Nah kalo yang ini menarik bung Nasrul,
Kebetulan saya juga dapat forward ttg. design dan theoretical imagination.
Biar klop dengan posting anda saya forward juga disini yah. Siapa tau ini
juga bermanfaat untuk anda.
>From: Ken Friedman <[EMAIL PROTECTED]>
>
>
>
>The New Year's thread on imagination raises an intriguing thought on the
>relation between imagination and theory. At least two forms of imagination
>are required for successful design.
>
>The first is the form of imagination that involves creating and shaping
>good theory. The second is a creative and generative imagination for the
>designed artifact in cultural and artistic terms.
>
>Design involves shaping futures that don't yet exist. Design therefore
>requires theory. We must know why - and how -- things work to understand,
>explain, and predict them. This requires building and testing theories.
>Theory will be increasingly important in design.
>
>A theory is a model that explains why something happens by demonstrating
>the structural relationship between its elements. In doing so, a theory
>predicts what will happen when elements interact. Theoretical imagination
>involves understanding developments across the many disciplines of the arts
>and sciences and recognizing their implications for designers. It is my
>sense that the traditions of theory construction common to the natural and
>social sciences will become important in the future development of design.
>Understanding theory and learning to construct elegant theory will aid
>designers in their work.
>
>In the past, designers commonly engaged the sense of tactile and artistic
>imagination involved in creating artifacts. In the future, they will also
>engage the theoretical imagination. This is a brief note from a larger
>research program that points to sources on the rich play of imagination,
>knowledge, and empirical data required for effective theorizing.
>
>Nobel laureate Herbert Simon defines the goal of science in general as
>understanding "things: how they are and how they work" (Simon 1982: 129).
>Next, he defines design. To design is to "[devise] courses of action aimed
>at changing existing situations into preferred ones" (Simon 1982: 129).
>Without accepting all of Simon's views, this clear statement of design as a
>practice focused on how to do things to accomplish goals is valuable. The
>shift from craft to science simply articulates the need for a
>better-organized practice. This doesn't involve the end of artistic and
>cultural engagement, but a richer surrounding context aimed at solving
>problems. The central difference between art and design is that an artist
>solves a self-selected problem while a designer solves a problem for
>someone else. In this sense, design must involve theory as well as
>involving art.
>
>Solving problems for others requires understanding how to move from an
>existing situation to a preferred situation. This means knowing what the
>preferred situation ought to be. It also means understanding the principles
>that allow us to predict and measure outcomes.
>
>The physicist and industrial practitioner W. Edwards Deming offered one
>systematic approach to this knowledge in the framework he termed "profound
>knowledge" (Deming 1993: 94-118). This knowledge is comprised of "four
>parts, all related to each other: appreciation for a system; knowledge
>about variation; theory of knowledge; psychology" (Deming 1993: 96).
>According to Deming (1986: 19). "Experience will answer a question, and a
>question comes from theory."
>
>Theory is not simply a concatenation of data. Theory construction is an act
>of disciplined imagination (Weick 1989). The field of management has
>developed a rich literature on the disciplined imagination of theorizing.
>Several authors have written extensively on these issues. These include
>Whetten (1989), Daft (1983), Friedman (1996), and Olaisen et al. (1996).
>These ideas can readily be linked to perspectives in design science
>(Friedman 1997; Fuller 1965, 1981; Fuller and Dil 1983) and to examples
>from the practice of leading contemporary designers such as Benktzon and
>Juhlin (1984, 1989), Papanek (1991, 1995) and Mollerup (1989, 1990, 1993).
>
>I suggest that theory-rich design is both playful and disciplined. For
>designers to imagine the future, design science must be as playful and
>artistic in concept and outcome as craft-based design while meeting
>large-scale social and economic needs.
>
>In calling for the full use of the human brain in design, it's necessary to
>call on all the senses of imagination. Theoretical imagination is as
>necessary to good design as tactile or visual imagination.
>
>
>
>References
>
>Benktzon, Maria and Sven-Erik Juhlin. 1984. "What Can Design Contribute to
>Human Society in the Near Future?" Design Quarterly (Tokyo), no. 2.
>
>Benktzon, Maria and Sven-Erik Juhlin. 1989. "The Development of Eating and
>Drinking Implements," in Social Design, Nils. H. Edlund (ed.), Stockholm.
>
>Bernsen, Jens. 1986. Design. The Problems Comes First. Copenhagen: Danish
>Design Council.
>
>Daft, Richard A. 1983. "Learning the Craft of Organizational Research."
>Academy of Management Review, vol. 8, no. 4: 539-546.
>
>Deming, W. Edwards. 1986. Out of the Crisis. Quality, Productivity and
>Competitive Position. Cambridge: Cambridge University Press.
