåer, dels i förhållande till frågor om intermedialitet och konvergens, hybridisering och differentiering, dels beträffande medieforskningsfältets relation till närliggande fält. Även frågor om mening, tolkning, identitet, symbolinvestering och makt berörs. Författarna analyserar på detta vis en rad olika omdebatterade problem och fenomen i skärningsfältet mellan kultur- och medieforskning, går emot vissa problematiska tendenser och söker påvisa kulturperspektivets fortsatta aktualitet och fruktbarhet för att vidga och vitalisera medieforskningen.

Mobile phone's offer enriched ways of communicating and have become devices with a very strong personal attachment for most users. While being personal communication devices, mobile phones displays limits with user interfaces more focused on features and distinct applications rather than providing rich interactions with a focus on people and communication between people. The present project explores interaction design for the mobile phone as a more personal and social device. It's key outcome is the Relify concept with it's affiliated prototype. Relify is a mobile user interface where presentation of people and communication is influenced by the character of the relationships with the people involved. Relify creates a personalized and flexible way for users to gain access to both personal communication and web feeds from third party services within a seamless user interface. This report describes the explorative design process leading to Relify, findings from field testing of it's prototype and design themes identified during the work. The work concludes that Relify demonstrates a personalized and fluent user interface with increased overview and a richer user experience. Among it's experiential qualities is an increased sense of connection, that can excite communication between people. In summarizing the work, considerations and implications on designing mobile user interfaces are discussed against the experiences of this project.

This article examines the Danish news media’s portrayals of immigrants and their descendants. These portrayals provide illustrations of how gender, sexuality, race and nationality intersect. Several descriptions of immigrants have been related to descriptions of visible minority women as oppressed and visible minority males as patriarchal and sexually aggressive. In this article, I show how these descriptions have played a role in constructing images of ethnically Danish women as emancipated and sexually liberated and ethnically Danish men as respectful of women. I also show how issues of gender equality and sexual liberty have become central in negotiations about national inclusion and exclusion, and how white Danishness has become the embodiment of gender equality in the news media.

The book focuses on the Danish news media’s images of visible minorities from the 1980s to the 2000s. Through analyses of television primetime news clips and national newspaper articles, the book throws light on how the news media have represented visible minorities (refugees, immigrants and their descendants) in Denmark and on what functions these representations might have had for the construction of Danish nationality. By drawing upon post-colonial theory, queer theory, feminism, media theory and theories of nationalism, the book explores three aspects in depth: Firstly, it throws light on the actual representations and demonstrates how visible minorities have been represented in the news media. Secondly, it nuances theses representations by comparing them to their societal and historical contexts. Thirdly, it reflects upon the functions these representations might have had for Danish television viewers and newspaper readers. Regarding the third aspect, the book especially examines how the news coverage might have influenced viewers’ and readers’ constructions of Danish nationality and their understandings of gender, gender relations, race and sexuality.

The article shows norms are constructed, and how power relies in the norm, i.e. in the normal. It also illustrates how race/ethnicity is constructed, and how whiteness is constructed as part of the national construction in Denmark. It gives examples of how 'ordinary' situations and relations, that might appear neutral, play a role in the current discrimination.

The article shows how the Danish news media’s portrayals of meetings between visible minority males and ethnically Danish females have participated in constructing certain images of gender, sexuality and race/ethnicity. It illustrates how understandings of these categories are interwoven with understandings of nationality and Danishness, and argues that in order to understand constructions of nationalities, scholars need to take gender, race/ethnicity and sexuality into consideration. The article shows how ethnically Danish females have been constructed as symbolic reproducers of the nation, and how sexual assaults against ethnically Danish women therefore have been interpreted as assaults against the nation. The article explains how this understanding has been at play in rape narratives where gender – and women’s responsibility for rape – has been articulated in rape cases with white ethnically Danish perpetrators whereas race/ethnicity has been articulated as an explanation for rape in cases with visible minority perpetrators.

The article shows the discrepancy between Danes’ collective memories about the women’s movement and the historical situation for the women’s movement and feminism in Denmark. The collective memories are analyzed via 40 qualitative interviews.

In our time, it is not the product itself which carries value, but rather the brand name that comes with it. Brands – protected by copyrights laws – represent financial and emotional value. People wanting to create social change therefore need to look beyond the product and focus on the brand instead. In order to change, go for the brand.

