This chapter contains sections titled: General Characterization A Design The Design Process Rationality and Creativity in Engineering Design References and Further Reading.

In engineering design research different models of functional decomposition are advanced side-by-side. In this paper I explain and validate this co-existence of models in terms of the Kuhnian thesis of methodological incommensurability. I advance this analysis in terms of the thesis’ construal of (non-algorithmic) theory choice in terms of values, expanding this notion to the engineering domain. I further argue that the (by some) implicated threat of the thesis to rational theory choice has no force in the (...) functional decomposition case: co-existence of different models of functional decomposition is rational from an instrumental point of view. My explanation covers cases in which different models are advanced as means for the same objective. Such cases cannot be explicated with the explanatory construct of variety in objectives, as advanced in other analyses of co-existing conceptualizations in engineering. (shrink)

The concept of technical function is a key concept to describe technical artifacts and artifacts-to-be-designed. Engineers often give such descriptions in terms of functional decomposition models, which represent relationships between functions and sets of other functions. Despite the importance of the concept of function there is no consensus among engineers about its meaning. Models of functional decomposition are likewise conceptually divergent. Although this conceptual diversity hampers information exchange between engineers, they accept and maintain it. Engineers do not, by and large, (...) engage in a focused debate to establish commonly shared functional conceptualizations. This contrasts with science where both debates on the adequacy of key conceptualizations and convergence toward shared conceptualizations are common. This book investigates the side-by-side usage of different functional decomposition models in engineering. It explains this phenomenon by applying and extending the analysis of theory choice in terms of methodological incommensurability to engineering functional decomposition, rather than to science. This analysis shows that engineers’ usage of competing functional decomposition models is rational from a practical point of view. This book furthermore investigates the communication problems that the side-by-side usage of different models engenders and presents a strategy that supports the exchange and re-use of functional information between engineers. (shrink)

Research on innovation often highlights analogies from sources outside the current problem domain as a major source of novel concepts; however, the mechanisms underlying this relationship are not well understood. We analyzed the temporal interplay between far analogy use and creative concept generation in a professional design team's brainstorming conversations, investigating the hypothesis that far analogies lead directly to very novel concepts via large steps in conceptual spaces . Surprisingly, we found that concepts were more similar to their preceding (...) concepts after far analogy use compared to baseline situations . Yet far analogies increased the team's concept generation rate compared to baseline conditions. Overall, these results challenge the view that far analogies primarily lead to novel concepts via jumps in conceptual spaces and suggest alternative pathways from far analogies to novel concepts. (shrink)

In this essay several virtues are discussed that are needed in people who work in participatory design (PD). The term PD is used here to refer specifically to an approach in designing information systems with its roots in Scandinavia in the 1970s and 1980s. Through the lens of virtue ethics and based on key texts in PD, the virtues of cooperation, curiosity, creativity, empowerment and reflexivity are discussed. Cooperation helps people in PD projects to engage in cooperative curiosity (...) and cooperative creativity. Curiosity helps them to empathize with others and their experiences, and to engage in joint learning. Creativity helps them to envision, try out and materialize ideas, and to jointly create new products and services. Empowerment helps them to share power and to enable other people to flourish. Moreover, reflexivity helps them to perceive and to modify their own thoughts, feelings and actions. In the spirit of virtue ethics—which focuses on specific people in concrete situations—several examples from one PD project are provided. Virtue ethics is likely to appeal to people in PD projects because it is practice-oriented, provides room for exploration and experimentation, and promotes professional and personal development. In closing, some ideas for practical application, for education and for further research are discussed. (shrink)

The presence of intelligence and rationality in Artificial Intelligence and the Internet requires a new context of analysis in which Herbert Simon’s approach to the sciences of the artificial is surpassed in order to grasp the role of information in our contemporary setting. This new framework requires taking into account some relevant aspects. In the historical endeavor of building up AI and the Internet, minds and machines have interacted over the years and in many ways through the interrelation between (...) scientific creativity and technological innovation. Philosophically, minds and machines can have epistemological, methodological and ontological differences, which are based on the distinct configuration of human intelligence and artificial intelligence. Their comparison with rationality and its various forms is particularly relevant. Scientifically, AI and the Internet belong to the sciences of the artificial, because they work on designs that search for specific aims, following selected processes in order to achieve expected results. Technologically, AI and the Internet require the support of information and communication technologies. These have an instrumental role regarding the existence of AI and the Internet. Also ICT shape their diverse forms of configuration over the years.Within this framework, this paper offers a new context of analysis that goes beyond Simon’s and follows four main steps: the interaction between scientific creativity and technological innovation as the philosophico-methodological setting for Artificial Intelligence and the Internet; artificial intelligence and human intelligence as epistemological basis for machines and minds, where the differences between artificial intelligence and human intelligence are made explicit and the analysis of minds and machines is made from the perspective of rationality ; intention and its difference with design of machine learning are considered to distinguish human intelligence from artificial intelligence; and the internal and external aspects of artificial designs in contemporary society are considered through the perspective of rationality, which leads to the transition from intelligence to rationality in the Internet as well as to the historicity of information. (shrink)

This paper introduces the basic principle and application process of simulated annealing algorithm and improves the simulated annealing algorithm so that it can converge faster to get the new parameters of cultural and creative product design and make it more in line with the reality of engineering optimization. In the cultural creative industry, it is necessary to use the creatorʼs creativity and technology to derive and develop the original cultural resources with the help of various materialization means, (...) to refine the abstract and profound contents of cultural resources to make them more visualized, and to produce products with both spiritual and economic values through the multiple development and utilization of their intellectual property contents. By studying the feasibility analysis of the cultural and creative design, the design positioning of the cultural and creative products is determined. In this article, we use the simulated annealing method to simulate and analyse the condition values in the design process of cultural creative products. As the Internet era progresses, people have more diversified requirements for cultural and creative products, and they need to have innovative ideas to follow the trend, so the design of cultural and creative products can spread culture through different design expressions and media. As one of the important pillar industries for future development, cultural and creative products are characterized by a wide range of styles and practicality, which meet the aesthetic needs and fashion trends of modern people. (shrink)

