Metadesign As an Emergent Design Culture

Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 THEORETICAL PERSPECTIVE Metadesign as an Emergent Design Culture

Elisa Giaccardi

ABSTRACT

The concept of metadesign was adopted in the 1980s very time the word metadesign is used, it causes of integrating systems and setting regarding the use of information E technologies in relation to art, even more confusion than the word design. The term seems actions in order to create environ- cultural theories and design vague, elusive. Semantically, the principal meaning of the ments in which people may culti- practices (from interactive art Greek word meta- when used as a prefix is “change of place, vate “creative conversations” and to biotechnological design). This order, or nature” [1]. Historically, since the 1960s, the term take control of the context of their article introduces theories and metadesign has been used to focus on the possibilities of “de- cultural and aesthetic production practices of metadesign and signing the design”—possibilities that later, in the 1980s, were (Fig. 1). contributes to the unfolding of metadesign as an emergent realized by using information technologies. In the last two Some years later, in his 1995 essay design culture, calling for an decades, the idea of metadesign has appeared as both a theo- “Networked Art and Virtual Com- expansion of the creative retical issue and an operational methodology; however, it has munities” [4], Derrick De Kerck- process in the new design always been an isolated concept, producing neither an estab- hove defined metadesign as a space engendered by information technologies. lished approach nor a coherent theory. The development of quality of the new art forms that the notion of metadesign can be categorized as critical and were emerging over the Web in its reflexive thinking about the boundaries and scope of design, early years. According to De Kerck- aimed at coping with the complexity of natural human inter- hove, metadesign is the kind of de- action made tangible by technology. Metadesign seeks to trans- sign that puts the tools rather than the object of design in the form this complexity into an opportunity for new forms of users’ hands, and defines the conditions for the process of in- creativity and sociability. This text aims at tracing the devel- teraction rather than the process itself. However, in subsequent opment of the notion of metadesign and the multiplicity of writings [5], De Kerckhove has addressed metadesign as a its definitions by offering a map of correlated concepts and es- model of design actually mediated by digital networks rather tablishing the foundations of metadesign as a distinct and than an emerging quality of design promoted by art experi- emergent design culture. mentation. As such, metadesign can be described as the design of tools, parameters and operating conditions that allow an infinite flexibility in tailoring the industrial product and METADESIGN IN ARTISTIC enable the end-user to take charge of the final design by choos- AND CULTURAL DEBATE ing among many different options. Within the artistic and cultural debate, the idea of metadesign In the same period, Paul Virilio expressed shock at Stelarc’s has primarily addressed the emergence of digital networks and techno-performances. In his book The Art of the Motor [6], pub- biotechnologies. Both represent alternatives to “juridical” lished in 1995, Virilio wrote that he feared the advent of a neu- models of communication, interaction and life—as embodied rological form of design directed at shaping our perceptual by mass media and moral law. and cognitive systems via information processing and further In 1986, at the time of the emergence of advanced tele- directed at reorganizing the organic according to a machinic communications and the first virtual communities, Gene model. He called the aftermath of this “technomorphization” Youngblood wrote “Metadesign: Toward a Postmodernism of of society “metadesign.” Reconstruction” for Ars Electronica [2]. Inspired by the pio- Biologist Humberto Maturana refuted the idea that such a neering work of Kit Galloway and Sherrie Rabinowitz [3], process of adaptation to electronic media can ever take place Youngblood defined metadesign as a strategy for instigating a in his emblematic 1997 paper “Metadesign” [7]. In this paper, revolution in the communication world and overcoming the Maturana argued that if a process of metadesign as design of broadcasting style of mass culture. As such, metadesign deals living systems does exist, this enlarges the issue of design to with the creation of context rather than content; it is a mode include the nature of our very existence, and it implies an epistemological and ethical rethinking of the relations between human beings and technology. He strongly disputed any Elisa Giaccardi (theorist, researcher, designer), Center for LifeLong Learning and Design deterministic understanding of biological evolution, and there- (L3D), University of Colorado, ECOT 717, 430 UCB, Boulder, CO 80309-0430, U.S.A. E-mail: . Web: . fore of “human design.” From Maturana’s perspective, metadesign is a dynamic work of art: It produces an aesthetic experience of the world that is intertwined with our social and Article Frontispiece. NOX, V2_Lab, 1998. (© NOX Architects) By technological present. Like art, metadesign has the potential means of their metadesign technique, NOX Architects adapt archi- to open up new relational dimensions and create a grounding tecture to evolution. Their architecture is an interface for a dynamic organization of space in which visitors act upon architectural struc- reality in the course of human history. tures that respond in real time to their needs. The social construction of reality is for Maturana—from a

Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 design perspective—an ethical impera- but crucial theoretical writings on meta- sign to participation and co-evolution. tive, as it is for Youngblood [8] and Gal- design—reflecting on the scope, bound- However, these concepts are often tied loway and Rabinowitz [9]. On this point, aries and qualities of the expanded together. Eugene Thacker, in a workshop paper, design space that is engendered by in- The idea of reflexive thinking about “Bioethics and Bio-ethics,” for the 2002 formation technologies—have found design has been commonly translated in conference “Towards Human Technolo- some conceptual frameworks and opera- the application field as the “design of a gies” [10], explicitly tackled the question tive methodologies in several application design process.” In graphic design and of biotechnological design and bioethics. domains. These ideas combine here with industrial design, in particular, metade- In this paper, Thacker tried to clarify that design theory and methodology with sign has primarily been connected to the even though metadesign is a kind of de- promising results. idea of working with computational sign that is not instrumental, but ethical, structures on a higher level of design it is nevertheless not based on a moral [11]. Because a computational object has ONCEPTUAL RAMEWORKS law. Metadesign must allow a social mode C F a discrete structure, parts of the object of existence that is flexible and based on AND PRACTICES OF can be easily accessed, modified and sub- mutual processes of affecting and being METADESIGN stituted by other parts; it is not fixed and affected rather than on a juridical model. The notion of metadesign has been ap- it can be generated and manipulated According to Thacker, metadesign repre- plied in many fields, including graphic without actually drawing it. In this con- sents a critical and creative investigation design, industrial design, information ar- text, metadesign can be associated with into the possibilities of transformation of chitecture and system design. These ap- the passage from traditional typography human beings and culture. plications have focused differently on the to interface design [12]. John Maeda The ideas expressed around the last concepts associated with metadesign, [13], in a series of short essays published decades of the 20th century by these few ranging from processes of high-order de- in Japan for MdN Magazine in 1995, men-

Fig. 1. Mobile Image, Electronic Cafe International, 1984. (© Kit Galloway and Sherrie Rabinowitz) An early example of a metadesign environment, ECI was a telecommunications system characterized as an accessible, ﬂexible and end-user-modiﬁable system that allowed users the greatest possible freedom to design and control their own information environments.

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Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 variations the result that better fits his or her needs and subjectivity (Fig. 4). Like De Kerckhove [16], Soddu empowers the user as consumer, making him or her proactive, but does not question the user’s passive role as designer. Evolution here is the result of the execution of a notation and its exploration, rather than the aftermath of the user’s full participation in the creative process. In this generative process model, the “seed” can be defined and modified only by the designer. In the last few years, two organizations have been working on frameworks and applications of metadesign: the Labo- ratory for Architecture and Urbanism (Lab[au]), a collective of artists, architects and computer scientists based in Brussels; and the Center for LifeLong Learning and Design (L3D) of the Uni- Fig. 2. John Maeda, reactive graphics, 1995. (© John Maeda) Maeda’s metadesign technique allows generation of visual experiences that involve the viewers in the creation of the form versity of Colorado at Boulder. These two by responding to their inputs in real time. organizations have developed research agendas that incorporate most of the aforementioned theoretical statements and operational methodologies. tioned the concept of metadesign in re- Soddu has addressed metadesign as the Lab[au] has adopted the term metade- lation to his idea of graphic design not design of an “artificial DNA” since 1989 sign with the objective of enacting a new as printed image but as “reactive” com- [15]. In his work, the objective is the de- discipline of information architecture puter programs (Fig. 2). In architec- sign of “species of design”: the designer [17]. For Lab[au], metadesign is a mat- ture, similarly, Lars Spuybroek promotes is the producer of an “executable idea” ter of the setting of codes that allow data metadesign techniques [14] as tools for (the generative code), and the consumer to be organized in spatial and temporal constructing dynamic spaces where peo- is the one who chooses one of its possi- forms—that is, a design process of a ple can unpredictably and creatively ble realizations. The creative process de- higher order. Participation and evolu- interact with their environment (Arti- fines a “seed” able to generate endless tion, however, are important. The inte- cle Frontispiece, Fig. 3 and Color Plate F variations recognizable as belonging to gration of user interaction over time is a No. 2). the same idea but open to change by the key element in the collective’s work, and Considering the capability of code to client. Thus, the final consumer will it represents an active component in define “transformation rules,” Celestino choose from this endless sequence of the structuring of information itself. Sim-

