Four Themes of Feral Experimental
Order Instructions:
Assessment Brief: Prepare a 10-minute audiovisual presentation of a selected design or designer within the thematic of Assessment Task 1. Hand in a 1,000-word summary supplemented with visual supports from the audiovisual presentation.
this is a case study and need 10-minute audiovisual presentation (PowerPoint)
1,000-word summary supplemented with visual supports from the audiovisual presentation
SAMPLE ANSWER
Four Themes of Feral Experimental
The Feral Experimental Exhibition explains four major themes with different designers. It describes the theme and its designs, its impact to others and to the designer, and the broader issues that are addressed through the design. These are: the speculative design, participatory design, interaction design, and the co-design.
The speculative design process does not necessary design specifically a problem to be solved (Galeffi, 2009). It instead establishes a starting point that is provocative from which the design process may emerge. An example of this from the Feral experiment is the, ‘Avena+ Test Bed: Agricultural Printing and Altered Landscapes’. This is a speculative design that investigates the opportunity of agricultural printing.
Participatory design was originally known as the Cooperative design (Co-design) (Karakas, 2011). This design attempts to actively involve stakeholders in their design process so as to make the results usable. The stakeholders in this case may be the employees, citizens, customers, partners and the end users (Steen, 2013). An example of this design from the feral Experiment Exhibition is the ‘Design-Anthropological Innovation Model (DAIM)’. This model investigated how users are driven to recycling services and waste disposals.
Interaction Design, just like the other fields of design, has an interest in form but it focuses mainly on behavior. It designs systems, services, interactive digital products and environments (Karakas, 2011). It actually shapes the digital environment for people’s use. An example of this from the Feral Experiment exhibition is ‘Circus Oz Living Archive’. This design celebrates rehearsals, performances and adverts of the Circus Oz.
Exploratory Experimental Design is a type of design that is conducted on a research problem when there is no reference to any earlier studies that was conducted. Its main focus is to gain insights and familiarize in case of future investigations. An example from the Feral Experimental is, ‘If We Meet Again’. This is a film that is screened on two different screens that explores the narratives and fantasies about the interactions with the design.
The Kindred Spirits
Kindred Spirits is a fictions co-design research project developed together with the people of the drug rehabilitation clinic in Netherlands called the Mistral in The Hague (Matisoff & Edwards, 2014). It was designed by Susana CamaraLeret. It became part of the G-Motiv which was a large scale research project funded by the government in the Creative Industry Scientific Research Program (CRISP). This project gives a clear view of an imaginary clinical setting resided by the hybrid companion creatures that shows their habitual behavior. Kindred Spirits however is a term that explains someone who shares the attitudes, features, beliefs and feelings only with oneself.
Kindred spirits had two series: a crustacean with claws and a trumpet-like creature. Listening to the crustacean is quite relaxing since it induces alpha brainwaves from its released frequencies. This brainwaves helps in relaxing the brain. The trumpet-like creature, on the other hand, lies and listens to conversations. It has a high sense of smell and it is also full of nerve endings in the tail. The smell releases mood that blocks the olfactory receptors thus influences mood and makes one to talk.
Designer’s Argument about Kindred Spirits
Susana Camara Leret describes the 3D printed creatures of the kindred Spirits as companion creatures. These species can be introduced to the ecosystem of the clinic and perform the acquired obsessions, compulsions and behaviors on the Mistral clients’ behalf. These creatures as described by Camara Leret, could be a beneficial influence to the health centers alienating environment. For example, at Mistral in The Hague, residents spend most of their time at the living room (Young, DeLorenzi& Cunningham, 2011). A patient then says that the noise that comes from there at times may be too loud such that one could not hear his or her own mind. The first Kindred Spirit was inspired by the patient’s comment. This was a crustacean that had claws functioning like earphones (Matisoff & Edwards, 2014). These earphones transmitted frequency that induced ones meditative state of mind. The comment of Berend Hofman also inspired the co-creation of the trumpet like creature.
Technology claims human as its own. Susana Camara Leret question what happens about this. She however evolves into digital extensions of people with acquired obsessions. This informs about the interactions and designs our own evolution.
Others Argument about Kindred Spirits
Clients share their stories evoked about the Smell memory kit and the smell exercises is now included with the mistral in their patient intake procedure because of how their new residents reflected on how to change their behavior.
Issues Addressed through the Design
Kindred spirits is an interaction between the ordinary and the fantastic needs. This project balances the actual needs and the imagined desires. It also builds on experiences in order to encourage the contemplation of alternatives in future. This design engages participants in the change of behavior especially in the addiction therapy context. It mainly addresses young drug addicts.
Lessons Learnt from the Kindred Spirits Design
Kindred Spirits is a piece of memory. It relaxes the mind and makes one able to talk by influencing mood. It contributes in the understanding and the creation of strategic roles for designers in several ways. First, designers have to play a role in solving complex problems. This is where the design comes in. It allows them to have capable skills to create solutions. Secondly, a creative economy will be more competitive if people can know the importance of the strategic role design. Designers will benefits from this and the society will be more flexible. Aside from that, the strategic designers have to create new perspectives with a new medium. They have to design kits related to their smelling capabilities just like the smell memory kit. This kit opened doors to engaging with tentative results that brings more about the future that was not previously imagined. This design contributes more to strategic designers in many ways.
This design looks specifically to young drug addicts and how smelling can aid in their treatment. It explains how smelling helps in storytelling and especially about their past experiences.
References
Galeffi, A 2009, ‘Biographical and Cataloguing Common Ground: Panizzi and Lubetzky, Kindred Spirits Separated by a Century’, Library & Information History, 25, 4, pp. 227-246.
Karakas, F 2011, ‘Positive Management Education: Creating Creative Minds, Passionate Hearts, and Kindred Spirits’, Journal Of Management Education, 35, 2, pp. 198-226.
Matisoff, D, & Edwards, J 2014, ‘Kindred spirits or intergovernmental competition? The innovation and diffusion of energy policies in the American states (1990–2008)’, Environmental Politics, 23, 5, pp. 795-817.
Steen, M, Arendsen, J, Cremers, A, De Jong, A, De Jong, J, & De Koning, N 2013, ‘Using interactive model simulations in co-design: An experiment in urban design’, Codesign, 9, 1, pp. 2-16.
Young, M, DeLorenzi, L, & Cunningham, L 2011, ‘Using Meditation in Addiction Counseling‘, Journal Of Addictions & Offender Counseling, 32, 1/2, pp. 58-71.
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