Creativity is an essential factor in ensuring the sustainable development of a society. Improving students’ creativity has gained much attention in education, especially in Science, Technology, Engineering, Arts, and Mathematics education. In a quasi-experimental design, this study examines the effectiveness of a project-based STEAM program on the development of creativity in Chinese elementary school science education. We selected two fourth-graders classes. One received a project-based STEAM program, and the other received a conventional science teaching over (...) 6 weeks. Students’ creativity was assessed before and after the intervention using a multi-method approach, including a test of divergent thinking, a story completion through the Consensus Assessment Technique, a creative self-efficacy measure, and a group-based creative project. Moreover, all students received a test of their science knowledge after the intervention. The results showed that compared with the control group, the creativity of the experimental group students improved significantly for 6 weeks at both individual and group level, even though their knowledge in science were comparable. This result confirmed the effectiveness of a project-based STEAM educational program improving elementary school students’ creativity. Implications are discussed. (shrink)

The nature of creative engagement with computers and software presents a number of challenges to 4E cognition and requires the development of analytical frameworks that can encompass cognitive processes as they extend across material and informational realms. Here I argue that an enactive view of mind allows for better understanding of digital practice by advancing a dynamic, transactional, and affective framework for the analysis of computational design. This enactive framework is in part developed through the Material Engagement Theory put (...) forward by Lambros Malafouris, in part from the phenomenologically inspired philosophy of Bernard Stiegler. Both advance temporality, technics and technique as key to understanding human creative imagination and their work can support each other in different ways; Stiegler allows for a theorisation of digital tools largely missing from the cognitive archaeology of Malafouris, whilst Malafouris provides a cognitive theory to further develop key ideas in Stiegler’s philosophy. Bringing their work together through Gilbert Simondon’s theory of individuation, I develop the concept of enactive individuation and apply this to the analysis of a case of robotic design and fabrication from my fieldwork with digital architects and engineers. This case allows for further exploration of how enactivism might productively be extended into the digital realm by underscoring the explorative engagement at heart of even highly systematic work with computers and software. (shrink)

Design is a conceptive activity which is usually presented as a sensible, sequential process and action. This book claims that design cannot be reduced to the rational, effective planning and organization that most models (such as design thinking) present. The author suggests another type of rationality which is based on what the humanities call aesthetics, writing, composition, and style: a rationality based in imaginary elaboration and coherence. The chapters, therefore, demonstrate that design practice is (...) about creating not only functional tools, but planes of reflections that challenge norms. To support this claim, this book analyzes research programs, art works, and design projects that produced new information and communication technologies (ICT). This is detailed using examples in each chapter. From these examples, two types of conclusions are derived: a first level considers the lessons that we can draw from these examples in terms of design practice while the second level starts a theoretical discussion based on these analyses of use cases. The goal is to develop an understanding of conception in its different forms. This book brings the use of these neglected methods to the foreground as a way to explicate the design process. Taking into consideration the humanities within design contributes to the discussion on pluridisciplinarity. The book posits that design as a historical and situated activity is a truly multidisciplinary endeavor that bridges the gap between engineering sciences and the humanities. (shrink)

Philosophical analyses of scientific methodology have long understood intuition to be incompatible with a rule based reasoning that is often considered necessary for a rational scientific method. This paper seeks to challenge this contention by highlighting the indispensable role that intuition plays in the application of methodologies for scientific discovery. In particular, it seeks to outline a positive role for intuition and personal judgment in scientific discovery by exploring a comparison between the use of heuristic reasoning in scientific practice and (...) engineering design. While these discussions share many features, it will also be shown that the successful use of heuristics in engineering design is often considered to depend on a crucial factor that is markedly absent from accounts of the use of heuristics in scientific discovery; experienced judgment. In the final sections of this paper, I will compare attitudes to the role of computer analysis in scientific and engineering practices, with the aim of showing how the limitations of scientific discovery machines reveal the need for including intuition in philosophical accounts of heuristic reasoning in scientific discovery. (shrink)

The paper starts by reflecting on what senior engineering students don't know how to do when they confront a real-world project in an industrially sponsored senior design project. Seven, largely qualitatively, skills are found to be lacking: questioning, labeling, qualitatively modeling, decomposing, measuring, ideating, and communicating. These skills, some of the most important critical and creative thinking skills in the arsenal of modern civilization, are termed "the missing basics" and contrasted with what engineering faculty usually call "the (...) basics." The paper critically examines the term "the basics" and other terms that are conceptual hurdles to fundamental reassessment of engineering education at this time. The paper concludes that the engineering academy is stuck in a Kuhnian paradigm born in the cold war, that the reflexive belief in the superiority of math, science, and engineering science to the exclusion of other topics is not itself scientific, and that the use of tired code words is not an argument or a rational defense of a paradigm that may have outlived its usefulness. The paper concludes by highlighting the role philosophy can play in clearing away the conceptual confusion, thereby permitting a more reasoned conversation on the needs of engineering education in our times. (shrink)

Synthetic biology is an umbrella term that covers a range of aims, approaches, and techniques. They are all brought together by common practices of analogizing, synthesizing, mechanicizing, and kludging. With a focus on kludging as the connection point between biology, engineering, and evolution, I show how synthetic biology’s successes depend on custom-built kludges and a creative, “make-it-work” attitude to the construction of biological systems. Such practices do not fit neatly, however, into synthetic biology’s celebration of rational design. Nor (...) do they straightforwardly embody Richard Feynman’s “last blackboard” statement that without creating something it cannot be understood. Reflecting further on the relationship between synthetic construction and knowledge making gives philosophy of science new avenues of insight into scientific practice. (shrink)

