This chapter argues that critical discourse analysis (CDA) provides a fruitful methodology for CES. This is due both to its eclectic, abductive research methodology that engages in a dialogue between, theory(ies), methodology(ies), data and the socio-historical context (Reisigl and Wodak 2009). Secondly, CDA, like other critical approaches, adopts a layered approach to research methodology, focusing from the global to meso and micro aspects of an event, or from social structures, to social institutions and social events, always considering the discursive as being both constituted by and constitutive of social structures. It will illustrate this through a brief description of the discourse-historical dimension in CDA which assumes a distinction between content analysis, the analysis of discursive and argumentative strategies and, finally, the analysis of linguistic features (Reisigl and Wodak, 2001). Those basic assumptions will be illustrated through the description of a theoretical-methodological framework recently employed for the study of the Occupy movement in Spain (Montesano Montessori & Morales Lopez, forthcoming). It shows how a framework was assembled that brought social constructivism, narrative analysis, rhetoric and finally the discourse theoretical concept of ‘rearticulation’ together in order to analyse how the Occupy movement helped Spanish citizens to gain agency and voice. In: R Lamond I., Platt L. (eds). Critical Event Studies. Leisure Studies in a Global Era. Palgrave Macmillan, London
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Het lectoraat Co-Design van Hogeschool Utrecht doet met een systemisch-inclusieve ontwerpende aanpak praktijkgericht onderzoek, om complexe maatschappelijke vraagstukken te helpen oplossen. Binnen die onderzoeken stellen we vragen over het ontwerpproces en de mensen die daarbij betrokken zijn. Hoe kun je goed co-designen in de weerbarstige werkelijkheid? Wat kan helpen in die ontwerpende aanpak? Hoe kunnen mensen die niet zijn opgeleid als ontwerpers volwaardig meedoen in het ontwerpproces, en wat hebben zij daarvoor nodig aan ontwerpend vermogen? De kennis over ontwerpend vermogen die we de afgelopen vier jaar hebben opgedaan, delen we in dit boekje. We hebben dat proces getekend en beschreven als een reisverhaal van Co, die ons meeneemt op een boot over een rivier, door stroomversnellingen en langs landschappen. Met bijdragen van: Marry Bassa, Anita Cremers, Tanja Enninga, Anita van Essen, Christa van Gessel, Berit Godfroij, Joep Kuijper, Remko van der Lugt, Caroline Maessen, Lenny van Onselen, Dirk Ploos van Amstel, Karlijn van Ramshorst, Carolijn Schrijver, Fenne Verhoeven, Danielle Vossebeld, Rosa de Vries
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Design education has a nuanced relationship with examples. Although they are considered useful teaching tools, their use is often restricted to illustrating the design theories and principles around which the curriculum is structured. In contrast, professional designers view examples as autonomous entities and use them to initiate a critical dialogue with their current problem space. Therefore, students should be facilitated in cultivating their own repertoire of solutions and learn to initiate conversations between existing solutions and design challenges to gain a better understanding of the problem space and generate new designs. This paper outlines a small-scale experiment conducted with master's students in Applied Data Science at Utrecht University who took a course on designing recommender system interfaces. The students were provided with a set of examples of recommender interface designs as their main instructional tool. They could use this set to curate their own solution repertoire. As a result, the majority of the participants' work displayed more diverse designs, and they used design patterns distilled from those examples generatively, developing innovative designs. Based on this case study, we tentatively conclude that a design curriculum built around examples, complemented by theories, could be advantageous, as long as special attention is given to helping students initiate fruitful iterations between their challenges and a set of solutions.
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“Critical Making in Collaboration with Nature”, discusses the outcomes of the Making Sustainability Work project from Fall 2020. With support of CoECI Zaaigelden scheme, the Critical Making learning community put together a group of makers from research, education and industry to explore the implications of designing with natural materials and biological processes, such as biopolymers, fungal composites and bacteria dye. By following a selection of modules from the Fabricademy global training program, participants explored hands-on techniques to create their own design materials and colours from renewable and biodegradable resources and documented their journeys. The shared experience was reflected upon in a series of interviews and essays touching on the following questions: • In what way do unruly natural materials challenge ways of doing and teaching design? • How do grown materials fit into or challenge makers’ goals of sustainability?• What is needed to bring biological processes into communities of practice in the field of design, art and making?• How and when does criticality emerge in the making process? • How do processes of thinking and doing intersect and what is the role of social interactions and collaboration?