This chapter explores the potential of a prime-time drama to promote multiculturalism and ethnic diversity in national commercial television and to respond to the needs of migrant viewers. A multicultural drama on prime-time television is usually described as risk programming' for commercial television, but the popularity of Mogadishu Avenue proved that the multicultural approach can also lead to a commercial success. The chapter shows that the migrants in Finland do not watch Finnish serials because they are too Finnish orientated' and have little to offer for migrant audiences. In Mogadishu Avenue, the production company had a lot of freedom to make its own decisions without the interference of the distribution channel. The humour in Mogadishu Avenue stems from a discursive conception that national cultures are intrinsically different from one another, and that these differences necessarily lead to conflicts and cultural contradictions whenever Finns and migrants meet. 

The article examines how categories of race, incl. whiteness, is construced in everyday interactions. It emphasizes how power relies in the norm, i.e. the 'normal'. It illustrates how interactions, which might appear as neutral, are not neutral; rather the interactions contributes to discriminative structures.

Utgångspunkten i detta magisterarbete inom ämnet Interaktionsdesign var att se varför barn i dagens skola tycker att skolarbetet blir tråkigare ju högre upp i årskurserna de kommer. Vidare drog jag slutsatserna, utifrån litteraturgenomgång, att någon gång i årskurs 4-6 börjar eleverna i skolan att tappa lusten för skolarbetet. Var det allt skolarbete eller bara vissa ämnen som eleverna tyckte var tråkigt? Varför var det tråkigt? Kunde jag göra något åt saken?

This report is a product of our examination work on Bachelor level in Interaction Design. Our aim is to develop a prototype of a learning game in mathematics for target group grade 4-6. The game will explain why mathematics is important and connect the subject to reality by giving the student tasks which they can relate to. In this report we present a theoretical basis by giving a background and context description of the problems in school today regarding learning and motivation in mathematics, children and computers and school and computers from a gender perspective. We will also describe three different areas in Interaction Design: Learner-Centered Design, Computer Supported Collaborative Learning and Motivation in Creative Digital World. We present a game concept based on theoretical findings, field studies and usability tests. The design process will be described and motivated and the result will be evaluated as well as discussed.

The aim of this study is to evaluate a new pedagogic approach implemented in a compulsory materials course for product design students at bachelors level at Malmö University. When developing a new curriculum for the material course, a decision was made to teach materials and production methods in a contextualized setting with emphasis on how students can deal with materials in a design process. Methods can be seen as mental tools that aid the design students in navigating complexity and offers them a structure to deal with unfamiliar territories. After an evaluation, some methods, guidelines and tools were selected to integrate in the compulsory materials course for the product design students, e.g. the Expressive-Sensorial Atlas [1], Meaning Driven Materials Selection [2] and the Material Driven Design method [3]. The implementation is made in two steps in order to test, evaluate and further develop a framework for teaching materials courses to product design students. The study evaluate the first step of implementation in general, and the implementation of the Material Driven Design method in particular. It is hoped that this research can contribute to further development of pedagogical approaches for teaching materials and production methods in a contextualized setting for product design students at bachelors level.

This study reviews literature on the aspects of material selection within the field of industrial design education, specifically focusing on existing material selection tools and guidelines used in industrial design education. The growing number of materials available today has created a large variety of options for industrial designers, which they are ill-equipped to handle. A key reason behind this is that industrial designers lack appropriate education in material selection. There is a large body of research in the field of mechanical engineering, examining the material selection process of mechanical engineers. There are differences in material selection activities of mechanical engineers and industrial designers, based on their information requirements during different stages of the design process. Recent research highlights a need to merge the perspectives of engineering and industrial design for teaching the subject of material selection in industrial design education at tertiary level [1]-[3]. Industrial designers have unique skills to combine technical properties and intangible characteristics of materials in the product development process. Design students need to learn how to act as ambassadors of the intangible material characteristics in material selection processes in interdisciplinary teams. This paper suggests an approach that prepares the students to work both on inspirational and analytical levels in material selection processes.

