Revolution Lullabye

March 29, 2009

Cope and Kalantzis, Designs for Social Futures

Cope, Bill and Mary Kalantzis. “Designs for Social Futures.” In Multiliteracies. Eds. Cope and Kalantzis. London: Routledge, 2000. 203-234.

Cope and Kalantzis foreground three important concepts or ideas in literacy pedagogy: 1. that literacy is a matter of design that depends on the exercise of human agency 2. that all literacy is multimodal and increasingly nonlinear due to digital 21st century technology and 3. that no one literacy is better than another; the many discourses and identities of cultures and subcultures  necessitate dialogues in literacy learning instead of dogma. Inherent in any act of designing are both the concepts of a unique individual voice and hybridity (synthesizing of many identities, discourses, and experiences), both concepts that are grounded in agency. They use an example of translating the Bible into an Austrailian Aboriginal language to showcase that naive multiculturalism, a multiculturalism that believes in simple translation without cultural or political ramifications, cannot take into account the effects of globalization on local cultural and subcultural diversity. Globalization and digital technology have simultaneously created spaces for countless small subcutlures but in that fragmentation, there is no common culture and in the “common” global culture left, there is no regional cultural distinctions.

Quotable Quotes

“There is just so much to draw from in the breadth and subltety of Available Designs that every Designing re-creates the world afresh” (205).

“Design is a process in which the individual and culture are inseparable.” (203).

“Culture is no more and no less than the accumulated and continuing expression of agency; of Designing” (203).

Notable Notes

the paradox of digital media – it is cheap and universal and gives space to small subcultures and groups, but it has created dromospheric pollution (no sense of distance between places – Virilio 1997), a sense of transitory and immediate culture, no distinction between virtual and real, fragmentation and loss of common culture, and does not take into account issues of access/bandwidths/disabilities

communication has always been interactive – not just a digital phenomenon

culture, meaning-making must always be shifting and changing – dynamic – because literacies and cultures are never static

three levels of designs – lifeworld (everyday lives, function); transcendental (analysis, reflection, depth, larger scope); universals (human nature, breadth, cross-cultural)

good chart 212-216 about five dimensions and modes of meaning


January 10, 2009

Shedroff, Experience Design

Shedroff, Nathan. Experience Design 1. Indianapolis, IN: New Riders Press, 2001.

Experience design seeks out the common elements that make “superior” experiences, those that are successful and memorable. Shedroff includes all experiences in his analysis, both online and off-line, and his goal is to define principles of good experiences so that they can be consciously reproduced. Experiences are contained by their boundaries and usually consist of three major phases: attraction, engagement, and conclusion. The principles Shedroff discovers by evaluating and analyzing superior experiences (those he deems superior) connect to all three of those phases and include attributes like consistency, usability, interactivity, feedback, control, creativity, adaptivity, and community and identity creation. These types of good experiences have developed cognitive models, which is a structure based on how the designer predicts how the audience might understand the information, find meaning in it, and remember it. Shedroff also argues that good design is derived from insight, which is created by thoughtful, contextual structured information, developed along a continuum of information, stretching from pure data (which has no context), to context-driven, organized information, to generalized knowledge, to personalized, non-transmittable wisdom.

Quotable Quotes

“The elements that contribute to superior experiences are knowable and reproducible, which can make them designable” (2).

“[Seduction] has always been a part of design” (8)

“Information is really data transformed into something more valuable by building context around it so that it becomes understandable” (34) and “Information is data put in context with thought given to its organization and presentation” (42).

“The path to wisdom is not even open until we approach understanding with an openness and tolerance for ambiguity” (54).

“The most important aspect of any design is how it is understood in the minds of the audience” (cognitive model) (60).

Notable Notes

Experiences must “compete for the attention of the audience and partcipants” – novelty isn’t enough to keep a person interested for long. Compare with Lanham The Economy of Attention. (4) “Successful digital media are those that offer experiences unique to their medium and complete with traditional media in usefulness and satisfaction” (4)

Look at experiences throughout history to inform the design of present and future things (23)

Important experiences include birth, death, and the takeaway moments – those important experiences that you take away with you as you die as your lasting memories of Earth (rarely have anything to do with modern digital technology)

Information overload is really information anxiety – there is too much information out there as just data, no context or insight to put it into perspective or communication with others (34)

Ways to organize data (only 7) – magnitude, time, numbers, alphabet, category, location, randomness. Many presentation possibilities for the same data (example of the periodic table of the elements.) (66)

There is a need for multiplicity for different learning styles, redundancy, different levels of understanding and meaning (example of Vietnam memorial in DC), navigation routes.

Clear navigation and cognitive models are key in design.

Important design considerations: consistency, usability (learnability and functionality), design must create meaning, interactivity (audience are participants), feedback (audiences know that their participation matters), control (audience has control over experience – or thinks they do), creativity (people feel valuable, satisfied when asked to be creative), productivity (usefulness), adaptivity (customized, personalized), community membership, authentic identity formation, storytelling, narrative, perspective and point-of-view.

Sensorial design (276) – smell, taste, touch, sound, sight

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