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This paper discusses the status, objectives and procedures of contemporary industrial design education. It points out that professional designers are searching for meaningful and valid guidelines for the relatively new profession, and that current attitudes and practices in design education reflect this search. The major historical movements contributing to current industrial design training are reviewed briefly. The early marriage of industrial design and the visual arts is noted, as is the increasing interdisciplinary nature of industrial design education exemplified by its extension into many new but related fields such as human factors engineering. General descriptions of typical and atypical contemporary academic programs in industrial design education are presented. Reference is made to the important contribution of the professional association of industrial designers in support of design education, the Industrial Designers Society of America.

Educational programs designed to bridge the digital divide for girls often aim to increase girls' technological literacy. However, little research has examined what aspects of technological literacy are highlighted in these programs. In this article, I provide a case study of a video game design workshop hosted by a girls' advocacy organization. Through observations, interviews, and analysis of program materials, I look at how the organization conceptualizes technological literacy as contributing to gender equality. I compare this conceptualization to how technological literacy was taught in the classroom. Finally, I draw on situated learning theory to help explain how girls responded to the class. In the end, both the organization's limited notion of how technological literacy could increase gender equality as well as gender and race differences between the teachers and the girls influenced girls' participation in the workshop.

Several design writers have proposed, or at least implied, that "…we are all designers…" through the way we manipulate the environment around us, select the items we wish to own, plan, build, buy, arrange, and restructure things all in a form of design [1, 2]. During the same time, design as a behavioural phenomenon has increased its capacity and breadth and as a result, design activity extends from the objects we use on a daily basis to cities, landscapes, nations, cultures, bodies, genes, political systems, digital existences, food production, the way we travel and even cloning sheep [3].This paper reports on an Arts and Humanities Research Council (AHRC) funded project that seeks to explore current models of creative practice, examining where disciplinary, conceptual,theoretical, and methodological edges lie in an attempt to define the significant drivers of any movements across disciplinary boundaries. The project's creative workshop activities have alsofacilitated comparison of the outputs between single-disciplinary and multi-disciplinary group working and has allowed the research team to explore how non-designers and designers alike transfigure creative space during practical design exercises.The outputs of the first workshop pose fundamental questions for the future of design education models based purely on disciplinary perspectives and furthermore questions whether current understandings of design thinking encompass more generalist human traits. The need to educate designers who can surf across disciplinary boundaries to tackle the 21st century's emerging complex and wicked social [4], environmental and economic issues suggests a radical rethink against the individual and disciplinary based perspectives that largely prevail.

Face au changement climatique en cours, la nécessité de modifier nos modes de vie et de préparer nos sociétés à s'adapter aux conséquences à venir de ce changement est devenue incontestable. Pour ce faire, chaque individu a sa propre part de responsabilité, mais comme le montre ici Geneviève Gallot, ceux qui façonnent notre quotidien, les designers, ont aussi un rôle essentiel à jouer, et nombre d'entre eux ont commencé à investir ce rôle. Que ce soit au travers des objets eux-mêmes, de leur fonction au quotidien, des matériaux utilisés ou des acteurs de leur fabrication, de plus en plus de designers, en France comme dans le monde entier, s'impliquent dans le développement d'un « design durable ». Geneviève Gallot propose ici un panorama de la façon dont ces designers agissent pour un monde plus durable, plus solidaire, plus respectueux de la nature, et s'emploient à nous aider à modifier nos modes de vie en ce sens. S.D.

The rationale behind mass-industrialization, now normalized, is embodied uncritically in the practice of many new designers. What if the industrial past could be explored and experienced as a foreign territory, providing a vantage point from which to critically evaluate contemporary design practices and define new paths? Young American designers are searching for alternate roles, and ways to design and live. Many experiment with models from elsewhere, places where new futures are growing from useful pre-industrial remnants. America, a country synonymous with industrialization, has no such resources upon which to build new practices, and slowing while creating value through quality is pitted against the dominant ideology of democratic capitalism and a national mythology that conflates freedom and prosperity, with ownership and abundance. Students who lack understanding – critical or otherwise – of mass-production, its precedents or antecedents, learn first-hand the values of making one and making one million by producing spheres through whittling, turning, casting, and using software defaults to send the perfect sphere off for automated reproduction, ad infinitum. This exercise develops in the manufacturer (student) a nuanced understanding of worth and consequential value, and creates receptivity, otherwise absent, for identifying and testing new patterns of behaviour.

El periódico está condenado a muerte, según pronósticos recientes, y en su lugar surgirá otra forma de periodismo tecnológico. Hasta los directores de prensa han dicho que han de dejar el negocio de fabricar periódicos a favor de fabricar la información. Esta manera de pensar quita del periodismo una pasión por la tinta y el papel, materiales que dieron forma a la prensa. También quita el futuro de periodismo de las manos de periodistas y lo deja en manos de otros, los especialistas en la informática y en la confección, cosa necesaria cuando las noticias se convierten en algo tan árido como información. Diseñadores son artistas con valores ajenos al periodismo. Los tipógrafos honran el libro sobre todo y se esfuerzan para dar al periódico una pinta que parece más al libro. Ilustradores tienen el afán de convertir la página de prensa en un poster como los de Toulouse-Lautrec. Los que diseñan la infografía admiran a Minard y los diagramadores emulan a Mondrian. Las consecuencias son visibles en páginas que son una belleza, pero carecen de noticias acerca de la vida ordinaria. Sin espacio para un público más diverso, el periódico sí tiene que morir. La tinta y el papel son las claves del ritual de leer la prensa. Noticias en papel contribuyen a la memoria colectiva de una manera en la cual las formas digitales no pueden, por lo menos hasta ahora.

This thesis concerns the roles and responsibilities of designers when we design workshops with democratic ambitions. Reflecting on my experiences from making co-design workshops for citizen participation to support sustainable urban development in municipal planning processes, I inquire into designers' societal entanglements and explore these from democratic, social, political and designerly perspectives. Designing workshops in municipal planning processes made me curious about the diverse interpretations and practices of democracy. Seeking to make sense of my role in relation to these, I trace intertwinements between design and democracy. I reflect on how industrial designers' roles are historically entangled with market-driven relations, formed by production and consumption. I also look at how political theory and philosophy articulate tensions within democracy, and criticise neoliberal political rationality for erasing the tension between democracy and capitalism. As designers are entangled in past and present relations affecting our roles and practices, we are affected by, but also influence, what we engage with. Designers who engage with democratic concerns navigate these tensions and thus affect how democracy is practiced. My inquiry into these perspectives led me to argue for designers' responsibilities and for the need to reorient our practices to respond to democratic issues. Responsibilities need to be articulated in relation to tensions, as well as from within our practices; tensions can help us consider how we orient our practices – in relation to whom, what and where we design. As our relations also form our response-abilities, these reorientations also reshape our abilities to respond in practice, critically and carefully. I propose three concerns to support designers, design students and design researchers in orienting their practices, arguing that it is important to reflect on the concerns of entanglements, tensions, and responsibilities. These concerns focus on designers' potential of making, on ...

Abstract
When the ten classes of signs postulated by the founder of scientific semiotics, American Philosopher Charles Sanders Peirce, are applied to the world of visual communication, a question arises about the class he labels "Argument". Can a graphic designer construct, in the arrangement of his visual materials, a complete argument? This is the question pursued in this paper. After translating Peirce's classes into language familiar to the design industry, and looking at the requirements of Argument as a discrete class of signs, I suggest that designers always produce assertions, but rarely, perhaps never, do they construct a complete argument