An der Hochschule für Angewandte Wissenschaften Hof ist an der Fakultät Wirtschaftswissenschaften baldmöglichst eine Professur in Teilzeit (50 %) entsprechend der Besoldungsgruppe W2 zu besetzen:
Professur W2 - Typografie

An der Hochschule Hof/Standort Münchberg wird die Designausbildung als künstlerisch/gestalterische Vorbereitung für Informations- und Kommunikationskonzepte gelehrt, aber ebenso als Basis für Innovation und als Unterstützung zur Entwicklung kreativer, nachhaltiger Strategien innerhalb wirtschaftlicher Entscheidungsprozesse vermittelt.

Es wird eine herausragend qualifizierte Persönlichkeit gesucht, welche das Lehrgebiet \"Typografie\" projekt- und praxisbezogen im Grund- und im Hauptstudium vermitteln kann. Die Schwerpunktthematik innerhalb der Gestaltungsprojekte wird im Editorial liegen.

Mit dieser Stelle sollen die Grundlagen der Typografie vermittelt und analytische, konzeptuelle und gestalterische Qualifikationen in der Realisierung von Print- und crossmedialen Formaten gelehrt werden. Unabhängig von bestimmten technischen Systemen sollen gestalterische Methoden und konstruktiv-kritische Strategien vermittelt werden.

Die Professur wird als privatrechtliches Dienstverhältnis geführt. Sie ist befristet für die Dauer von sechs Jahren.

Bei Fragen stehen wir Ihnen gerne unter Tel. 09281 409 3112 zur Verfügung.

Die Einstellungsvoraussetzungen entnehmen Sie bitte dem Internet unter www.hof-university.de, Rubrik: Über uns/Aktuelles/Stellenangebote.

Bewerbungen mit den üblichen Unterlagen senden Sie bitte bis spätestens 14.03.2014 an die
Personalabteilung der
Hochschule für Angewandte Wissenschaften Hof
Alfons-Goppel-Platz 1
95028 Hof

Coordinator (40 – 50%)

The Swiss Design Network SDN is the board of all design research institutes in Switzerland. The SDN hosts international symposiums and workshops, publishes proceedings and is committed to the development of junior researchers. It develops infrastructures for researchers, serves as contact for decision makers and policy makers and facilitates international networking. The SDN is looking for a coordinator to support its head office. Location: the position is located at the Bern University of the Arts BUA

Hours per week: flexible
Closing date: Friday, 14 March 2014
Interview date: 3 April 2014 in Zurich
Starting date: 1 June 2014 or later
Contract: 1 year appointment with the possibility of a renewal contract
Contact email: marie-eve.vonallmen@hkb.bfh.ch
Relevant skills/experience:

-­‐ experience in cultural, project and event management
-­‐ research background in cultural and/or social studies
-­‐ ability to work independently
-­‐ networking experience
-­‐ excellent communication skills in English and German
-­‐ excellent skills in the managing of web platform, CMS and social media
-­‐ interest in design as cultural phenomenon
-­‐ located in Switzerland with a valid work permit

The Universities of Northumbria and Sunderland have been jointly awarded an AHRC Centre for Doctoral Training (CDT) and postgraduate research student funding in Art and Design from 2014 onwards. Our AHRC Centre for Doctoral Training in Art and Design will forge new cross-disciplinary collaborations in art and design, with an emphasis on integrating professional and academic rigour in practice-led and applied research as well as related historical and theoretical research.

The Northumbria-Sunderland AHRC Centre for Doctoral Training in Art and Design invites high-quality applications for AHRC-funded studentships starting in October 2014, for PhD study in or across our Art and Design research groups. We welcome applications in: Design; Fine Art; Applied Arts, Glass and Ceramics; Digital Art, Curating; Visual and Material Culture; and History of Art.