>
>Deming, W. Edwards. 1993. The New Economics for Industry, Government,
>Education. Cambridge, Massachusetts: Massachusetts Institute of Technology,
>Center for Advanced Engineering Study.
>
>Friedman, Ken. 1996. "Individual Knowledge in the Information Society. " In
>Information Science: From the Development of the Discipline to Social
>Interaction. Johan Olaisen, Erland Munch-Pedersen and Patrick Wilson,
>editors. Oslo: Scandinavian University Press, 245-276.
>
>Friedman, Ken. 1997. "Design Science and Design Education." In The
>Challenge of Complexity. Helsinki: University of Art and Design Helsinki.
>
>Fuller, Buckminster. 1965. Phase I (1965) Document 3: Comprehensive
>Thinking. Carbondale, Illinois: World Resource Inventory, Southern Illinois
>University.
>
>Fuller, Buckminster. 1981. Critical Path. New York: St. Martin's Press.
>
>Fuller, Buckminster and Anwar Dil. 1983. Humans in Universe. New York:
Mouton.
>
>Mollerup, Per. 1990. "Communication takes command." In Scandinavian Design
>1990 - Towards 2000. Malmö: Scandinavian Design Council.
>
>Mollerup, Per. 1989. "Take-off for new design." Design Danmark, 4:1989
>(October), CPH1-CPH24.
>
>Mollerup, Per. 1993. The Visible Company. Stockholm: Svensk Industridesign.
>
>Olaisen, Johan, Olav Djupvik, Jon-Arild Johannesen, Ken Friedman and Hugo
>Løvhøiden. 1996. "Pathological Process in Library Systems." Libri, vol. 46,
>pp. 121-140.
>
>Papanek, Viktor. 1991. Design for the Real World. London: Thames and Hudson.
>
>Papanek, Viktor. 1995. The Green Imperative. London: Thames and Hudson.
>
>Simon, Herbert. 1982. The sciences of the artificial., 2nd ed. Cambridge,
>Massachusetts: MIT Press.
>
>Weick, Karl E. 1989. "Theory Construction as Disciplined Imagination."
>Academy of Management Review, vol. 14, no. 4: 516-531.
>
>Whetten, David A. 1989. "What Constitutes a Theoretical Contribution."
>Academy of Management Review, vol. 14, no. 4: 490-495.
>
>Wheelwright, Steven C. and Kim B. Clark. 1992. Revolutionizing Product
>Development. Quantum Leaps in Efficiency, Speed and Quality. New York: Free
>Press.
>
>
>
>
>
>
>Ken Friedman, Ph.D.
>Associate Professor of Leadership and Strategic Design
>Department of Knowledge Management
>Norwegian School of Management
>
>+47 22.98.51.07 Direct line
>+47 22.98.51.11 Telefax
>
>Home office:
>
>+46 (46) 53.245 Telephone
>+46 (46) 53.345 Telefax
>
>email: [EMAIL PROTECTED]
At 10:43 AM 28/01/2000 +1100, you wrote:
> Banyak orang pragmatis serta sukses dalam karir ekonomi di tanah air
>memandang imajinasi dengan sebelah mata. Malah terkadang dianggapnya sebagai
>dunia mimpi alias sosok tidak realisitis menghadapi kenyataan.
> Pokoknya ada kecenderungan pada mereka untuk merasa di atas angin
>meskipun mungkin saja tidak diungkapkannya. Secara sopan-santun dengan
>memandangnya sebagai nilai filosofi.
> Iklim cara pandang itu rupanya terus berlanjut pada krisis moneter
>sekarang ini. Penyataan demi pernyataan masih kurang menyentuh upaya
>melibatkan serta mengapresiasikan dan memobilisasi faktor imajinasi dalam
>berbagai antisipatif.
> Apa mereka nggak tahu bahwa munculnya krisis moneter dadakan di
>Indonesia serta dampaknya - termasuk sosial dan politik - masih terasa
>sampai sekarang tidak terlepas dari permainan orang asing. Antara lain -
>yang dianggap menonjol - apalagi kalau bukan spekulan George Soros.
> Apa mereka nggak tahu pula bahwa untuk memainkan ekonomi suatu negara
>oleh pihak luar diperlukan strategis ampuh.
> Sedangkan untuk membuat strategis itu untuk mencapai sasaran diperlukan
>berbagai disain faktor seperti "Disain Operasional Informasi". Ini
>diperlukan imajinasi bukan? Tidak sekedar mengandalkan data kongkrit.
> Karena dengan cara itulah maka peluang negara itu untuk menankal atau
>mengantisipasinya semakin sangat kecil.
> Jadi mau nggak mau harus diakui bahwa yang dinamakan imajinasi itu
>telah mempengaruhi kalangan praktis yang sampai sekarang masih memandang
>imajinasi dengan sebalah mata
>
>Salam,
>
>Nasrullah Idris
>
>
>
>
>
>
