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Ethics as Criterial for Design Practice

If design decisions are sensitive to interpersonal justification, they are ex hypothesi beholden to ethical criteria.

The goal of this post is to show that if I’m right so far, and our design decisions are sensitive to interpersonal criticism, then ethical considerations must be taken into account when we make them.

Two appeals

It’s a pretty straightforward fact about most design that it needs to meet two different sets of interpersonal requirements: First, a good design has to function as a successful appeal to its consumers (users), and second, it has to meet the standards and requirements of its benefactors (call these benefactors, for brevity, clients). Since, for most of us, most of our clients that don’t have some kind of de facto ethical status built-in (i.e. 501c3s, certain advocacy groups) are functionaries of their corporate stakeholders, the relevant set of values can only be those kinds of values that drive business success. In the case of almost any business I can think of, this boils down to making a successful appeal to consumers, and thus increasing profit. Since end users are the primary source of this profit, for the remainder of this thread, I’ll take it that the relevant appeal that a designed object has to make is to its end users.

I take this to mean that designed objects reflect a position (a stance) relative to the set of their possible users. Namely, they reflect a claim about the value of this object in the lives of these users: This product will make you fitter, happier, more productive, etc.

Losing it, by Amy Bennett
Losing it, by Amy Bennett

The contents of consumer appeal

Now, I’ve spent a lot of time on BlogLESS talking about what kinds of appeals (i.e. what kinds of persuasion, “This will make you happier!”) are effective. The point here, though, is that these appeals always take the form of giving reasons (even if those reasons aren’t good ones, in fact, even if they’re irrational). Since reasons are sensitive to interpersonal evaluation, they can be accepted or rejected. Now, unlike corporations, consumers are beholden to a huge plurality of values: beauty and usefulness are perhaps the most salient in design criticism.

Since I assume that this is for the most part uncontroversial, all that remains is to show that moral values must be taken — with, i.e. beauty and usefulness — to be considerations in the interpersonal evaluation of a design. I think I can do this fairly straightforwardly by example. These scenarios will be fairly extreme, but I think you’ll find as you think of your own that the point holds.

  1. Imagine that I design a new computer for children. Imagine that the programs I create for the computer are based on the best research in child learning, and that the computer is itself a beautiful, Apple-like object. Now imagine that when certain key combinations are entered, the computer produces a strong electrical shock. Let me stipulate that these shocks are meant to have pedagogical value, and that they hurt.
  2. Imagine that I design a new facility for a popular upscale restaurant in northern California. My concept is that patrons of the restaurant will take an elevator to a beautiful facility several hundred feet above the ground, nested in a majestic redwood tree. The view is magnificent, the interior and exterior are flawless. However, in order to do this, the restaurant will destroy the habitat for several indigenous species of animals.

In both of these cases, it is easy to imagine that the criteria of beauty and usefulness (educational or hedonistic value, respectively) are met, and even exceeded. I think that nonetheless, most of us would consider these design concepts to be seriously flawed. In the first case because we think that it is morally wrong to hurt children, and in the second case because we think that it is morally wrong to our trade small pleasures for the existence of populations or even species of non-human animals.

This, I suggest, is very strong evidence that design practice has an irreducibly ethical dimension, and so in order for a design to be successful in the relevant way, must account for certain ethical considerations.

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PaulAug 31, 2009
 

As it happens, I completely agree

Another little post to cap off a light week on BlogLESS.

Georgia is a completely underrated font

Via.

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PaulAug 28, 2009
 
Tagged with: Fonts, Georgia, Typography

Four Design Links: August 27, 2009

Four more Design Links this week. Same bat-time, same bat-channel.

1. Measuring the quality of visitors rather than the quantity

Marketing blogger Helge Tennø raises an interesting question: in the age of social media, what are we missing from our current web analytics?

Helge Tennø: Quality vs. Quantity'

It is easy to measure page views and sales, but that still leaves a lot of room in between. How do we track the number and activity of different user types that make online communities work? There’s no good answer yet, but it’s something to chew on.

2. Custom weapons for Lego minifigs

BrickArms Bandit - 'Mr. Gray'
WAY more menacing than your typical minifig.

If you ever thought your Lego creations were missing, say, a pulse-rifle or a fully-accessorized sniper rifle, BrickArms is the website for you.

3. Information is Beautiful

David McCandless: If Twitter Was 100 People

David McCandless has been on fire lately. In the past few weeks, I’ve seen many of his info viz creations in my feed, particularly the Twitter ones above.

His site, Information is Beautiful, features original work, criticism, and –what’s this?– datasets??? Bravo!

4. 2007′s Best Optical Illusion

Scientific American: Leaning Tower Illusion'
FREDERICK A A KINGDOM, ALI YOONESSI AND ELENA GHEORGHIU, McGill Vision Research
Dept. Ophthalmology, McGill University

I collect optical illusions, but this one was new to me. Very simple, but the effect is obvious.

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NickAug 27, 2009
 

Sol leWitt: A Wall Drawing Retrospective

Researching procedural art for an upcoming class, I ran into the Mass MoCA website for “Sol LeWitt: A Wall Drawing Retrospective”. Highly recommended.

