collaborative design

Workshop 4: Alexandra Deschamps-Sonsino, ‘Creativity outside the boxes’

Alexandra Deschamps-Sonsino (CEO & Co-Founder Tinker.It, London) opened her presentation by introducing herself briefly. She explained to the participants that she runs a design studio based in London and Milan called!. Deschamps-Sonsino described! as a firm oriented on making interactive products, spaces and events that link the digital to the physical. She stated that she started this company with a man called Massimo Banzi. While a student at IDII in an interaction design program in Italy, Massimo Banzi developed a product called Arduino. Deschamps-Sonsino proceeded to explain that Arduino and following its creations will be the topic of her presentation.

Workshop 4: Daria Loi, ‘Of Playful Triggers and suitcases – field tales on the joys and dangers of experimental practise’

Daria Loi (Intel Corporation, USA) opened her presentation  by thanking the organizers for the invitation and emphasising the fact the she finds the workshop very exciting and intriguing. She continued in stating that her presentation will focus on experiences related to her PhD project, instead of talking about her current work for Intel. Loi proceeded to explain that her PhD thesis was exploring the role of design and designers in organizations and the notion of Playful Triggers was developed as a way to foster collaborative practises before undertaking co-design activities.

Workshop 4: Stuart Walker, ‘Experimental Objects – propositional designs for sustainable futures’

Stuart Walker (ImaginationLancaster, Lancaster University) opened his presentation by stating that he is interested in looking inside and re-conceptualizing the nature of our material culture in order to create more sustainable and meaningful (not just disposable, exploitative and damaging) approaches. Walker explained that propositional design is concerned with exploring the nature and aesthetics of functional objects in relation to sustainability and understandings of substantive meaning, where particular function is not a primary concern. He claimed that his take on sustainability orientates around economic viability, environmental care and social responsibility. Walker argued that as 90% of plastics and 90% electronics go to landfill, environmental issues of resource use, energy use, pollution and waste, as well as social issues of social inequity, exploitative labour practices and effects of use (value, meaning etc) are at the forefront of his interest as a designer. He also emphasised that approaching this topic through a historical perspective of pre-industrial and industrial stages, sustainable future is difficult to conceptualize.

Workshop 4: Lucy Suchman, 'Immeasurable Results'

Lucy Suchman (Centre for Science Studies/Sociology, Lancaster University) opened her presentation arguing that the experiment is one of those figures through which the natural sciences have stamped a large footprint upon our collective imaginary. Therefore, she proposed that she wants to approach the trope of ‘experimentality’ cautiously.  At the same time, having spent the first twenty years of  her working life in an organisation that identified itself as a technology research and development laboratory, its members (including Suchman) as scientists, and its objects as experimental, she is fascinated by the resonances through which such identifications are made.  Hence, Suchman argued that the challenge in thinking about the research and development laboratory through the trope of experimentality is one that attends any form of analogical thinking; that is, to be attentive to generative points of metaphorical and figurative connection, while avoiding too easy elision of differences that matter. 

Workshop 3: Neal White, ‘Experimentality. The Experimental Site’

Neal White (Office of Experiments and Media School, Bournemouth University)  works across media, and in no particular medium at all – creating projects with the Office of Experiments that develop collaborative, social and critical spaces using art methods and art materials. His work operates along the fine line between how art thinks and the effect that art has as a social practice. Neal White has been associated with 0+1, formerly APG, Artists' Placement Group, for several years. Maintaining that art has always pushed the boundaries of the possible in terms of models of social collaboration and networking, Neal White's work looks at how these models can engage with other kinds of knowledge producing structure. The Office of Experiments is a structure for experimental cultural practices. Their work is based on the need for new forms of cultural practice, forms of contemporary artistic production that draw on critical lessons of former experimental movements, artists, thinkers and structures - and that seeks to disentangle these modes and systems of approach from the value systems that underline mass media, financial systems and contemporary art markets.

Workshop 2: Jonathan Bird, Open-ended Research in the Wild

Jonathan Bird (Pervasive Interaction Lab, Open University) gave an overview of three projects which involved rapid prototyping novel technologies and testing them ‘in the wild’, rather than in a laboratory: a wearable tactile vision sensory substitution (TVSS) system; a participatory curation system for a film festival; and an interactive art installation for a music festival. Bird explained that the motivation for developing the TVSS was scientific whereas the two other projects had artistic goals. However, he argued, the development process in all three projects was very similar, suggesting that there is some common ground between art and science when they adopt an open-ended experimental approach. Bird consequently referred to the project ‘E-Sense’ ( which promotes speculative, interdisciplinary research, combining HCI, philosophy, computer science and psychology. He explained goals of the ‘E-Sense’ project in terms of building useful sensory augmentation devices and generating novel insights into sensory, bodily and cognitive extension.

Workshop 2: Karen Juers-Munby, Events between script and freedom: improvising with text in contemporary experimental performance

Karen Juers-Munby (LICA, Lancaster University) in her presentation focused on the eventness of experimental (postdramatic) performances. She argued that the phenomenon of the event often arises precisely through the openly exhibited tension between script and performance.  Juers-Munby explored some contemporary experimental performances that openly exhibit text in performance and in which text or script becomes an acknowledged ‘player’ in improvisation. Using the examples of ‘Forced Entertainment’ and Julia Barclay’s ‘Apocryphal Theatre’ she illuminated the issues of presence and identity in terms of presenting and dis/placing identity. Juers-Munby argued that this new aesthetic forms are not merely formal innovations but can also be seen as political aesthetics.   

Monika Buscher

Monika Buscher


Monika Buscher


Centre for Mobilities Research, Mobilities Lab, Lancaster University
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