Fig. 3. NOX, V2_Lab, 1998. (© NOX Architects) Lars Spuybroek and colleagues progress seamlessly from a computer-generated process of forces, vectors and springs to the ﬂowing transition—for instance, between ﬂoor and tables—allowing people to interact with their environment in a more open and creative manner.

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Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 Fig. 4. Celestino Soddu, Generated architectures to increase the Hong Kong identity, 2002. (© Celestino Soddu) In this metaproject, a mayor can customize the “morphogenetic code” of evolution for his or her town and use it to control the future identity of the local environment.

ilar to Galloway and Rabinowitz [18], processes and techniques focused on cre- that some elements emerge as crucial: a Lab[au] focuses on the construction of ating socio-technical environments that focus on the design of general structures electronic spaces, viewing information empower users actively and collabora- and processes, rather than on fixed ob- not as content but as an environment in tively to engage with the original de- jects and contents; the need for methods which users’ perceptual and cognitive ca- signer(s) in the continuous development and techniques that are fluid, rather than pabilities can be expanded (Fig. 5). of a system and to design solutions that prescriptive (such as diagramming or At the Center for LifeLong Learning range from the creation of content to the seeding [22]); the call for environments and Design, however, metadesign seems modification of code (Fig. 6). The con- that can evolve; and the necessity of re- to have undergone a conceptual and op- ceptual framework developed at L3D relational settings that allow systems to be erational development that places it flects some important objectives shared based on a mutual and open process of in the context of current debate in de- with user-centered and participatory de- affecting and being affected. sign theory and methodology. Gerhard sign, but it transcends these objectives by Considering the current debate in de- Fischer and his colleagues, particularly changing the processes by which systems sign theory and methodology, we see that in the last few years [19], have consis- and content are designed. To Fischer and the contours of this map reveal a tently focused on metadesign. Concep- his colleagues, it is clear that existing de- thoughtful reflection on controversial de- tually, metadesign represents to them the sign frameworks and methodologies are sign issues, such as the problems of an- question of how to create new media and insufficient to cope with the emergent as- ticipation, participation and emergence environments that allow users, when pects of reality and to support creative [23]. Users’ needs and tasks, as well as sit- needed and desired, to act as designers practices [21]. uations and behaviors, cannot be fully an- and be creative. By providing users with ticipated at design time because they are social and technical support, the envi- ill-defined and change over time. There- NFOLDING ETADESIGN ronments designed at L3D are intended U M fore, users need to be engaged in the to sustain users as the actual “owners of AS AN EMERGENT DESIGN problem-framing/problem-solving pro- problems” [20]. Operationally, meta- CULTURE cess, both when the system is designed design is viewed at L3D as a design By tracing a conceptual map of metade- and when the system is used. Keeping the methodology characterized by activities, sign theories and applications, we can see system open to participation and evolu-

346 Giaccardi, Metadesign

Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 Fig. 5. Lab[au], i-Tube, 1999. (© Lab[au]) A metadesign environment, this project proposes a graphical user interface and a navigation system for on-line databanks based on cartographies that display information as a process-oriented and generative space. Information is transformed into membranes that are then folded into space according to user-deﬁned parameters and behaviors.