Before applying for an AHRC studentship, you should make preliminary enquiries with our subject specialists to assess whether your area of research interest can be supervised and supported within the Northumbria-Sunderland CDT. More details on the Northumbria-Sunderland AHRC Centre for Doctoral Training (CDT) in Art and Design can be found here:

http://nuweb2.northumbria.ac.uk/cdt/

This call is for links or PDF attachments of completed and accepted PhD theses in design, and in closely related fields such as design anthropology, design thinking, design policy, etc. The research is part of a project conducted with Professor Ken Friedman on the Commonwealth Science and Industry Research Organization (CSIRO) Design Capacity Mapping Project that we are undertaking for the Future Manufacturing Flagship collaborative research program. We have already collected more than 500 PhD theses from around the world.

After we label these, organise them and prepare a bibliography, we will share the entire collection with collaborators and with those who contributed their theses. We are interested in PhD theses from any country and in any language -- in particular, we seek PhD theses from the UK and North America. We also welcome more theses from Scandinavia, Europe, and Asia. We have fewer theses from these regions than we should have, given the growth of PhD programs in design in those regions. We expect to publish a bibliography of our collection in early 2014.

Please email full PDF documents as attachments or simply include the link for download.

Please send them to:
hwesselius@swin.edu.au

War postdigital besser?

Herausgegeben von Martin Conrads und Franziska Morlok, Revolver Publishing 2014, 144 Seiten mit eingeklebter 3,5 Zoll­-Diskette verschiedener und / oder unbekannter Provenienz sowie ungeklärten Inhalts.

Der Begriff des „Postdigitalen“ befindet sich seit einigen Jahren in der Diskussion: im Mittelpunkt dieser Debatte steht die Frage, inwieweit das Digitale nicht mehr als das Neue wahrgenommen wird und dadurch ein veränderter Blick auf die Differenz von analogen und digitalen Medien eröffnet wird. In der Debatte um die Gestaltung von Printmedien, Inter­faces und Publikationskonzepten ermöglicht dieser Blick neuen Perspektiven. Für Grafikdesign bedeutet dieser mediale Umbruch hin zum „Postdigitalen“ keine Krise. Vielmehr kann Grafikdesign den aktuellen Umbruch prägen, sichtbar und erfahrbar machen.
Die Publikation zeigt, welche Auswirkungen das Postdigitale auf die Gestaltung hat und wie es als Zukunftsmodell für gestalterische Prozesse verstanden und eingesetzt werden kann. Renommierte Autorinnen und Autoren verfassten Beiträge zum Themenfeld des Postdigitalen, zugleich werden gestalterische Arbeiten von Design­studierenden gezeigt.

Als Basis der Publikation dient das 2012/2013 von Franziska Morlok und Martin Conrads im Studiengang Visuelle Kommunikation an der Universität der Künste Berlin veranstaltete Seminar „Postdigital ist besser“ und die darauf folgende Ausstellung in der Galerie designtransfer an der UdK Berlin (mit Arbeiten von Marius Förster (mit Christian Bromann), Carolin Gießner, Daniel Heidt, Nora Heinisch, Natalie Herlinghaus, Vera Kellner, Donnie O‘Sullivan, Robert Preusse, Stefanie Rau, Ana Halina Ringleb, Ann-Kristin Röhrs, Alina Rudya, Giulia Schelm, Felix Schröder, Idan Sher, Vincent Tollens, Martin Wecke und Denis Yilmaz).

Autorinnen und Autoren:

Danny Aldred (Grafikdesigner, Winchester School of Art)
Manuel Bürger (Grafikdesigner, Berlin; Merz Akademie, Stuttgart)
Prof. Dr. Jan Distelmeyer (Geschichte und Theorie der technischen Medien, FH Potsdam)
Nina Franz (HU Berlin, Exzellenzcluster „Bild Wissen Gestaltung“)
Dr. Kristoffer Gansing (Künstlerischer Leiter Transmediale, Berlin)
Clemens Jahn (Grafikdesigner, Berlin)
Prof. Dr. Verena Kuni (Visuelle Kultur, Johann Wolfgang Goethe­ Universität Frankfurt)
Prof. Dr. Siegfried Zielinski (Medientheoretiker, UdK Berlin)
Studierende der Universität der Künste Berlin
Vorwort der Herausgeber Martin Conrads (UdK Berlin) und Franziska Morlok (UdK Berlin)


