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Illuminating History by Lily Díaz, 25.IX.2000

materials about a particular content (or subject matter) have been collected.9 4

As a

translator s/he brings out the essence of the content from within the confines of the individual and the discipline in which it is formulated, and into the public arenas of the digital network environment. In doing so, the designer promotes communication through a process of unconcealment.9 5This strategy can be adopted by the designer in the cases where the content is the product of diverse minds, using different methods, and working in diverse disciplines.

But the designer can also act as a specialist, working at a meta-level. This is because in the process of acquiring a grasp of the content s/he becomes cognisant of the inner workings of the content specialist community from the outside. S/he comes to apprehend its ontological dimensions. XXX(Expand.)

The model in Figure 2 is an effort to describe the notion of design as an activity, and some the culturally mediated components in it. As an active participant in the activity Designer/Actor engages in a series of actions that ultimately yield design products.

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The object of design is embedded in the imagined life. For design bespeaks of desire, wish and fantasy. "To have a design on something or someone suggests an insatiable want." 9 6

Design products can be physical and non-physical artefacts. They can also be processual in nature. While a small, portable, and stylish bottle opener is a designed physical artefact, a metaphor for a tool to be deployed in the immaterial virtual realm is an example of a designed non-physical artefact:

"The matter of design and invention can therefore take the form of a process which allows one to produce, variously, a given composite, a

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94. Krippendorf, K., "On the Essential Context of Artifacts", p., 174: "Designers create highly individualized patterns in the forms of drawings, sketches, models, descriptions of possible uses, specifications (of materials and production processes needed to enable others)...
95. Heidegger, M, XXX(Insert note here.)
96. Greenhalgh, P., "The History of Craft", p., 39.

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