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Value-loaded critical thinking refers to a combination of critical thinking, moral value development and reflection. It is important to teach value-loaded critical thinking in secondary education and philosophy seems the pre-eminent subject to do so. This article describes the theoretical foundations of value-loaded critical thinking, its educational objectives, and what is known about effective teaching strategies. Value-loaded critical thinking is best taught in teacher-led philosophical dialogues. Four design principles summarize effective teaching strategies for teaching value-loaded critical thinking in dialogue: teachers should (1) explicitly address moral values in dialogue; (2) apply moral values to engaging or realistic examples; (3) promote critical reasoning about moral values; and (4) provide opportunities for reflection.It is important that secondary school students learn to reason critically about normative issues. Philosophy teachers can contribute to this educational objective by promoting value-loaded critical thinking during philosophical dialogues. Value-loaded critical thinking is critical and reflective reasoning focused on deciding what is the right thing to believe or to do (Frijters et al. 2008). This paper describes the theoretical foundations of value-loaded critical thinking and presents four design principles for promoting value-loaded critical thinking during philosophical dialogues. The four design principles are: teachers should explicitly address moral values in dialogue (1), apply moral values to engaging or realistic examples (2), promote critical reasoning about moral values (3), and provide opportunities for reflection (4). To provide authentic illustrations and practical suggestions for teachers, each design principle includes selected excerpts of classroom dialogues of 10th grade philosophy classes in Dutch.
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There has probably never been such an intense debate about the layout of the countryside as the one that is currently raging. There are serious concerns about the landscape, which is being rapidly transformed by urbanization and everything associated with this process, and not only in the Netherlands but also far beyond its borders. Everyone has something to say in this society-wide debate, from local to national governments, from environmental factions to the road-user's lobby, and from those who are professionally involved to concerned private parties. In many cases it is a battle between idealized images and economic models, between agricultural reality and urban park landscapes, between ecological concerns and mobility. This issue of OASE explores the potential significance of architectonic design for transformation processes on the regional scale. Besides considering the instruments that are available to the designer to fulfil this task, the authors also consider how the design can exercise a 'positive' influence on such processes. The various contributions shed light on the potential significance of territory in contemporary design practice and offer critical reflection on the topical discourse that has evolved over recent years.
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Design In our modern world, we are constantly confronted by challenges of a societal, ecological, organisational, strategic or cultural nature. These so-called wicked problems are difficult to define and even harder to solve, often requiring feats of collaboration. Design, Play, Change is a Design Thinking book and game created for managers, entrepreneurs, trainers, coaches, educators and students who want to develop innovative ideas for future change within and between their teams or organisations. In short, this book is the active agent that can be used to theorise, restructure and overcome challenges we face on a daily basis. Play Crafted both for experts in Design Thinking and for those just getting started, Design, Play, Change will explain the theory behind designing as well as demonstrate how to think, act, create and feel like a designer. With 40 method cards, spanning across different critical roles like the Creator, Emphatiser, Thinker and Maker, the book presents an extremely accessible and fun way of examining complex contemporary challenges with a light-hearted outlook. Regardless of what challenge needs to be overcome, this collaborative game creates a shared vision of the challenge at hand while also generating inspiring insights, fresh ideas and productive activities. Above all, Design, Play, Change is inspirational, energising and fun for you and the whole team playing along with you. At it’s core, Design, Play, Change teaches readers and players a practical way of reframing, envisioning and evaluating their challenges and ideas, addressing them like a designer would in a collaborative game format. Design, Play, Change is a game and a book and is avaliable here: https://www.bispublishers.com/design-play-change.html
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This book fills an important gap in the sport governance literature by engaging in critical reflection on the concept of ‘good governance’. It examines the theoretical perspectives that lead to different conceptualisations of governance and, therefore, to different standards for institutional quality. It explores the different practical strategies that have been employed to achieve the implementation of good governance principles. The first part of the book aims to shed light on the complexity and nuances of good governance by examining theoretical perspectives including leadership, value, feminism, culture and systems. The second part of the book has a practical focus, concentrating on reform strategies, from compliance policies and codes of ethics to external reporting and integrity systems. Together, these studies shed important new light on how we define and understand governance, and on the limits and capabilities of different methods for inducing good governance. With higher ethical standards demanded in sport business and management than ever before, this book is important reading for all advanced students and researchers with an interest in sport governance and sport policy, and for all sport industry professionals looking to improve their professional practice.
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Based on a literature review, this article discusses how the challenge of diminishing clothing production volumes has been approached within the field of sustainable fashion. We identify six common strategies in literature and discuss the approach of user involvement in the process of design and/or manufacture of garments in detail. A critical analysis of the state of the art in the field points out that these strategies have been constructed, studied and promoted without empirical validation. The article concludes with a recommendation to move forward from conceptual to empirical studies. Analyses of existing initiatives and their results in terms of consumer buying behavior and obsolete inventory are recommended as first steps towards validation.
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This teaching toolkit for critical materials research is developed for educators in higher design and arts education. It comes out of a 2-year project funded by the NRO Comenius Teaching Fellowship program at the Amsterdam University of Applied Sciences. The project invited a group of design educators and/or researchers to develop ways to help bachelor students explore making practices that center ecosystems rather than human systems. With this toolkit, we share our tried and tested activities, which take bio-based design materials and their unique properties as a point of departure, and offer hands-on activities to critically engage in sustainable material research.
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