Martin Conrads und Franziska Morlok (Hg.)
War postdigital besser?
Berlin: Revolver Publishing 2014, 144 Seiten, zahlr. Abb., 23 x 16 cm
Deutsch/(Englisch)
Broschiert; eingeklebte 3,5 Zoll-Diskette verschiedener und / oder unbekannter Provenienz sowie ungeklärten Inhalts.
Gestaltung: Martin Conrads & Franziska Morlok

ISBN 978-3-95763-004-9
EUR 19.00

http://www.revolver-books.de/w3NoM.php?nodeId=1302
https://www.facebook.com/warpostdigitalbesser

See also: http://dis2014.org/index.php/pictorials/

As design perspectives have increasingly become integrated in HCI practice and research, new opportunities are needed to communicate design practices, processes, products and artifacts to the HCI community (e.g., Bowers 2012, Blevis et al. 2012, Blevis 2011, Gaver 2011, Jarvis et al. 2012). At DIS 2014 we introduce a new format that tries to fulfill the practice-oriented nature of design – Pictorials.
Through DIS Pictorials, design practitioners in academia, industry, non-profits, or collectives are encouraged to express and unpack their design practices and projects in rich, heavily visual ways. This format will help foster discussions among authors, conference attendees and the wider community through the sharing of methods, insights and lessons learned from engaging in the design of interactive systems and artifacts.

*What to submit?
We welcome submissions related to the design of interactive systems as well as the conference theme of Crafting Design. In particular, we encourage submissions to consider the conference sub-themes of Re-emergence of hand skills, DIY technology, Materiality and computing, and the (technologically) self-constructed self. In this broad context, submissions may cover diverse topics such as:
- design decisions affecting the material or interactive elements of prototypes
- methodological approaches to crafting design
- successful attempts, failed attempts, challenges and lessons learned
- deployments of interactive design artifacts
- experiences in practice-based research
- others insights, practices or processes often unmentioned in important phases of design research and practice

We encourage authors to be creative with their submissions and to compose highly visual submissions, which could consist of but are not limited to: design sketches, annotated images, illustrations and diagrams, field notes or sketches, or collages of images.

*Format
Pictorials should be submitted in the DIS 2014 Extended Abstract Format and not exceed 10 pages. The first page of the submission should include the submission’s title, author(s) and their affiliation(s) (leave blank for blind review), and a written abstract of no more than 100 words succinctly describing the background and context of the pictorial as well as its contribution to the DIS community. Further written parts known from other conference formats such as Introduction, Conclusion, Discussion, Acknowledgements, and References are optional. The main part of the submission should be an annotated visual composition and we encourage submissions to use the Extended Abstract format creatively (see the DIS pictorials example template). For easier creation of this visual format we invite authors to use InDesign (see indesign template open files) for their submissions. Here is a link to the regular word template.
All submissions should be anonymous and submitted via the PCS system.

*Review and Selection
Blind-review submissions are juried by the DIS Pictorials program committee, recruited from academia and industry by the chairs of the format. Accepted DIS Pictorials will be distributed by the conference and in the ACM Digital Library where they will remain accessible to researchers and practitioners worldwide.
Authors will be expected to attend the conference and will be assigned a time and location to present accepted submission to conference attendees. DIS Pictorials submission will be presented by the author[s] within the regular conference program through engaging PechaKucha sessions.

*Critical Dates
March 20, 2014: Submission deadline
April 10, 2014: Author notification
April 20, 2014: Camera ready deadline

*Pictorial Chairs
Sabrina Hauser (Simon Fraser University, Surrey, BC, Canada)
Will Odom (Carnegie Mellon University, Pittsburgh, PA, USA)
Nadine Jarvis/David Cameron (Goldsmiths, University of London)
pictorials@dis2014.org
See also: http://dis2014.org/index.php/pictorials/

*References
_John Bowers. The logic of annotated portfolios: communicating the value of ‘research through design’. In Proc. DIS ’12. ACM, New York, NY, USA, 68-77.
_Eli Blevis, Elizabeth Churchill, William Odom, James Pierce, David Roedl, & Ron Wakkary. Visual thinking & digital imagery. In Proc. CHI EA ’12. ACM, New York, NY, USA, 2715-2718.
_Eli Blevis. Digital imagery as meaning and form in HCI and design: an introduction to the Visual Thinking Backpage Gallery. interactions 18, 5 (September 2011), 60-65.
_William Gaver. Making spaces: how design workbooks work. In Proc. CHI ’11. ACM, New York, NY, USA, 1551-1560.
_Nadine Jarvis, David Cameron, and Andy Boucher. Attention to detail: annotations of a design process. In Proc. NordiCHI ’12. ACM, New York, NY, USA, 11-20.