tion at use time is meant to join social and Art practice and cultural debate have significant and based on a similar call for technical systems, not only to make them been extremely active in promoting the expansion of human creativity. Some optimized and efficient, but also to let metadesign as a reflexive method of overlaps, in particular, are interesting new conditions, interactions and rela- thinking about and beyond design, and can be pointed out as further indi- tionships emerge. In this way—by sus- rather than as a new praxis of design cations of how metadesign actually ex- taining emergence and evolution—new [25]. The idea of metadesign developed presses the emergence of a new culture, forms of sociability and creativity can de- by Yevgeny N. Lazarev and colleagues somehow at the convergence of art and velop and innovation can be fostered. as a result of a reflection on the emerg- design. The idea of the interactive artist The focus of metadesign on the success- ing relationships among art, technology as a “systems designer,” for instance, elab- ful integration of methodologies of de- and science is another case. Concerned orated by Margot Lovejoy in her book sign by anticipation, participation and with an expansion of human creativity, Postmodern Currents: Art and Artists in the emergence translates into the identifica- Lazarev writes: Age of Electronic Media [27], recalls Gal- tion of a multidimensional design space loway and Rabinowitz’s [28] idea of [24]. The specific perspectives of metadesign the metadesigner as a “systems integra- are hard to define since it is quite a new Whereas operational similarities show phenomenon. But one can already see tor.” Even more interestingly, some ideas metadesign to be a consistent develop- an exceptional vitality in this trend, expressed by Roy Ascott in his article ment in design theory and methodology, whether it remains within the domain of “The A-Z of Interactive Arts” [29] recall the cultural path that metadesign theo- design or transforms into a phenomenon the operational methodology typical of of human creativity that has never ex- ries and applications reveal is not unidi- isted or been possible before [26]. metadesign: the idea of “seeding,” de- rectional. On one side, metadesign has fined as a way of designing that should re- been considered as a networked model The connections between metadesign, place top-down designing; the idea of a of design aimed at product refinement, telematic culture and interactive art are “non-trivial interactivity,” conceived as an personalization and mass customization. According to this approach, metadesign is conceived as a new praxis of design that does not question the role of the user in Fig. 6. L3D, The Seeding, Evolutionary Growth, and Reseeding (SER) Process Model. the process of production as consumer (© L3D, University of Colorado) This process model is applied to the metadesign environ- but rather empowers the user in this role. ments developed at L3D in order to integrate “design time” and “use time,” and to allow users to act as designers at different stages of the continuous development of a system. This development relies on operational assumptions about metadesign, but it does not fully achieve its potential as a new design culture. On the other side, and more interestingly, metadesign has been conceived as co-creation: a shared design endeavor aimed at sustaining emergence, evolution and adaptation. According to this development, the operational terms and potential of designing at a higher-order level must be joined to a more reflexive and collaborative practice of design.

