Abstract
Embodied design ideation methods rely on subjective —first-person— experiences of the designer to bring new ways of designing into being. Shifting the embodied design ideation method to the body of the other, we propose a three-step process that makes the experiences of a dancer accessible to a designer for the ideation of remote intimacies. To support the access to the dancer’s experiences, we facilitate embodied, dialogical exchange over three phases: i) observation of embodied explorations between the dancer and a set of tangibles, ii) analysis of phase (i) visual documentation, and iii) a semi-structured interview with the dancer, using phase (ii) outcomes, incorporating drawing as a form of reflection. This reflexive process reveals the ways how incorporating tangibility, ambiguity, and care into a conversation with the body of the other allows us to open a space of possibilities.
Keywords
Embodied design ideation, Design methods, Design research
DOI
https://doi.org/10.21606/nordes.2023.58
Citation
Oktay, N., Wilde, D.,and Kuusk, K.(2023) Conversations with the body of the other: A three-step dialogical process, in Holmlid, S., Rodrigues, V., Westin, C., Krogh, P. G., Mäkelä, M., Svanaes, D., Wikberg-Nilsson, Å (eds.), Nordes 2023: This Space Intentionally Left Blank, 12-14 June, Linköping University, Norrköping, Sweden. https://doi.org/10.21606/nordes.2023.58
Conference Track
researchpapers
Included in
Conversations with the body of the other: A three-step dialogical process
Embodied design ideation methods rely on subjective —first-person— experiences of the designer to bring new ways of designing into being. Shifting the embodied design ideation method to the body of the other, we propose a three-step process that makes the experiences of a dancer accessible to a designer for the ideation of remote intimacies. To support the access to the dancer’s experiences, we facilitate embodied, dialogical exchange over three phases: i) observation of embodied explorations between the dancer and a set of tangibles, ii) analysis of phase (i) visual documentation, and iii) a semi-structured interview with the dancer, using phase (ii) outcomes, incorporating drawing as a form of reflection. This reflexive process reveals the ways how incorporating tangibility, ambiguity, and care into a conversation with the body of the other allows us to open a space of possibilities.