Sol leWitt: A Wall Drawing Retrospective

The retrospective includes 105 career-spanning pieces, many of which are available to view on the website.

Sol leWitt: A Wall Drawing Retrospective, Wall Drawing 1042
Sol leWitt, Wall Drawing 1042. Still image from timelapse.

Several drawings feature timelapse clips revealing their construction process. (Those should be your first stop!)

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NickAug 26, 2009
 

Graveyard of Ideas

Jennifer Daniel is a prolific, witty, and talented illustrator who works for the New York Times. I even dig her gallery of rejections: Graveyard of Ideas.

Graveyard of Ideas
Check out that tombstone interface, too. Sweet.
rejected illustration for Vagabond Films
Jennifer Daniel, rejected illustration for Vagabond films.

Vagabond was a film and production company that wanted a more “worldly” look. Since they exclusively shot in America and South America- I created a new world for them.

I don’t think they “got” it. Also, maybe logos aren’t supposed to be sarcastic.

rejected illustrations for NYT: How Industries Survive Change.
Jennifer Daniel, rejected illustrations for NYT: How Industries Survive Change..
“How technologies evolve and how the businesses change with them”

There’s something about looking through designers’ rejected work and the stories behind it– the process, I guess– that I find really appealing. Kudos, Jennifer, for sharing.

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NickAug 25, 2009
 

Lily Lin – The Forgotten Kings

Lily Lin (aka. Love Affair Design) has a lot of neat illustrations. Her "Forgotten Kings" are some of my favorites.

I ran out of steam before I could get my big blog post for this week finished. By way of apology, please feast your eyes on these lovely images by Taiwanese born Canadian designer, Lily Lin.

The Forgotten Kings - Clubs, by Lily Lin
The Forgotten Kings – Clubs
The Forgotten Kings - Diamonds, by Lily Lin
The Forgotten Kings – Diamonds
The Forgotten Kings - Hearts, by Lily Lin
The Forgotten Kings – Hearts
The Forgotten Kings - Spades, by Lily Lin
The Forgotten Kings – Spades

Via.

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PaulAug 24, 2009
 
Tagged with: Apologies, Illustration

Didier Paquignon

I caught his exhibition this spring at the Musée de l'Orangerie and came away impressed.

Didier Paquignon: Detail of Etude pour Quatre Poulpes
The cover from Paquignon’s exhibition book. Detail of Etude pour Quatre Poulpes, 1998-2000
Didier Paquignon: Le Grand Rail
Le Grand Rail, 2004-2008
Didier Paquignon: Le Pirée
Le Pirée, 2003.

Paquignon’s scenes are stunning. His forms are representational (practically architectural) and yet the color and textures are exaggerated, almost abstract. Their mood, particularly in his urban pieces, seems melancholy to me. Really wonderful art.

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NickAug 21, 2009
 

Four Design Links: August 20, 2009

It's Thursday and that means four more Design Links are coming your way. It's our way of sharing the sites we've been reading this week, keeping you up to date on the latest design research, trends, and stories.

1. Far Foods

I caught James Reynolds’s Far Foods, an updated design for produce packaging, on Swissmiss. I think the boarding-pass styling might be too clever visually, but I very much like the idea of prominently displaying point-of-origin, distance traveled, and resulting CO2.

James Reynolds': Far Foods

Another criticism: how much CO2 is a lot? What’s the contribution of the package? The amount given seems like a whole truck’s worth. Since viewing the wonderful Asparagus: The Movie, I am concerned these days about local vs. global produce, but CO2 data continues to escape me…

2. The last post on how Twitter works — I promise

By this point, you’re probably saying: “enough with the Twitter links!” But if you or your clients (still) need to understand Twitter, look no further than these new posts: Kevin Marks’s well-referenced How Twitter works in theory and Michael Hyatt’s Answers to the Top 10 Twitter Objections.

3. DharmaTech

As we think about the future of Design Less Better, we’re scouring the web for inspiration and precedents to guide our visioning process. One example I came across is DharmaTech:

DharmaTech is a nonprofit technology firm that is motivated, above all, by our mission to help bring about lasting social change. To accomplish this, we provide affordable and appropriate technology solutions to nonprofits working to improve our communities in a variety of fields, including conservation, human rights, public safety, social services, and the arts. We endeavor to work with nonprofits with strong leadership and strategic vision, on projects that will have a high-impact – both to the organization and the community, as well as to DharmaTech.

We provide nonprofits nationwide with website and database development, custom software development, technology infrastructure, and strategic analysis and consulting.

Replace “technology” with “design” and that starts to sound pretty good to me. If you have any other good examples, please share in the comments.

4. The History (and possible future) of Times New Roman

The Financial Times has an article on the complicated lineage of one of the most widely recognized and used fonts the world over. As someone who recently had a conversion of sorts regarding Times (I used to hate it because it was the default font in so many programs; now I know why: it’s a good font), I found it fascinating.

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NickAug 20, 2009
 
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