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Illuminating History by Lily Díaz, 25.IX.2000

"What do I need to know?", "Who knows about this?" Transverse knowledge enables the establishing of "new channels of communication between different areas and with

different technical world, languages, and dialects."92

From a research perspective, in

this approach the designer acts as a leader, guiding the inquiry through a series of contacts and communicative exchanges. As opposed to a monological approach that seeks to discover a single logic, it could be argued that transverse knowledge is a type of second degree understanding in which the designer strives to apprehend how different users understand the artefacts around them.9 3In design, motivation and second degree understanding are closely related concepts.

3) IMAGE imgs/index53.gif only to understand, but also to outline the scope and reach of a potential product. Figure 5, for example, shows the application of a classification system to a Ecology of Products for the Culture Heritage Industry. In addition to traditional classification methods, designers also make use of metaphoric devices to create idealised cognitive models. XXX(Cite example.) XXX(Insert Figure and paragraphs that describe.)

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Like the artist, designers also operate in the realm of discourses. These discourses develop in a context such as, for example, a Client/Market relationship and Information Society. For example, a designer may be asked to create the presentation materials for tourists visiting a cultural heritage site. The choice of media, format, and contents of such presentation will influence the experience that visitors have of the site. If the site is one in which issues regarding ethnic or religious identity converge, political and ideological factors might play a role in how the presentation of such materials is to be configured.

Designers also work as members of a team in an interdisciplinary project. For example, in information design of digital network environments, such as the World Wide Web (WWW), the designer might work as a translator. In this capacity s/he uses tools and methods to ensure that a proper cognitive entrance is afforded to the audience for whom

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92. Manzini, E., The Matter of Invention, p., 54. 93. Krippendorf, K. ed., "New Design Principles", p., 31.