Ethical aspects in engineering design have become increasingly important in recent years. A typical example is the recent rise of artificial intelligence ethics. This paper applies user studies of a design support tool to empirically verify that our ethical framework improves the creativity of an engineer’s design activity. The design support tool provides an environment for the promotion of ethical design perspectives and description. The experiments focus on two functionalities: semi-automatic generation and scenario (...) path recommendation. These functions are designed around the application of ethical design theory, which extends the hierarchical representation of artifacts. Doing this enables users to reconsider their themes at the highest level of the hierarchy and to apply a wider conceptual space of design solutions. For example, by reconsidering the positions of their research themes in the space of the representation field, users can semi-automatically edit them and identify focal areas. Using the scenario path recommendation, designers can update their research themes after considering the ethical impacts of those themes on stakeholders. Both functions are realized by exploiting a knowledge base of ethical and technological discourses. Finally, the ethical design theory is updated based on some unexpected results of our user studies with regards to the cyclic relationship among theory, tools, and observed data. For example, temporal dimensional aspects were confirmed as important. (shrink)

A study is reported which focused on the problem-solving strategies employed by expert electronics engineers pursuing a real-world task: integrated-circuit design. Verbal protocol data were analysed so as to reveal aspects of the organisation and sequencing of ongoing design activity. These analyses indicated that the designers were implementing a highly systematic solution-development strategy which deviated only a small degree from a normatively optimal top-down and breadth-first method. Although some of the observed deviation could be described as opportunistic in (...) nature, much of it reflected the rapid depth-first exploration of tentative solution ideas. We argue that switches from a predominantly breadth-first mode of problem solving to depth-first or opportunistic modes may be an important aspect of the expert's strategic knowledge about how to conduct the design process effectively when faced with difficulties, uncertainties, and design impasses. (shrink)

It is crucial for engineers to anticipate the socio-ethical impacts of emerging technologies. Such acts of anticipation are thoroughly normative and should be cultivated in engineering ethics education. In this paper we ask: ‘ how do we anticipate the socio-ethical implications of emerging technologies responsibly? ’ And ‘ how can such responsible anticipation be taught? ’ We o ff er a conceptual answer, building upon the framework of Responsible Innovation and its four core practices: anticipation, reflexivity, inclusion, and responsiveness. (...) We forge a more explicit link between the practices of anticipation, reflexivity, and inclusion, while also enriching them with insights from disability studies, STS, design theory, and philosophy. On this basis we present responsible anticipation as an activity of reflective problem framing grounded in epistemic humility. Via the RI-practice of responsiveness we present responsible anticipation as a creative approach to engineering ethics, offering engineering students a critical yet productive perspective on how ethics may inform innovation. (shrink)

This paper argues that deep disagreements stem from conflicting worldviews. In particular, I examine how recent moves in engineering education contribute to deep disagreement by inculcating stu-dents into valuing the environment as a key stakeholder in engineering design. However, some graduates who value the environment meet resistance from employers who hold a more traditional engineering worldview, which regards the environment as an externality. Clashing worldviews can, as Robert Fogelin posited, render rational resolution to argument impossible. Disputants (...) must consider the emotional and rhetorical as means to move toward productive ground for argument. I offer two moves from classical rhet-oric–making an exordium and invoking friendliness–as means to shift the frame of an argument and there-by possibly navigate a deep disagreement. (shrink)

This article compares two cultures of engineering design, one flexible and interactive, the other rigid and hierarchical. It examines the practices of design engineers who use a mixture of paper documents and computer graphics systems and contrasts these with the practices of workers reengineering their own work process and its technological support system, using predesigned software. Based on the idea from actor network theory that objects participate in the shaping of new technologies and the networks that build (...) them, the study reveals that design cultures are intrinsically tied to the way in which their representations are constructed because such representations—sketches, drawings, prototypes—are the heart of design work; such design tools can engage or restrict participation in the design process; politics in the form of management prerogatives can be built into a design tool, influencing the range of creativity allowed and innovation accomplished in a given sociotechnological setting. (shrink)

Goal-directed problem solving as originally advocated by Herbert Simon’s means-ends analysis model has primarily shaped the course of design research on artificially intelligent systems for problem-solving. We contend that there is a definite disregard of a key phase within the overall design process that in fact logically precedes the actual problem solving phase. While systems designers have traditionally been obsessed with goal-directed problem solving, the basic determinants of the ultimate desired goal state still remain to be fully understood (...) or categorically defined. We propose a rational framework built on a set of logically inter-connected conjectures to specifically recognize this neglected phase in the overall design process of intelligent systems for practical problem-solving applications. (shrink)

The term “synthetic biology” is a popular label of an emerging biotechnological field with strong claims to robustness, modularity, and controlled construction, finally enabling the creation of new organisms. Although the research community is heterogeneous, it advocates a common denominator that seems to define this field: the principles of rational engineering. However, it still remains unclear to what extent rational engineering—rather than “tinkering” or the usage of random based or non-rational processes—actually constitutes the basis for the techniques of (...) synthetic biology. In this article, we present the results of a quantitative bibliometric analysis of the realized extent of rational engineering in synthetic biology. In our analysis, we examine three issues: (1) We evaluate whether work at three levels of synthetic biology (parts, devices, and systems) is consistent with the principles of rational engineering. (2) We estimate the extent of rational engineering in synthetic biology laboratory practice by an evaluation of publications in synthetic biology. (3) We examine the methodological specialization in rational engineering of authors in synthetic biology. Our analysis demonstrates that rational engineering is prevalent in about half of the articles related to synthetic biology. Interestingly, in recent years the relative number of respective publications has decreased. Despite its prominent role among the claims of synthetic biology, rational engineering has not yet entirely replaced biotechnological methods based on “tinkering” and non-rational principles. (shrink)

