Miller makes two key distinctions between design and policy making. The first is that policy making is usually carried out by democratically-elected representatives. That is, the policy "design process" is done by people who have been elected and can be de-elected if the design outcome is not the one the citizens want. Design, on the other hand, is more often about making decisions for people or, at best, on behalf of them, but not as their elected representatives, regardless of what we believe about how much we try to walk in their shoes. The second point takes note of the range of horrors and threats that arise through armed conflict:Many designers today, especially the younger generation of designers, want to do some good in the world. They no longer seem satisfied simply creating objects of desire for profit. This is laudable. But for the good intentions of the design profession to actually result in some good, it is going to be necessary to carefully attend to how we design. Design is both a social process, with implications for others who are participants to that process, and also brings something new into the world that may have social force. Attending to both matters responsibly will be essential as the field moves forward.
This is especially true as design steps into the wider world of international peace and security—given that the issue here is not consumer value but life and death.
There is some limited discussion about ethics in design, but in comparison to codes of conduct in, say, anthropology, architecture, and medicine, one would be forgiven for finding them undeveloped.
These are real, grown up issues that need real, grown up attention by people who are committed—professionally—to trying to figure out what is wrong with their own ideas, and not what is right about them. Designers are worryingly not involved in that process. Design is trying to prove itself, rather than disprove itself. It is the latter, though, that will serve the social good.Despite the rhetoric of interdisciplinarity, design researchers and educators have become discipline specific. Much like the towers of medieval San Gimignano, academic careers are built by adding layers to one's own discipline tower while attempting to demolish those of others. Trying to prove ourselves wrong may seem counter-intuitive to a field that is trying to gain credibility outside of its usual place in the food-chain, but it is also the mark of self-confidence. If design, as a broad field, really does want to start doing some good in the world, it is essential that design develops a clearer voice in public discourse. We need to argue the case for design's importance throughout education as an integrated practice and be rigorous in understanding the context in which we operate. That means looking outward, not naval gazing. A glance through the abstracts of a great deal of research journals and conferences points to the latter. This is a terrible irony given the fact that many of us practice human-centered design research that expressly aims to avoid the effects of designing from within ivory towers. Postscript I realize I am writing from a European viewpoint here, especially as Core77 recently reported both Fast Company and Dwell bringing out special issues on United States design. I would like to hear the experiences of those in other countries on this matter. [Update 11.11.11: Just to note that a version of this was presented at the International Symposium for Design Education Researchers in Paris and the proceedings are available as PDF from the Design Research Society website.]
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Design is the creative process that transform ideas and dreams to reality.
I think of theory as a conversation discussing the What? Why? and How? we practice design. Developing our ability to have these conversations effectivily within design and with the public helps everybody. Thinking of theory as design conversation, working out responses to opportunities and challenges, can put the small talk ("crap") into perspective as well.