*Pictorial Program/Review Committee
Carl DiSalvo, Georgia Tech
Eli Blevis, Indiana University
Richard Banks, MSR Cambridge
Youn Kyung Lim, KAIST Industrial Design Dept, Dajeong South Korea
Scott Pobiner, Parsons School of Design
Elizabeth Goodman, UC Berkeley
Haakon Faste, IxD program / IDEO, California College of Arts, SF
Shad Gross, Indiana University
David Shamma, Yahoo Research
Götz Wintergerst, nui lab
Dominik Heilig, Illustrator
Fabian Hemmert, Design Research Lab, Berlin
Mathias Held, HfG Schwäbisch Gmünd, DGTF
Jan Barth, ziba Portland
David Ikuye, IDEO Munich, frog Milano
Benedikt Groß, RCA
Ben Hooker, Art Center College of Design, Pasadena
Daniel Charny, Kingston
Sarah Pennington, IRS
Andy Boucher, IRS
Rory Hamilton, CIID and Made By Many
Einar Sneve Martinussen, Oslo
Gillian Russell, RCA
Ramia Maze, Interactive Institute

Deadline for submissions: 3 March 2014
Website: http://scholarworks.iu.edu/journals/index.php/artifact/information/authors

Back in the 1990’s, the graphic designer Bruce Mau proclaimed that “everything is design.” However, when everything is design, nothing is design. This inherently contradictory nature of Mau’s statement enabled it to be read as a provocation as well as a promotion of the design concept. Today the echo from back then sounds hopelessly antiquated: the field has expanded to a state of formless dissolution and it is now commonplace to understand design as if not everything, then something close. The design concept is topical and trendy, it is discussed and used in a great many areas and in manifold ways; when it comes to content as well as scale the concept covers countless subjects, places, objects, and processes.
This expansion of the design discipline brings up a series of questions:

What does the concept “design” mean today?
How has the design concept developed in line with its success, and has the professional practice of designers changed with it?
Why is “design” trendy exactly now?
What impact does it have on society at large that complex social processes have become a matter of design? What impact does this have on the design discipline?
What does it tell us about the time we live in that the concept of design is changing?

There is every reason to investigate the concept as it appears in various contexts. This investigation, however, has a special motivation. Centered as it is at The Danish Design School, situated at The Royal Danish Academy of Fine Arts, it brings the relationship between design education, the design discipline and the broader societal horizon in focus. The Danish Design School has changed with the changing design concept as have many design schools the world over. The school’s students are introduced to a variety of ideas about design, between objects and processes, craft and artistic development, practical skills and academic teaching etc. The ideas that the school teaches will determine the professional lives of the students when they become practicing designers and their design practices will in turn change the concept of design.

The anthology will appear in the open access journal Artifact; it will be used for teaching as well as for debating the concept of design in a wider societal context.

Your article should be submitted by Monday, March 3rd, 2014.

It can be written as either a traditional academic article or in the form of an essay or manifesto with personal observations on the subject. All articles will be submitted to double blind peer review. The maximum length should not exceed 5.000 words excluding abstract and references. Your article should be submitted to our web site – please go to http://scholarworks.iu.edu/journals/index.php/artifact/information/authors.

For further instructions on the format of your paper, please see http://scholarworks.iu.edu/journals/index.php/artifact/about/submissions#authorGuidelines.
Kirsten Marie Raahauge, Lead Guest Editor, kmr@kadk.dk
Ida Engholm, ie@kadk.dk
Troels Degn Johansson, tdj@kadk.dk
Maria Mackinney-Valentin, mmk@kadk.dk

About Artifact
Artifact is focused on practice-based design research and aims to explore conditions, issues and tasks pertaining to design development in a broad sense. The main emphasis of the journal is on aspects of design development concerning proposals, form-giving and conceptualization, which ties into a range of topics such as strategic design, design thinking, design innovation, design method and process, among others.