Ethics teaching in engineering can be problematic because of student perceptions of its subjective, ambiguous and philosophical content. The use of discipline-specific case studies has helped to address such perceptions, as has practical decision making and problem solving approaches based on some ethical frameworks. However, a need exists for a wider range of creative methods in ethics education to help complement the variety of activities and learning experiences within the engineering curriculum. In this work, a novel approach is (...) presented in which first-year undergraduate students are responsible for proposing ethics education activities of relevance to their peers and discipline area. The students are prepared for the task through a short introduction on engineering ethics, whereby generic frameworks for moral and professional conduct are discussed, and discipline and student-relevance contexts provided. The approach has been used in four departments of engineering at Imperial College London, and has led to the generation of many creative ideas for wider student engagement in ethics awareness, reflection and understanding. The paper presents information on the premise of the introductory sessions for supporting the design task, and an evaluation of the student experience of the course and task work. Examples of proposals are given to demonstrate the value of such an approach to teachers, and ultimately to the learning experiences of the students themselves. (shrink)

Metaphor plays a central role in changing the architectural process. In order to better appreciate the nature of architectural creativity, generating more positive forms and volumes is required. Exists many conclusions which demonstrate that metaphors plays an important role shaping the design creativity. The aim of this paper is about understanding the exact role of the metaphor in architecture design from the concept of Aristotle to nowadays. Essentially it is the process by which most of the (...) ideas come into being. Metaphors structure our understanding and perceptions. They make our thoughts more interesting and more vivid. There are similar distinct uses of metaphor in architectural criticism, which is often heavily reliant on metaphor both as a form of expression and a tool of analysis. There is a dimension of meanings attached to the various uses of metaphor, ranging from the ornamental view at one hand to the rational view at the other [1].Metaphors role in the ecological design is essential and necessary. Architects use a variety of methods and techniques to enrich the architectural language. This process is accomplished with the infiltration of metaphors as a literary figure. By adopting the models of nature, there is a chance to work more sustainably and produce more sustainable products. Is this the paradigm shift we have been looking for? Maybe biomimicry and nature could be super metaphors in order to develop sustainable design. This paper should take in consideration also the metaphor as a tool implemented into design reflecting either positive or negative reactions. This theory should be explained by concrete examples. The working metaphor in the design process is another important issue to be judged. The aim of this paper is to demonstrate that architectural metaphors corporate in coherent ways with architectonic language shaping its functionality. Metaphor helps to perceive things from a different perspective that is new to us, changing and bringing new ideas. Architectural metaphors can be found everywhere also in the Albanian case. It is very evident how metaphor stretches architectural functionality. (shrink)

Synthetic biology is described as a new field of biotechnology that models itself on engineering sciences. However, this view of synthetic biology as an engineering field has received criticism, and both biologists and philosophers have argued for a more nuanced and heterogeneous understanding of the field. This paper elaborates the heterogeneity of synthetic biology by clarifying the role of design and the variability of design methodologies in synthetic biology. I focus on two prominent design methodologies: (...) rational design and directed evolution. Rational design resembles the design methodology of traditional engineering sciences. However, it is often replaced and complemented by the more biologically-inspired method of directed evolution, which models itself on natural evolution. These two approaches take philosophically different stances to the design of biological systems. Rational design aims to make biological systems more machine-like, whereas directed evolution utilizes variation and emergent features of living systems. I provide an analysis of the methodological basis of these design approaches, and highlight important methodological differences between them. By analyzing the respective benefits and limitations of these approaches, I argue against the engineering-dominated conception of synthetic biology and its “methodological monism”, where the rational design approach is taken as the default design methodology. Alternative design methodologies, like directed evolution, should be considered as complementary, not competitive, to rational design. (shrink)

The notion of mutation is applicable to the generation of novel designs and solutions in engineering and science. This suggests that engineers and scientists have to work against the biases identified in counterfactual thinking. Therefore, imagination appears a lot less rational than claimed in the target article.

This paper presents a critical reflection on insights into the ongoing endeavours for community engagement by Ayara and MAL; two urban grassroot organisations in Bogota, Colombia, where a long history of internal conflicts has resulted in diverse human right violations. The paper presents examples of the grassroots organisations’ unique methods of engagement that promotes building collective intelligence from the bottom–up through creative collaboration and design processes, leading to rebuilding social fabrics that support the common good for the people of (...) Bogota. (shrink)

Recently, several critics of the multiple realizability thesis have argued that philosophers have tended to accept the thesis on too weak grounds. On the one hand, the analytic challenge has problematized how philosophers have treated the multiple realization relation itself, claiming that assessment of the sameness of function and the relevant difference of realizers has been uncritical. On the other hand, it is argued that the purported evidence of the thesis is often left empirically unverified. This paper provides a novel (...) strategy to answer these worries by introducing a role for multiple realizability in the context of biological engineering. In the field of synthetic biology, bioengineers redesign the evolutionary realizations of biological functions, even constructing artificial chemical surrogates in the laboratory. I show how in the rational design approach to biological engineering, multiple realizability can function as a design heuristic in which the sameness of function and difference of realizers can be controlled. Although practically motivated, this engineering approach has also a theoretical, exploratory component that can be used to study the empirical limitations of multiple realizability. Successful realization of the engineering designs would amount to a concrete demonstration of multiple realizability, taking evidence for MRT beyond what is readily found in nature. (shrink)

