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Illuminating History by Lily Díaz, 25.IX.2000

being that the teacher had to be familiar with the intuitive process, which is indeed inherent in the art practice"74and on his vision of the designer as an ethically motivated, involved being who is aware of his/her social obligations. 75XXX(This section needs to be more specific.)

Similar in its emphasis on the connection to science, but differing in its proposed contents and pedagogy was Herbert Simon's formulation of design as a science of the artificial. The ontological premises for the science of design, as outlined by Simon in the late 1960's stem out of a definition of the artificial as synthetic things that, according to Simon, while imitating in appearance things from the natural realm, lacked the reality of the latter. Furthermore, the artificial could also be distinguished by its emphasis on function, goals and adaptation Thus "when artificial things are discussed, they are often referred to in terms of imperatives, as well as descriptives." 76Design, as grounded on the premises defined by Simon, is not concerned with how things are, but rather, how they oughtto be.

Herbert Simon's proposal divided the scope of the discipline four major categories that comprise evaluation, heuristics, theory of structure and organisation, as well as representation of design problems. With the exception of the latter category of representation of design problems, these were all heavily informed by systems theory, as well as computational and statistic methods. In retrospect, this is also the only area where there seemed to be an aperture for collaboration with other non-scientific disciplines. It is interesting to note Simon's remark that, even though the importance of this topic had been noted, the scientific community was "still far from a systematic theory of representation"7 7

Simon's articulation of "design as an adaptation of the natural world to human goals"7 8

bears some similarities with Mohology-Nagy's earlier emphasis on the relevance of

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