For a recovery of a discourse on the method of Luca Galli
said ...
time ago, during a conversation, we wondered how anyone could imagine a course of the project methodology. The students of media courses and have already had many opportunities for training on the specific methods and practices of the disciplines that make up this universe, from animation director, the sound design and graphics. When you submit, however, an opportunity to reflect on what is the method or the project in general?
The question may seem pointless, like many others who find themselves in the tradition of philosophy. Yet it is questions such as these that the community has returned to the same design in studies that go under the title of "design research", or more specifically those in epistemology or theory of the project. This discussion has crossed or overlapped with those born from the context of interaction design, industrial design, architecture, design systems, but also the science of organizations and management. Some of these areas may seem distant from those of the media, or perhaps by others that are typical of a school of design and visual arts. However, if one assumes the perspective of the creative industries as a whole, and this environment as one in which professionals move in training today, things look differently. "Think of the project," or in more prosaic terms, discuss and reflect on the nature and form of the method and the project then becomes important. On the one hand it is to understand the method and the design process in order to seize more power of the individual methods and practical contexts in which they apply. In this sense it is looking for a greater capacity to act. On the other hand it is to stimulate awareness of their role and their own professional identity (or social) in the box or in the clash with others - customers, employees, leaders, critics and the public.
Ultimately, it is to discuss and implement some basic ideas on the project as an organized form of creative work, particularly in relation to production-oriented environments and contexts. These ideas or elements to include the collaborative nature of the project, the systemic character of its objects (belonging to diverse but interrelated dimensions: physical, symbolic, social, etc.), the importance and the nature of approaches and methodologies that give structure to the activity, but also the most problematic and open as those concerning the scope of ethical and aesthetic values.
The results that we have collected encourage to move forward. Certainly for teaching, but partly also for cultural reasons: a course on how to "think the project ends up living under one discussion and the outcome is not discounted.
Luca Galli, prof. Project philosophy of the School of Media Design NABA
time ago, during a conversation, we wondered how anyone could imagine a course of the project methodology. The students of media courses and have already had many opportunities for training on the specific methods and practices of the disciplines that make up this universe, from animation director, the sound design and graphics.
When you submit, however, an opportunity to reflect on what is the method or the project in general?
The question may seem pointless, like many others who find themselves in the tradition of philosophy. Yet it is questions such as these that the community has returned to the same design in studies that go under the title of "design research", or more specifically those in epistemology or theory of the project. This discussion has crossed or overlapped with those born from the context of interaction design, industrial design, architecture, design systems, but also the science of organizations and management.
Some of these areas may seem distant from those of the media, or perhaps by others that are typical of a school of design and visual arts. However, if one assumes the perspective of the creative industries as a whole, and this environment as one in which professionals move in training today, things look differently.
"Think of the project," or in more prosaic terms, discuss and reflect on the nature and form of the method and the project then becomes important. On the one hand it is to understand the method and the design process in order to seize more power of the individual methods and practical contexts in which they apply. In this sense it is looking for a greater capacity to act. On the other hand it is to stimulate awareness of their role and their own professional identity (or social) in the box or in the clash with others - customers, employees, leaders, critics and the public.
From this point of view we believe it is useful to look at the history of the project as a practice and discipline, with a look as broad as possible, radical and open.
I are certainly many ways to do it. What we have experienced, and we continue to develop, is largely indebted to the work of John Chris Jones. His "Design Methods" (released in the first edition in 1970 and then reprinted and translated - but never in Italian - in various editions over the next twenty years) combines a review of methods with a seminal reading of the evolution of the project from the world of objects in the system, sketching the lines of what scholars have more recently recognized as a true "design philosophy" (to quote the title of a Another paper, in this case of Vilém Flusser, available in Italian).
Moreover, the questions about the nature of design that is so typical of Jones, even in the original forms of dialogue and representation, has given us the right questions as we travel those same footsteps, sometimes very remote parts of philosophy. Re-reading Descartes and his "Discourse on Method" becomes an almost essential premise - if only to capture in a different light twentieth-century criticism on scientific methods and perhaps the idea that design can proceed through razioanali or scientific methods (or is it exclusively).
The same could be said for other areas such as the complexity (where the Triennale di Milano has recently dedicated a workshop).
Ultimately, it is to discuss and implement some basic ideas on the project as an organized form of creative work, particularly in relation to production-oriented environments and contexts.
These ideas or elements to include the collaborative nature of the project, the systemic character of its objects (belonging to diverse but interrelated dimensions: physical, symbolic, social, etc.), the importance and the nature of approaches and methodologies that give structure to the activity, but also the most problematic and open as those concerning the scope of ethical and aesthetic values.
The results that we have collected encourage to move forward. Certainly for teaching, but partly also for cultural reasons: a course on how to "think the project ends up living under one discussion and the outcome is not discounted.