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Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 open-ended and infinite interactivity 6. Paul Virilio, The Art of the Motor, Julie Rose, trans. 23. For a more detailed description of the design is- capable of accommodating always-new (Minneapolis, MN: University of Minnesota Press, sues raised by metadesign, see Elisa Giaccardi, Prin- 1995). ciples of Metadesign: Processes and Levels of Co-Creation variables; and the idea of “open-ended in the New Design Space, Ph.D. diss. (Plymouth, U.K.: systems” (OES), in which interaction 7. Available at . takes place within networked and evolv- 24. For a more detailed description of the design ing systems that put the user or the envi- 8. Youngblood [2]. space entailed by metadesign, see Giaccardi [23]. ronment in control of the interaction 9. See [3]. 25. Here, “reflexive” is used to indicate not only the itself. critical attitude of reflecting upon oneself, but also 10. Eugene Thacker, “Bioethics and Bio-ethics,” in the process of transformation that such a behavior Towards Human Technologies Conference (Brisbane, Aus- involves. tralia: University of Queensland, 2002) ; 26. Yevgeny N. Lazarev, “The Art of Metadesign,” ART OR A WORK OF SCIENCE? see also Eugene Thacker, Biomedia (Minneapolis, Leonardo 27, No. 5, 423–425 (1994) p. 425. MN: University of Minnesota Press, 2004). This paper introduces and promotes 27. Margot Lovejoy, Postmodern Currents: Art and 11. In industrial design, for instance, metadesign is Artists in the Age of Electronic Media, 2nd Ed. (Upper metadesign not simply as a new design primarily used to mean the construction of a tem- Saddle River, NJ: Prentice Hall, 1997). methodology, but as a cultural develop- plate that makes a product “that thing” without ac- ment exploring the new design space en- tually designing it. 28. See [3]. gendered by information technologies 12. I owe this consideration to Lev Manovich, with 29. Roy Ascott, “The A-Z of Interactive Arts,” Leonardo and ultimately concerned with expand- whom I had a short e-mail correspondence on the Electronic Almanac 3, No. 9 (September 1995), relationships between metadesign and interface de- . and invention of the world. 13. See . 30. Herbert A. Simon, The Sciences and the Artificial Metadesign represents a cultural shift (Cambridge, MA: MIT Press, 1969). from design as “planning” to design as 14. See in particular Lars Spuybroek and Cho Im Sik, “Diagramming: Lars Spuybroek Interviewed by Cho 31. Here I mean “making” in general—that is, any “seeding.” By promoting collaborative Im Sik,” in R.S. Vasudevan et al., eds., Sarai Reader human activity where some kind of production is im- and transformational practices of design 02: The Cities of Everyday Life (Delhi, India: Sarai— plied. The New Media Initiative; Amsterdam, The Nether- that can support new modes of human 32. lands: Society for Old and New Media, 2002) pp. Richard Buchanan and Victor Margolin, eds., Dis- interaction and sustain an expansion of 243–248. covering Design: Explorations in Design Studies (Chicago, the creative process, metadesign is de- IL: University of Chicago Press, 1995). 15. Soddu first adopted the term metadesign in his 33. Herbert A. Simon, The Sciences and the Artificial, veloping toward new ways of under- book Città Aleatorie (Milan, Italy: Masson Editore, 3rd Rev. Version (Cambridge, MA: MIT Press, 1996). standing and planning with the goal of 1989). Later, he started to substitute the term argenic producing more open and evolving sys- design for metadesign. The Generative Art conference, which he has organized annually since 1998, gathers tems of interaction. Metadesign can be artists and designers who adopt and question metade- Glossary seen not only as a design approach in- sign from a generative perspective; see . and sharing intelligent and meaningful activities, expressed by a socio-technical environment conceptu- 16. for the development of interactive media See De Kerckhove [4] and [5]. alized as a complex system. and environments but also as a form of 17. See in particular Lab[au], “MetaDeSign: The Set- co-evolution—the evolution of a socio-technical en- cultural strategy informing and integrat- ting of a Discipline,” in l’ARCA, No. 178 (February vironment conceived as a living entity, by which ing different domains. Rather than a new 2003) pp. 2–5. See also . changes of each participant in the interaction process (either the software or the human subjects, variously model of design, metadesign represents a 18. See [3]. organized) influence the evolution of the other par- constructive mode of design: an en- 19. See in particular Gerhard Fischer and Elisa Gi- ticipants. In metadesign, co-evolution can occur by hancement of the creative process at the accardi, “Meta-Design: A Framework for the Future either gradual or disruptive adaptation. convergence of “art” and “science.” of End User Development,” in H. Lieberman et al., design—generally conceived as the conception and