Creativity is one of the least understood aspects of intelligence and is often seen as intuitive' and not susceptible to rational enquiry. Recently, however, there has been a resurgence of interest in the area, principally in artificial intelligence and cognitive science, but also in psychology, philosophy, computer science, logic, mathematics, sociology, and architecture and design. This volume brings this work together and provides an overview of this rapidly developing field. It addresses a range of issues. Can computers be (...) creative? Can they help us to understand human creativity? How can artificial intelligence (AI) enhance human creativity? How, in particular, can it contribute to the sciences of the artificial', such as design? Does the new wave of AI (connectionism, geneticism and artificial life) offer more promise in these areas than classical, symbol-handling AI? What would the implications be for AI and cognitive science if computers could not be creative? These issues are explored in five interrelated parts, each of which is introducted and explained by a leading figure in the field. - Prologue (Margaret Boden) - Part I: Foundational Issues (Terry Dartnall) - Part II: Creativity and Cognition (Graeme S. Halford and Robert Levinson) - Part III: Creativity and Connectionism (Chris Thornton) - Part IV: Creativity and Design (John Gero) - Part V: Human Creativity Enhancement (Ernest Edmonds) - Epilogue (Douglas Hofstadter) For researchers in AI, cognitive science, computer science, philosophy, psychology, mathematics, logic, sociology, and architecture and design; and anyone interested in the rapidly growing field of artificial intelligence and creativity. (shrink)

Studies of style can be approached from two directions: the end and the means. From the end point of view, a style is a cluster of features present in artifacts; scholars usually classify the features in products to differentiate styles. Similar approaches used to examine features for further exploring the nature of style, the degree between styles, and the systematic measurement within style were extensively covered in Chap. 3. From the means point of view, a style is a mode by (...) which designers’ personal and professional preferences are expressed, and studies attempt to deliberate the mode of expression to mark styles. Although most style researchers have studied both directions, their efforts cannot provide clear explanations of how a style is generated. That is because not enough research has been devoted to the study of the means used that create a style. This chapter begins to explore, through a case study, the aspects of style creation and the forces that generate a style. Studies of style approached from the means point of view conducted in various fields and the factors determining the generation of style are reviewed first. (shrink)

This article attempts to comprehend the problem within the methodology of science. The authors compare the concepts of creativity and heuristics and suggest a semantic differentiation between them, and also offer their own viewpoint on the main types of activity corresponding to these concepts. The problem of creativity is associated with the characteristics that a person must have in order to solve tasks and problems. The authors consider the relationship between the problem and the task, as well as (...) some major techniques to tackle them. Here they substantiate the idea of a wider adaptation of randomization as a special tactic, that is, going beyond the narrow framework of mathematical statistics and empirical research. In this context, the authors introduce the notion of “epistemological randomization”, designed to denote the following of open rationality without abandoning the rational way of solving scientific problems. This technique is viewed as a phenomenon related to the counterfactual thinking. The last part of the article proposes a typology of personalities as problem and task solvers – adaptive, heuristic and creative personalities. It is assumed that the “heuristic” personality aims to complete tasks, which, unlike problems, have a final solution, while the “creative” personality aims to expand the problem field. The latter type is characterized as capable and inclined to use the “epistemological randomization”, the techniques of lateral thinking and other techniques that suggest several methods of solving problems and tasks at once. (shrink)

This paper aims at contributing to a research agenda in engineering ethics by exploring the ethical aspects of engineering design processes. A number of ethically relevant topics with respect to design processes are identified. These topics could be a subject for further research in the field of engineering ethics. In addition, it is argued that the way design processes are now organised and should be organised from a normative point of view is an important (...) topic for research. (shrink)

Engineers are normally seen as the archetype of people who make decisions in a rational and quantitative way. However, technological design is not value neutral. The way a technology is designed determines its possibilities, which can, for better or for worse, have consequences for human wellbeing. This leads various scholars to the claim that engineers should explicitly take into account ethical considerations. They are at the cradle of new technological developments and can thereby influence the possible risks and benefits (...) more directly than anybody else. I have argued elsewhere that emotions are an indispensable source of ethical insight into ethical aspects of risk. In this paper I will argue that this means that engineers should also include emotional reflection into their work. This requires a new understanding of the competencies of engineers: they should not be unemotional calculators; quite the opposite, they should work to cultivate their moral emotions and sensitivity, in order to be engaged in morally responsible engineering. (shrink)

This paper aims at contributing to a research agenda in engineering ethics by exploring the ethical aspects of engineering design processes. A number of ethically relevant topics with respect to design processes are identified. These topics could be a subject for further research in the field of engineering ethics. In addition, it is argued that the way design processes are now organised and should be organised from a normative point of view is an important (...) topic for research. (shrink)

Shared leadership is lauded to be a performance-enhancing approach with applications in many management domains. It is conceptualized as a dynamic team process as it evolves over time. However, it is surprising to find that there are no studies that have examined its temporally relevant boundary conditions for the effectiveness of the team. Contributing to an advanced understanding of the mechanism of shared leadership in engineering design teams, this research aims to investigate whether shared leadership is positively related (...) to team effectiveness and when shared leadership is more likely to be effective. Using a field sample of 119 individuals in 26 engineering design teams from China and the technique of social network analysis, we found that, consistent with cognate studies, shared leadership is positively related to team effectiveness when measured in terms of team task performance and team viability. Moreover, by integrating the project life cycle as a moderator, this study is among the first to investigate the temporal factors, for the effectiveness of shared leadership. The result shows that the stage of the project life cycle moderates the positive shared leadership-team effectiveness relationship, such that this association is stronger at the early phase than at the later phase of the project. Overall, these findings offer insightful thoughts to scholars in the field of shared leadership and bring practical suggestions for project managers in business who seek to implement best practice in organizations toward high team effectiveness. (shrink)