This study evaluates a new pedagogic approach implemented in material courses for product design students at bachelor level education. Material education within the field of design education at technical faculties has, in general, a strong technical focus, e.g. selecting materials with predominant focus on engineering properties of materials. Product design education at a bachelor level need to offer material courses that prepares the design students to work both on inspirational and analytical levels in material selection processes. Early in the design education, students often have a preconception of materials, and they need to be introduced to an open-minded inspirational material selection process, based on scientific design methods. When developing a new curriculum for the material courses, it is important to teach materials and production methods in a contextualized setting with emphasis on how materials can be approached in a design process. Methods can be seen as mental tools that aids the design students in navigating complexity and offers them a structure to deal with unfamiliar territories. After an evaluation, we selected some methods, guidelines and tools to integrate in the mandatory material courses for the product design students e.g. the Expressive-Sensorial Atlas, Meaning Driven Materials Selection and the Material Driven Design method. The implementation were made in two steps in order to test, evaluate and further develop a framework for teaching materials courses to product design students. This study only reports the first step of implementation since the second step is under development and will be implemented during autumn 2017.

This study reviews literature on the aspects of material selection within the field of industrial design education, specifically focusing on existing material selection tools and guidelines used in industrial design education. The growing number of materials available today has created a large variety of options for industrial designers, which they are ill-equipped to handle. A key reason behind this is that industrial designers lack appropriate education in material selection. There is a large body of research in the field of mechanical engineering, examining the material selection process of mechanical engineers. There are differences in material selection activities of mechanical engineers and industrial designers, based on their information requirements during different stages of the design process. Recent research highlights a need to merge the perspectives of engineering and industrial design for teaching the subject of material selection in industrial design education at tertiary level. Industrial designers have unique skills to combine technical properties and intangible characteristics of materials in the product development process. Design students need to learn how to act as ambassadors of the intangible material characteristics in material selection processes in interdisciplinary teams. Industrial design needs to reclaim material education when taught in technical faculties and develop its own curriculum. An open-minded dialogue with the engineering colleagues is a prerequisite in developing a curriculum for material courses in design education at a technical faculty. Together designers and engineers need to define a mutual understanding of concepts and contexts to successfully develop a new curriculum. This paper suggests an approach that prepare the students to work both on inspirational and analytical levels in material selection processes.

This qualitative case study aims at understanding when and how industrial designers, working in design consultancies, engage in activities that will influence material selection in the design process. While the extant literature presents material selection processes as a sequence of activities aimed at finding candidate materials, there is paucity of research on material criteria activities. Formulating material criteria is an activity that is performed during all design phases and they become clearer and more complete throughout the project. For the case studies, explorative semi-structured interviews were conducted with five industrial designers with 10 years of work experience or more. The results suggest (a) that risk management has a major influence on the material selection process, (b) that negotiations of project boundaries in the ‘fuzzy’ pre-design phase has crucial influence on the risk management aspect of the material criteria activities, and (c) a lack of awareness that design briefs usually outline material criteria expressed as sensorial characteristics, which are later translated by engineering into final material criteria used for the material selection process.

This article focuses on fan experiences of place in the Scandinavian crime series The Bridge (Bron||Broen). It offers four in-depth portraits of fans representing different modes of engaging with geographies of the imagination based on participant observations and qualitative semi-structured interviews with 80 audience members conducted in Denmark, Sweden and the UK. The analysis draws attention to fans’ emotional engagement with the show, and to how the experience of the media location of a drama set in the borderland between Denmark and Sweden induces a ‘sense of place’ in fans’ imagination. Based on the analysis of fans’ experience of place in the drama and the emotional landscapes of Scandinavian crime fiction more broadly, the article engages in a broader discussion of the significance and contingency of place to fans’ emotional experience of television drama. I argue that the relationship between media fandom and sites of media production is best understood in terms of a series of continuities and disjunctures between the materiality/virtuality of media tourism and travelling. These are actualised and shaped by the different dimensions of knowledge – from locality to genericity, embodied to imagined – that fans bring into the playful and affective process of engaging with media. The findings of this kind of longitudinal, empirical research into the lived experiences of place thus add to a nuanced understanding of the relationship between media fandom and sites of media production based on prolonged and in-depth interactions with audiences.

Institutionen Konst, Kultur och Kommunikation (K3) på Malmö Högskola beskrivs som en plats för gränsöverskridande forskning och undervisning med en genomgripande koppling mellan gestaltning och teori. Det är långt ifrån något självklart och diskussionen om betydelsen och hur det ska spegla metoder och innehåll i utbildningarna är ständigt närvarande på institutionen. Begreppet dubbla perspektiv lyftes fram i forskningsprojektet Kunskapens framträdandeformer (Göthlund; Melin) för att undvika att ställa olika kunskapsformer emot varandra. Det finns ändå en risk för dikotomisering mellan teori och praktik, konst och vetenskap eller akademi och profession när man talar om olika perspektiv.