eds., End User Development: Empowering People to Flex- planning of the artificial (or the invented) as a nor- ibly Employ Advanced Information and Communication mative form of science (“how things ought to be”) Acknowledgments Technology (Dordrecht, The Netherlands: Kluwer Aca- in contrast to natural sciences (“how things are”) demic Publishers, in press). The author wishes to thank (in alphabetical order): [30]. Design is better defined today as an inquiry and experimentation in the activity of “making” [31]. Manuel Abendroth, Ernesto Arias, Marco Brizzi, Hal 20. For an understanding of the set of concerns sur- That is, design is a humanistic enterprise in which Eden, Gerhard Fischer, Kit Galloway, John Maeda, rounding the development of a metadesign frame- the subject matter is not fixed [32] and is meant Anders Mörch, NOX, Jonathan Ostwald, Sherrie Ra- work at L3D, see in particular Gerhard Fischer, to allow us to envision possibilities and elaborate binowitz, Celestino Soddu, Yunwen Ye and the re- “Social Creativity, Symmetry of Ignorance and Meta- them (“how things might be”) in order to enable viewers. Design,” in Linda Candy and Ernest Edmonds, eds., people to experience the world in more and richer Proceedings of the Third Conference on Creativity & Cog- ways [33]. nition (New York, NY: ACM Press, 1999) pp. 116–123; References and Notes see also Ernesto Arias et al., “Transcending the In- emergence—the stage of metadesign in which plan- dividual Human Mind: Creating Shared Under- ning is superseded by participation and the open 1. See terms such as metalinguistics and metadata, but standing through Collaborative Design,” in J. Carroll, processes of co-evolution and co-creation. The pro- also metamorphosis. ed., Human Computer Interaction in the New Millennium motion of tacit knowledge and situated action—and 2. Gene Youngblood, “Metadesign: Toward a Post- (New York, NY: ACM Press; Boston, MA: Addison- consequently new forms of creativity and sociabil- modernism of Reconstruction,” in Ars Electronica Cat- Wesley, 2001) pp. 347–372. ity—is crucial at this stage. alog (Linz, Austria: Linzer Veranstaltungsgesellschaft, 21. See Elisa Giaccardi and Gerhard Fischer, “Cre- evolutionary design—evolutionary design can be ei- 1986), . the Sixth International Conference of the European either the absolute autonomy of the software or the 3. See . Academy of Design (EAD06) on Design, System, Evo- human guidance of the process; the further devel- lution (Bremen, Germany: University of the Arts, opment of an initial “seed” (or a structure created by 4. Derrick De Kerckhove, “Networked Art and Vir- 29–31 March 2005). the seed) to adapt it to needs that were not accounted tual Communities,” in Claude Faure et al., eds., Ars- for in the original design. It aims at the best possible lab: I Sensi del Virtuale (Milan, Italy: Fabbri Editore, 22. From a metadesign perspective, seeding is a par- solutions through cycles of either parameterization 1995) pp. 103–110. ticipatory and evolutionary technique that allows the or exploration. modification of a system and its adaptation to users’ 5. See in particular Derrick De Kerckhove, Connected emerging needs. The SER Process Model (Fig. 6) ar- generative design—the design of a piece of software Intelligence: The Arrival of the Web Society (Toronto, On- ticulates this technique in three different stages (“seed”) capable of autonomously generating design tario: Somerville House, 1997). (Seeding, Evolutionary Growth, Reseeding). proposals by notation and execution. It allows the

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Downloaded from http://direct.mit.edu/leon/article-pdf/38/4/342/1572995/0024094054762098.pdf by guest on 27 September 2021 generation of endless variations recognizable as be- Manuscript received 7 June 2004. teraction design, media arts and cultural longing to the same designer. management. She has lectured and published Elisa Giaccardi has a background that brings on several occasions and she is a member of metadesign—conceived as the design of a “metaproject,” metadesign shares with generative and evolu- together humanities, media and design. An editorial boards and committees for MIT Press, tionary design the focus on the design of initial abstract of her doctoral dissertation is avail- ACM and The European Journal of Higher conditions or “seeds.” In this sense, it methodolog- able on LABS at: . She is currently a Research As- in the convergence of communication tech- design. However, metadesign transcends them by in- corporating the principles of participation and emer- sociate at the Center for LifeLong Learning nologies and the humanities was awarded the gence and by changing the way in which systems and and Design (L3D), University of Colorado at European grant “Ideas for the Future” by Fon- content are designed (see co-evolution and co-creation). Boulder. In her work, Giaccardi combines in- dazione Eni Enrico Mattei in 2001.

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