Recent developments in theories for responsible innovation have focused on the importance of actively accounting for values in our technological designs. Leading among these theories is that of Value Sensitive Design which attempts to guide the design process on the basis of evaluative analysis. However, values often come into conflict and VSD has been criticized for not providing a proper method to resolve such inevitable conflicts. This paper examines three such methods and argues that although each has its (...) merits, they all fail to account for a common source of value conflicts known as value incommensurability. Drawing on literature from the field of axiology, this paper argues that by incorporating the evaluative relation of ‘parity’ each of these three methods, and the VSD framework in general, will be able to properly understand the relation which holds between conflicting design options stemming from the incommensurable of values and be able to guide designers in making rational decision in the face of such conflicts. (shrink)

This co-edited volume compares Chinese and Western experiences of engineering, technology, and development. In doing so, it builds a bridge between the East and West and advances a dialogue in the philosophy of engineering. Divided into three parts, the book starts with studies on epistemological and ontological issues, with a special focus on engineering design, creativity, management, feasibility, and sustainability. Part II considers relationships between the history and philosophy of engineering, and includes a general (...) argument for the necessity of dialogue between history and philosophy. It continues with a general introduction to traditional Chinese attitudes toward engineering and technology, and philosophical case studies of the Chinese steel industry, railroads, and cybernetics in the Soviet Union. Part III focuses on engineering, ethics, and society, with chapters on engineering education and practice in China and the West. The book’s analyses of the interactions of science, engineering, ethics, politics, and policy in different societal contexts are of special interest. The volume as a whole marks a new stage in the emergence of the philosophy of engineering as a new regionalization of philosophy. This carefully edited interdisciplinary volume grew out of an international conference on the philosophy of engineering hosted by the University of the Chinese Academy of Sciences in Beijing. It includes 30 contributions by leading philosophers, social scientists, and engineers from Australia, China, Europe, and the United States. (shrink)

Synthetic biology offers a powerful method to design and construct biological devices for human purposes. Two prominent design methodologies are currently used. Rational design adapts the design methodology of traditional engineering sciences, such as mechanical engineering. Directed evolution, in contrast, models its design principles after natural evolution, as it attempts to design and improve systems by guiding them to evolve in a certain direction. Previous work has argued that the primary difference between (...) these two is the way they treat variation: rational design attempts to suppress it, whilst direct evolution utilizes variation. I argue that this contrast is too simplistic, as it fails to distinguish different types of variation and different phases of design in synthetic biology. I outline three types of variation and show how they influence the construction of synthetic biological systems during the design process. Viewing the two design approaches with these more fine-grained distinctions provides a better understanding of the methodological differences and respective benefits of rational design and directed evolution, and clarifies the constraints and choices that the different design approaches must deal with. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This paper presents an experimental approach for engaging undergraduate STEM students in anticipatory ethical reasoning, or ethical reasoning applied to the analysis of potential mid- to long-term implications and outcomes of technological innovation. The authors implemented two variations of an approach that integrates three key components—scenario analysis, design fiction, and ethical frameworks—into five sections of an introductory course on the social contexts of science and technology that is required of STEM majors. The authors dub this approach Creative Anticipatory Ethical (...) Reasoning, or CAER. Scenario analysis is a strategy emerging from business consulting for grounded analysis of plausible future trajectories to inform planning. Design fiction is a creative hands-on activity that blends science fiction and design prototyping to facilitate critical thinking with respect to the societal dimensions of a plausible future technology. The authors present the following findings: in each of the variations, students demonstrated significant engagement with CAER and a substantive shift in their conception of what constitutes responsible innovation and ethical conduct in science and technology. Specifically, their integration of ethical reasoning with stakeholder perspectives and scenario analysis reframed technologies, from unproblematic solutions for societal problems to socially-embedded forms of life that might diverge from designers’ intentions. This suggests that CAER could be a useful pedagogical intervention for expanding students’ ethical engagement to consider the potential unintended consequences of technological innovation. (shrink)

Creativity in science and engineering has moral significance and deserves attention within professional ethics, in at least three areas. First, much scientific and technological creativity constitutes moral creativity because it generates moral benefits, is motivated by moral concern, and manifests virtues such as beneficence, courage, and perseverance. Second, creativity contributes to the meaning that scientists and engineers derive from their work, thereby connecting with virtues such as authenticity and also faults arising from Faustian trade-offs. Third, (...) morally creative leadership is important at all levels of science and engineering. (shrink)

The rational choice approach to the understanding of group identity and conflict tends to overlook the extent to which groups are mutable, and the element of design by group leaders (especially those wielding state power) in the definition of group identity and the shaping of rationality. The 1994 genocide of the Rwandese Tutsis was the outcome of an extreme case of planning ethnic and ideological engineering. To see such phenomena as instances of “rational self‐interest” stretches that concept (...) beyond its breaking point. (shrink)

This article reviews claims for creativity in the economy and in education distinguishing two accounts: 'personal anarcho-aesthetics' and 'the design principle'. The first emerges in the psychological literature from sources in the Romantic Movement emphasizing the creative genius and the way in which creativity emerges from deep subconscious processes, involves the imagination, is anchored in the passions, cannot be directed and is beyond the rational control of the individual. This account has a close fit to business as (...) a form of 'brainstorming', 'mind-mapping' or 'strategic planning', and is closely associated with the figure of the risk-taking entrepreneur. By contrast, 'the design principle' is both relational and social and surfaces in related ideas of 'social capital', 'situated learning', and 'P2P' (peer-to-peer) accounts of commons-based peer production. It is seen to be a product of social and networked environments — rich semiotic and intelligent environments in which everything speaks. The article traces the genealogies of these two contrasting accounts of creativity and their significance for educational practice before showing how both notions are strongly connected in accounts of new forms of capitalism that require a rethinking of the notion of creativity and its place in schools and institutions of higher education. The article begins by providing a context in terms of a history of the knowledge economy and the historical tendency toward aesthetic or designer capitalism. (shrink)