Denna studie består av två delar; en diskursanlys kring begreppen teori och gestaltning för att synliggöra och problematisera olika synsätt och positioneringar inom lärarlagen på K3, men också en didaktisk design för att synliggöra och konkretisera undervisningsformer där tvärvetenskapliga förhållningssätt ska kombineras med olika professionella och konstnärliga praktiker och diskurser på grundutbildningsnivå. Den första studien består av deltagande observationer och videodokumentation av två personalkonferenser på temat teori och gestaltning. Materialet analyserades för att undersöka vilka diskurser och vilka positioner som kan urskiljas och hur de möts. Arbetet utgår ifrån ett socialkonstruktivistiskt förhållningssätt utifrån Norman Faircloughs tre dimensioner av kommunikaton, som ram för en kritisk diskursanalys. Resultatet presenteras i form av en kategorisering av olika diskursiva positioneringar och hur dessa förhåller sig till varandra i ett maktperspektiv och visar på hur

inomvetenskapliga och utomvetenskapliga intressen ofta kommer i konflikt och att de inomvetenskapliga perspektiven har en tydligt dominant ställning som marginaliserar betydelsen och inflytandet från utomvetenskapliga perspektiv. I nästa steg argumenteras för ett användande av begreppet estetiska lärprocesser, istället för begreppet dubbla perspektiv, för att beskriva arbetet med både en gestaltande och en vetenskaplig praktik i ämnet visuell kommunikation på kandidatnivå. Estetiska lärprocesser är ett begrepp som pekar mot hur kunskapande sker och kan därför samla de dubbla perspektiven i en konvergerande social praktik. Jag har undersökt denna praktik i en akademisk kontext från en didaktisk synvinkel. Med hjälp av kunskapsteoretiska begrepp som socialsemiotik, multimodalitet, tyst och situerad kunskap, konstrueras en konkret modell för hur studenter och lärare kan navigera mellan en vetenskaplig och estetisk praktik. Metoden bygger på en triangulering mellan att lära sig om, lära sig i och lära sig genom och har genomförts som en interaktiv didaktisk design. En kollaborativ, abduktiv process tillsammans med studenter och lärare på institutionen för Konst, kultur och kommunikation på Malmö Högskola.

Vetenskap/konstnärsskap, lärande/lek, lärare/studenter är olika sidor av en dikotom verklighetsuppfattning bland många i den traditionella akademiska kulturen. Syftet med vår workshop är att reflektera över och utmana denna dikotomi genom att skapa ett kunskapens mellanrum där de olika sidorna av dikotomin överlappas. Vi workshopsledare kommer från olika ämnen med varierande bakgrunder och har olika akademiska positioner, men har gemensamt att vi har jobbat länge på högskolevärlden, arbetar både traditionellt akademiskt och konstnärligt och sedan 2,5 år arbetat med en forskningscirkel där vi tillsammans undersökt det gränsöverskridande mötet mellan teori och gestaltning (vetenskap och konstnärsskap). I varsitt mindre forskningsprojekt har vi undersökt hur man kan kunskapa genom reflekterande görande. Dessa forskningsprojekt har också blivit pedagogiska utvecklingsprojekt, då resultaten omsatts i kursutveckling. Teoretiskt ser vi den akademiska kulturen som en del av ett socialt konstruerat rum, både bildligt och bokstavligt, där även kunskapande är en socialt konstruerad aktivitet lärande i och med kroppen. Begreppen hexis, konstruerad kropp och performativitet (Bourdieu; Butler) har därför varit centrala begrepp för oss. Vårt övergripande pedagogiska perspektiv handlar om det reflekterande görandet (Dewey; Schön). Vi arbetar pedagogiskt med multimodalitet (Selander & Kress), sinnligt kunskapande (Polyani; Pink) och hämtar begreppen divicing (Kjølner, Oddey) och intra-aktiv pedagogik (Taguchi) från förskolepedagogik. Vi har även låtit oss inspireras av begreppet parallellek. Begreppet estetiska lärprocesser (Lindstrand & Selander) binder samman vår konstnärlig vetenskapliga och pedagogiska verksamhet. Vårt arbetssätt handlar emellertid framför allt om att omsätta teoretiska begrepp i praktiken. Och det vill vi göra genom workshopen. Vi riktar oss mot kollegor som är intresserade av att utmana traditionella akademiska kulturer och vill reflektera över det gränsöverskridande arbetet mellan teori och praktik. Vårt planerade upplägg är att tillsammans med workshopdeltagare skapa ett kunskapens mellanrum genom kollektiva överlappande vetenskapliga och gestaltande processer. Det tänkta upplägget är:

1. En introduktion till projektet Kunskapens mellanrum.

2. Övningen introduceras. Det handlar om att med olika enkla material gestalta kunskap genom devicingmetoden och parallellekmetoden.

