Submissions Deadline: April 15, 2020
Rubén Jacob-Dazarola ― Universidad de Chile, Department of Design |
Valentina Rognoli ― Politecnico di Milano, Department of Design |
Santiago De Francisco Vela ― Universidad de Los Andes, Department of Design |
Scholars have written extensively about how the field of Design is linked to emotions and affections in general. Though these issues have always been part of the analysis that designers carry out in developing a project, it deserves mentioning, as the first of the two milestones that mark the formal establishment of emotional design as a research field was the organization of the first International Conference of Design and Emotions, held in 1999 at the Technological University of Delft. The second milestone, derived from the first, was the creation (in November of the same year) of the Design & Emotion Society, a network of researchers primarily from the academic world. Both milestones constitute the cornerstones in the initial construction of this approach to the discipline of design, later grounded in public opinion by the appearance of Donald Norman's book Emotional Design. Why we Love (or Hate) Everyday Things?, published in 2004.
Two decades after these foundational milestones, the Design & Emotion Society has organized ten international conferences and several other institutions have also organized just as many. The discussion upheld by different academic journals that have dedicated special issues to the subject, as well as the growth of the body of researchers who explore the boundaries and specificities of what at the time was called ‘Emotional Design’, have made this denomination broad and colloquially inaccurate. The time has come to critically examine it.
Like many ideas that arise spontaneously and then evolve, this approach has taken on a life of its own and has permeated the work of designers and researchers at different levels and fields, all of them rich in possibilities for the growth of our discipline. For example, and perhaps as evidence of advancement that we can most directly appreciate, in the TU Delft itself the Institute of Positive Design has emerged, a research center that promotes design as an engine of human flourishing and as an axis of the promotion of desirable behaviors, well-being and happiness (Desmet, 2013).
In the TU Delft, and in parallel at the Milan Polytechnic, the Materials Experience Lab was created as an international center focused on the multiple ways in which materials ‒ those fundamental words of the language of design ‒ assume new meanings and relevance when people establish an experiential relationship with them, acquiring affective qualities that far exceed their purely technical characteristics (Karana, Barati, Rognoli, & Van Der Laan, 2015).
In the Latin American context, the Academic Network of Design and Emotions (RADE) has brought together numerous academics and researchers from Mexico, Colombia and Chile, among other countries, who propose direct approaches to these issues, from sensoriality and transmodal correspondences to the analysis of interaction and activist design based on human affections (Ortiz Nicolás, 2017).
What began about twenty years ago from emotions and objects, those ephemeral and intense responses caused by design in people, has gradually shifted its focus to more relevant human aspects such as moods, feelings and the affections, as well as towards the relationship between objects, emotions and individual and social behavior. For those of us who have closely observed these topics of disciplinary research, this change is explained by a deep conviction: design can play an important role in the future of the human being and in the construction of a more just and conscious society.
Given this wide variety of approaches and as a way of reflecting on the role of designers as active builders of new realities, we extend this invitation to all authors interested in contributing, from their diverse perspectives, to the discussion of social and political scopes of design when seen from the affective and the experiential. Thus, the aim of this edition is to continue expanding and blurring the boundaries of what we define as design, intensifying its impact on the construction of the social project.
DESMET, P. M. A. (2013). Positive Design. Inaugural lecture. Delft, The Netherlands: TU Delft.
KARANA, E., BARATI, B., ROGNOLI, V., & VAN DER LAAN, A. Z. (2015). Material Driven Design (MDD): A Method to Design for Material Experiences. International Journal of Design, 9(2), 35–54.
Norman, D. A. (2004). Emotional Design. Why we Love (or Hate) Everyday Things (1° ed.). New York, USA: Basic Books.
Ortíz Nicolás, J. C. (Ed.). (2017). Afectividad y Diseño (1° ed.). Mexico City, Mexico: CIDI Investigación UNAM.
This edition will be published on August 2020. Interested authors should send their manuscripts through www.revistadisena.uc.cl no later than March 6, 2020. Revisions and modifications after the peer-review process will be carried out during April and May 2020.
The length of the manuscripts will be from 3,500 to 4,000 words. Authors must also provide an abstract (140 words max.) and five keywords, as well as a short 150-word bio. Citations and list of references must follow the APA style.
Please see the instructions for authors.