This co-edited volume compares Chinese and Western experiences of engineering, technology, and development. In doing so, it builds a bridge between the East and West and advances a dialogue in the philosophy of engineering. Divided into three parts, the book starts with studies on epistemological and ontological issues, with a special focus on engineering design, creativity, management, feasibility, and sustainability. Part II considers relationships between the history and philosophy of engineering, and includes a general (...) argument for the necessity of dialogue between history and philosophy. It continues with a general introduction to traditional Chinese attitudes toward engineering and technology, and philosophical case studies of the Chinese steel industry, railroads, and cybernetics in the Soviet Union. Part III focuses on engineering, ethics, and society, with chapters on engineering education and practice in China and the West. The book’s analyses of the interactions of science, engineering, ethics, politics, and policy in different societal contexts are of special interest. The volume as a whole marks a new stage in the emergence of the philosophy of engineering as a new regionalization of philosophy. This carefully edited interdisciplinary volume grew out of an international conference on the philosophy of engineering hosted by the University of the Chinese Academy of Sciences in Beijing. It includes 30 contributions by leading philosophers, social scientists, and engineers from Australia, China, Europe, and the United States. (shrink)

In this essay, we explore the philosophical and theoretical resonances of the artwork Qatipana from the perspective of some key insights of Gilbert Simondon’s information processing system approach. Qatipana (Quechua word that means flow, sequence, transmission) is a hybrid ecosystem of information flow which, even though not the kind of dispositive systems theory was designed to read, offers some valuable empirical insights to test some key aspects of Simondon’s information processing systems. In particular, we are interested in observing how Simondon’s (...) becoming and individuation play out in an algorithmic cycle performed by the cognitive system of an Artificial Intelligence agent: how does mono-technology and computerization of cultural techniques influence the nature of knowing the affection of being with others (people, things, animals)? We contrast Simondon’s contributions with the work of Norbert Wiener and Stafford Beer on information in cybernetics and the cosmotechnics and Technodiversity of Chinese philosopher Yuk Hui. Furthermore, we offer a provisional assessment of the reach, limits, and possibilities this kind of symbiotic crossing of technologies and arts: it is a field filled with challenges and unresolved complexities that should encourage us to recognize the urgency that is implied in the disruptive (and creative) we can see unfolding in social and political life. The already pervasive (and growing) presence of computational systems has become both a tremendous risk and a vertiginous deployment of liberating opportunities. Latin America and elsewhere are desperately calling for an insightful and imaginative engagement. (shrink)

This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to fulfill an ill-defined goal. Creativity is considered as the result of an (...) emergence of organizational complexity in each cognitive system participating in the design process, while it is trying to purposefully incorporate new constraints in its meaning structures. The meanings generated in each system are identified as the contingent and anticipatory content of its representations, and where self-organization is the dominant process in which they are continuously involved. Furthermore, Peircean semiotic processes appear to provide the functionality needed by the emergent representational structures in order to complete the cycle of a creative design process. Creativity originates in the abductive stage of the semiotic process, the fallible nature of which is maintained in the proposed framework by the fact that the respective emergent representations can be misfits. The nodal points of the framework are identified and analyzed showing that a cognitive system needs the whole interactive anticipatory cycle in order to engage in a creative design process. (shrink)

Many years ago, the esteemed patriarch of bioethics, Joseph Fletcher, spoke loud and clear in favor of rationality in reproduction. By rationality, he meant not merely limiting population growth, which he certainly favored, but bringing to bear human analytic and creative intelligence on the random and instinctive activities of sexual intercourse and procreation that we share with all mammals. In his 1974 book, The Ethics of Genetic Control: Ending Reproductive Roulette, he foresaw most of the issues that we (...) are facing today. He reflected on artificial insemination, prenatal diagnosis, cloning, eugenics, ectogenesis, ovum transfers, and genetic engineering. He examined these innovations to the extent that he felt that each of them represents a way of exercising rational and responsible control over life and reproduction. The subtitle of his book, “Ending Reproductive Roulette,” proclaims his faith. Dr. Fletcher's dedication to rationality led him to make the astonishing statement, “Man is a maker and the more rationally contrived and deliberate anything is, the more human it is. Therefore, laboratory reproduction is radically human compared to conception by ordinary heterosexual intercourse.”. (shrink)

Anselmo de Cantuária investiga no Proslogion (caps. 5-12) se o conteúdo de nossas palavras se refere de modo adequado à substância criadora. Essa obra de Anselmo pode ser considerada como uma meditação realizada por um espírito que busca entender aquilo que inicialmente crê a respeito do ser divino. O Proslogion nos oferecerá um caminho para pensar o sentido da busca de razões no domínio exclusivo da fé, do esforço da palavra humana para encontrar aquilo que já fora dito por outra (...) palavra. Este artigo visa a explicitar o sentido dessa racionalidade, naquilo que diz respeito aos "nomes divinos". A designação id quod summum omnium (Proslogion, cap.5) retoma um tema já presente na reflexão anselmiana e impõe ao teólogo um desafio: articular, sob a dialética do melius, o modo propriamente humano de a criatura referir-se a Deus, reconhecido como maius e distante de qualquer relação de continuidade com o mundo. In his Proslogion (chapter 5-12), Anselm of Canterbury investigates whether the content of our words refers in an adequate way to the creative substance. This work of Anselm may be considered as the meditation of a soul who seeks to understand that which it already believes about the divine being. The Proslogion offers us a way to think about the meaning of the search for reasons within the domain of faith, and about the power of human words to find out what has already said in other words. This article attempts to explain the meaning of this rationality with respect to 'divine names'. The designation id quod summum omnium (Proslogion, chapter 5) takes up a theme presented earlier in Anselm's reflections, and it imposes on the theologian a challenge: to articulate, within the melius dialectic, the properly human way of referring to God, recognized as maius and distant from any relation of continuity with the world. (shrink)