3. Vi genomför övningen genom att använda oss av varandra och rummet. Vetenskaplig kunskap, lärarroll, studentroll, akademisk kultur och akademiska maktrelationer är begrepp som leks med och problematiseras.

4. Deltagarna arbetar i en växelverkan med leken, görandet och dokumentation. Vi använder oss av det framtagna gestaltade materialet och gör en analys av och reflektion över det som är dokumenterad kunskap.

5. Ett presentations- och utställningsrum skapas, som förhoppningsvis kan vara kvar över konferensen, så att deltagarna och andra kan återkomma för reflektioner.

Scenskifte is a project of development by request from Ystads Teater AB. The project has during spring 2005, in cooperation with the board an the management, produced a concept for the business. Supported by the method Effektkarta, the theatre has reached a clarification of what they wish to create, why they exist, for whom and how to reach the goals. The most important target groups for Ystads Teater turned out to be: Children and youth, the loyal audience of today, the organisers, infrequent visitors and the trade and industry. Ystads Teater wshes to be a complete and splendid experience, an open meeting place, a centre and a symbol for stage art in the southeast of Skåne. To achieve this the theatre wishes to offer enriching culture, arrange unique music theatre, involve in educative, creative processes and also preserve the building and its history. The recommendation to Ystads Theatre is to found a friend association within the theatre, create a reference group of children an youth, arrange a New Year show and initiate cultural collaboration in Ystad. The theatre has the possibility to develop the summer opera into a festival and take on the producer´s role. There is also requirement for a person of similar competence to that of a museum pedagouge. As the theatre is a symbol for the brand name Ystad, it is the responsibility of the community as a whole to preserve and take care of it.

Experiments take various forms, have various purposes, and generate various knowledge; depending on how, when and why they are integrated in a design research study with a programmatic approach. This is what we will argue for throughout this article using examples and experiences from our now finalized PhD studies. Reviewing the prevailing literature on research through design the overall argument is that design experiments play a core role both in conducting the research, in theory construction and in knowledge generation across the different design domains and methodological directions. However, we did not identify sources that explicitly discuss and operationalize roles and char- acteristics of design experiments in different stages of programmatic design research. The aim of this article is therefore to outline a (tentative) systematic account of roles and characteristics of design experiments. Build- ing upon Schön’s definition of experiments in practice we propose adding to the prevailing understanding of experiments in research through design understanding and operationalizing design experiments 1) as initiators or drivers framing a research programme, 2) as ways to reflect on and mature the research programme serving as vehicles for theory construction and knowledge generation and finally 3) as a ‘designerly’ approach to the written knowledge dissemination and clarification of research contributions.

This chapter examines the ways in which the field of Participatory Design engages with the field of design–as both a topic, a research field and a practice. We highlight what we consider are core themes in design, especially as they relate to Participatory Design concerns. The chapter is not intended as a review of the whole design field, nor is it a comprehensive overview of work being done by the Participatory Design community. Rather, our purpose is to mine both traditions for insights into the relation between design topics ...

Criticism is an integral part of the ongoing knowledge construction that is embraced in the more mature design disciplines—architecture, industrial design—and in the arts. Critics interpret, contextualize, interrelate, abstract, and question the artifacts of design to clarify opportunities for designs to improve everyday life and to explore the ways in which designs deliver on this promise. In doing so, they feed an ongoing dialogue between design and criticism, through which knowledge grows for the benefit of practitioners, scholars, and the general public. Interaction design, in general, does not really accommodate criticism and the role of the critic, with some exceptions in new media [1, 2], HCI [3, 4], and video-game studies. As HCI's interdisciplinary expansion continues to incorporate design, criticism's day is coming. As our work becomes increasingly culturally and socially complex, we will need both the "expert readings" of erudite critics and everyday design "crits" from practitioners to provide the knowledge we need to design. We expect interaction criticism to emerge as a skilled practice, closely tied to interaction design. Our intention here is to fuel this development by providing an example of what interaction criticism could offer members of the interaction design community.