The journal is cross-disciplinary in scope and thus welcomes contributions from all design disciplines, including product design and graphic communication, IT and service design as well as organization design and design management. Artifact publishes academic articles, short research notes, review articles, and essays. Academic articles and research notes are vetted in a double-blind review process.

We send out several calls for contributions each year. In addition, we welcome unsolicited contributions.
See also: http://scholarworks.iu.edu/journals/index.php/artifact/

Dates: 7-9 January 2015
Location: Indian Institute of Science, Bangalore
Website: http://cpdm.iisc.ernet.in/icord15
Deadline for submission of abstracts: 15 February 2014

Design is ubiquitous; it pervades almost all spheres of life, and has been around as long as life has taken up the task of purposefully changing the world around it. Research in design and the emergence of a research community in this area has been relatively new, its development influenced by the multiple facets of design (human, artefact, process, organisation, and the micro- and macro economy by which design is shaped) and the associated diversification of the community into those focusing on various aspects of these individual facets, or various applications. Design is complex, balancing the needs from multiple stakeholders, and requiring a multitude of areas of knowledge to be utilised, from resources spread across space and time.

The conference will have:
– Invited/keynote presentations from eminent international experts and practitioners;
– Presentations of refereed papers as podium, poster, panel or theme presentations;
– Industrial sessions to present perspectives from industry and studies in practice.

The organizing committee invites submissions of research papers in all areas of design. This includes all dimensions, e.g., people, product, tools, processes and environments of design, with research results contributing to its understanding and support. Some example topics are:

• Design Theory and Research Methodology
• Human factors in Design
• Design for X
• Enabling Technologies & Tools
• Design Management, Knowledge Management and Product Life Cycle Management
• Applications in Practice
• Eco-Design, Sustainable Manufacturing, Design for Sustainability
• Design Creativity, Synthesis, Evaluation and Optimisation
• Design Lexicon, Taxonomy, Ontology
• Design Collaboration and Communication
• Design Aesthetics, Semiotics, Semantics
• Design Training and Education

Prospective authors should send an abstract of their paper (500 words) including paper title and author details, by uploading the abstract on the conference management tool latest by 15 February 2014, through the ICoRD’15 website: http://cpdm.iisc.ernet.in/icord15

All abstracts will be checked for their relevance for ICoRD’15, and authors will be notified of the acceptance decision of their abstract by 15 March 2014, which can be checked by the authors by logging into the conference management tool on the website.

A Poster/flyer for ICoRD’15 is available for download from this http://www.cpdm.iisc.ernet.in/icord15/poster.pdf Please feel free to download, print and display this poster in your department premises for a broader visibility of the conference.

Important Dates:
• Submission of abstracts: 15 February 2014
• Acceptance decision of abstracts: 15 March 2014
• Full papers: 15 May 2014
• Acceptance decision for full papers: 15 July 2014
• Copyright form and final paper submission: 1 September 2014
• Registration for authors (Mandatory for at least one author Per paper): 15 September 2014
• Registration Deadline : 1 October 2014
• Conference: 7-9 January 2015

For More Information, Contact:
ICoRD’15 Conference Secretariat
Centre for Product Design and Manufacturing,
Indian Institute of Science, Bangalore, India;
Email: icord15@cpdm.iisc.ernet.in
Programme Chair:
Amaresh Chakrabarti,
Centre for Product Design and Manufacturing,
Indian Institute of Science, Bangalore, India;
Tel: +91 80 2293 3406; Fax: +91 80 2360 1975;
Email: ac123@cpdm.iisc.ernet.in
Conference Website: http://cpdm.iisc.ernet.in/icord15

Note: ICoRD‘15 is co-located with the 3rd International Conference on Design Creativity (3rd ICDC) held in Bangalore, India, 12-14 January, 2015 (http://cpdm.iisc.ernet.in/icdc2014/). You can attend both the conferences at a combined, reduced registration fee.