The authors explore whether the need for ethical reflection on the part of designing engineers is dependent on the type of design process. They use Vincenti's distinction between normal and radical design and different levels of design hierarchy. These two dimensions are coupled with the concept of ill-structured problems, which are problems in which possible solutions cannot be ordered on a scale from better to worse. Design problems are better structured at lower hierarchical levels and in (...) cases of normal design. Better structured design problems require less ethical reflection on the part of designing engineers if such situations are characterized by the existence of generally accepted normative frameworks. Engineers could then deal with moral problems within the bounds of such frameworks and without the need for further reflection. On the basis of a number of empirical cases, the authors explore whether these ideas hold water. They discuss four cases ranging from a high-level radical design process to a low-level normal design process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Leibniz and the Rational Order of Nature by Donald RutherfordChristia MercerDonald Rutherford. Leibniz and the Rational Order of Nature. New York: Cambridge University Press, 1995. Pp. xiii + 301. Cloth, $54.95. Paper, $18.95.During the twentieth century, scholars of Leibniz have mostly ignored his theology. The tide has recently turned, however, and a few brave souls have begun to disentangle the subtle complications of the relations between Leibniz’s philosophical (...) theology and the rest of his thought. Donald Rutherford is such a brave soul. In his book, he intends to recover “the theodicy as an essential part of Leibniz’s philosophy” (1). To this end, he offers “a comprehensive interpretation of Leibniz’s metaphysical theories—particularly those of his late writings,” and attempts to show “how theodicy [End Page 139] and metaphysics inform each other in his thought” (1). The book has three parts and ten chapters. In the three chapters of Part I, Rutherford “focuses on Leibniz’s theodicy: his vindication of divine justice, the character of the goods that make this the best of all possible worlds, and the special role assigned to rational minds as agents within God’s providential plan for the world” (1). In the three chapters of Part II, Rutherford turns his attention to “Leibniz’s conception of metaphysics as a rational science” and to the notion of substance at its center (2). Finally, in the four chapters of Part III, Rutherford presents an account of Leibniz’s late metaphysics.The structure of Rutherford’s general argument is ingenious. Most fundamentally, he argues that “the guiding force behind” the theodicy is a commitment to reason: “reason as it directs the creative will of God, reason as it is... realized in the intelligible order of the created world, and reason as it helps human beings discern and appreciate that order.” Moreover, “Leibniz’s metaphysical theories are designed to promote the goals of his theodicy” by evidencing as much as possible that rational order (2). Therefore, once we see the metaphysics in light of its theological goal, the close interconnections among its parts will become evident. As Rutherford nicely puts it: “The Leibniz who emerges in this book is one for whom theoretical and practical ends are inextricably linked” (3).In Part I, Rutherford describes the project of the theodicy and, along the way, offers answers to questions which have plagued scholars for decades: What is the relation between variety and simplicity as (apparently conflicting) criteria of worldly goodness? How is the demand for the maximization of perfection related to the (apparently conflicting) commitment to the optimization of the happiness of rational creatures? How can there be different orders and harmonies in one world? Although many of Rutherford’s proposals are both plausible and interesting, they are painted with such broad strokes that they are sometimes difficult to evaluate. Some of the missing details are supplied later in the book, but others are not. For example, a clear picture of the relation between God’s power, goodness, will, and rationality never emerges. In Part II, Rutherford surveys some important texts and topics which concern Leibniz’s methodology, and he presents an intelligent interpretation of Leibniz’s theory of substance. There is much that is interesting here. In Part III, Rutherford is at his best. He ties together many of the separate strands of the late philosophy and tells a plausible story about monads, panorganism, and corporeal substance. This is a genuine achievement and one that will generate a lot of discussion.While I applaud Rutherford’s attempt to construct a coherent account of Leibniz’s philosophy, it is my opinion that he has attached too much importance both to the rational order that is supposed to please the faculty of reason, whether divine or human, and to that faculty itself. According to the Christianized Platonism that Leibniz learned (among many other things) from his teachers in Leipzig, it is the intellect or understanding (intellectus) and not the reason that comes to know the most fundamental truths; and moreover the goodness that created beings (and their interrelations) are supposed to have is based on the fact that they are expressions of God... (shrink)

Genetic engineering of life forms could well have a profound effect upon our sense of the sacred. Integrating the experience of the sacred as George Bataille does, we can characterize it as a phenomenological encounter with prelinguistic, noncategoreal experience. This view of the sacred is similar to Friedrich Nietzsche's Dionysian experience or Rudolf Otto's mysterium tremendum and diminishes one's sense of self. It seems similar to the eighteenth‐century aesthetic categorization of “the sublime.” Despite the dominant rational approach to religiosity (...) in the United States, intimations of this experience persist in popular culture. What possible relationship does genetic engineering have to this allegedly inevitable and profound experience? If certain modifications of life occur, they are likely to create such an experience of the sacred in us. In principle, we can now resurrect the mammoth or even create beings designed to directly potentiate our experience of the numinous such as satyrs or centaurs. The creation of such beings could become an art form associated with awaking the sacred, in turn appropriated by religion, as art has always been. Such experimentation, though morally questionable, is probably inevitable. (shrink)