On Design Thinking An Essay by Maggie Gram www.nplusonemag.com Design means something even broader now. Sometime around World War II, it came to mean making things that “solve problems.” With the influence of mid-century global social movements and the rise of digital technology, it began to mean making things that are “human-centered.” And as of recently, design doesn’t have to involve making things at all. It can just mean a way of thinking. Of all these developments, the idea of design as a broadly applicable way of thinking—the idea of “design thinking”—may end up being the most influential…At Stanford’s d.school, as cofounder Robert Sutton has said, “design thinking” is often treated “more like a religion than a set of practices for sparking creativity.” Was Design Thinking Designed Not to Work?Undoing the Toxic Dogmatism of Digital DesignSermon for WIAD Bristol 2021 designux
A fresh focus of power The demand for “originality”—with the implication that the reminiscence of other writers is a sin against originality and a defect in the work—is a recent one and would have seemed quite ludicrous to poets of the Augustan Age, or of Shakespeare’s time. The traditional view is that each new work should be a fresh focus of power through which former streams of beauty, emotion, and reflection are directed. This view is adopted, and perhaps carried to excess, by writers like T. S. Eliot, some of whose poems are a close web of quotations and adaptations, chosen for their associative value, or like James Joyce, who makes great use of the associative value of sounds and syllables. Dorothy Sayers, The Mind of the Maker On TheftThe signature novelty