Människan har i alla tider avbildat naturen, något som även gäller inommönsterformgivning. I detta arbete kommer jag att jobba inom denna traditionoch samtidigt undersöka hur man kan skildra naturen med ett mer kritisktperspektiv. Ser naturen verkligen ut så som den skildras i mönster idag?Jag har formgivit kritiska mönster för tapeter som kommenterarmänniskans inverkan på naturen. Syftet är att via mönster uppmärksammaoch skapa eftertanke kring hur vi påverkar naturen och även ifrågasätta denidealiserade skildringen av naturen som är rådande inom mönsterformgivning.Critical design, dvs. en design som ifrågasätter snarare än löser praktiska/tekniska problem används som en teoretisk utgångspunkt. Samtida kritiskamönster analyseras med en semiotisk bildanalys med fokus på denotation ochkonnotation.De mönster som jag formgivit gestaltar nedskräpning av haven som ärett påtagligt problem. Slutresultatet är en mönsterkollektion med tre mönsterdär både samtida kritiska mönster och mer traditionella mönster samtperseptionspsykologi legat till grund.

During my research, I’ve studied craft through various lenses as a way to explore the realm of meaningful experiences within material culture. It is through an understanding of materials and process, through craft, that we may appreciate the value and impact of our material culture. By considering both the object and the systems it exists in, I have clarified my understanding of sustainable material culture. My explorations with reuse materials culminate in utilizing standardized, industrially manufactured parts, which can be found in multiples, to facilitate small batch production of crafted items. These explorations are not about the singular crafted object, but multiple crafted products. Craft, unlike conventional industrial design, accommodates a conversation between material, maker and methods. An understanding of both practical conventions and experimental methods paired with an appreciation for materials and technique, craft is the foundation for thoughtful making. The convergence of design and craft is rich territory for developing sensible and purposeful objects that are truthful and valuable. / text

Uppsatsen är ett examensarbete i Produktdesignprogrammet på Malmö Högskola. Projektet analyserar med hjälp av Kritisk designteori de samhällsnormer som kopplas till dockor för flickor i åldern 7-11. En studie av ämnen kopplade till relationer och interaktioner mellan barn och docka utfördes genom litteratursökningar och intervjuer med målgrupper. Utifrån slutsatser i studien utformades koncept, ämnade att kritisera idealiseringen av passivitet och skönhetsfokus som marknaden är präglad av. Ett koncept valdes ut och utvecklades vidare med hjälp av Kritiska designmetoder. / This essay is a thesis in Product Design at Malmö University. The project uses Critical design theory to analyze the social norms that are connected to dolls for girls of ages 7-11. A study of topics related to relationships and interactions between children and dolls was conducted through literature searches and interviews with target audiences. Based on the conclusions of the study a design concept was created, intended to criticize the idealization of passivity and beauty by which the market is characterized. One concept was selected and further developed using Critical Design methods.

Vi försöker med detta kandidatarbete analysera skapandet av Hjältar inom spel, vi undersöker vilka sorts troper som etsat sig fast i industrins hjältar, problematiserar dem och tar reda på om dem fortfarande har en plats, d.v.s. en anledning att fortfarande anammas i skapandeprocessen. Med hjälp av Diffraktion & Critical Design gör vi vår egen tolkning av en skapandeprocess där vi utmanar det en spelare hade kunnat förvänta sig av en hjälte inom spelvärlden för att veta om det faktiskt finns konkreta anledningar till dessa troper eller om man lika gärna hade kunnat klara sig utan dem.Genom denna designprocess får vi en djupare förståelse för skapandet av karaktärer men också vetande om hur man utmanar och vad som behöver utmanas när det gäller stereotyper, normer, troper inom spelvärlden. En förståelse för hur man tilltalar sina spelare och uppmanar saker som inklusivitet och medvetenhet i allmänhet.. / With this Bachelor thesis we’re trying to analyse the creation of heroes within video games, we’re researching what kind of tropes etched themselves into our industries heroes, problematize them and find out if they still have a place, a reason to still be applied in the creative process.With the help of Diffraction & Critical Design we attempt our own interpretation of the creative process where we challenge what expectations a player may have from a hero within the gaming world to understand if there is a solid reason for these tropes to exist or if you might as well set them aside.Through this designprocess we get a deeper understanding for the creation of characters but also knowledge of how to challenge and what needs challenging when it comes to stereotypes, norms, tropes within the gaming world. An understanding on how to connect with your players and encourage things like inklusion and awareness in general.

This Bachelor thesis reviews the concept of non-innovative faction groups in digital games and the cause and effect of such systems. The paper goes into detail on what diffractions are available to developers when creating a faction driven game. It also illuminates the need to be aware of consequences of small details in a big picture. It will outline what types of faction systems in games that can be argued to be outdated and repeated, and why such a thing can prove detrimental to the development of future games and to developers. The necessity of these design choices of factions will be outlined through design fundamentals regarding games, as well as through research of strategy games and how they employ factions through their semi-historical inspiration sources. The functionality of those design choices will be considered through heuristic evaluation and then determined what key components are necessary to the overall gameplay of such games. Gamemaker will also be discussed as a means of creating these systems in games and the limitations and opportunities presented by using that programming software.

Hur kan hyperobjekt och critical design kombineras för att ge en bredare förståelse av människans påverkan på vatten, och till mindre del vind, i bäckar, åar och andra kroppar av vatten? I mitt kandidatarbete har jag siktat på att kombinera critical design och hyperobjekt och försökt sätta dem sida vid sida genom analys och reflektion av Dunne & Raby (u.d.) och Morton (2013) (och ett flertal andra artiklar relaterade till ämnet) som nära relaterade ämnen för att förenkla och konkretisera dem. Genom visualisering vill jag visa hur naturen har en egen agens, och hur vi som människor påverkar denna vilja. Genom en artefakt som tar vinden och vattnets kraft och ger den form på ett papper hjälper jag att visa naturens agens. De gestaltningar som jag får fram fungerar som åskådarens inblick i naturens vilja, ett fönster för att förstå naturen på ett sätt som hen inte har gjort förut. “Naturens vilja” förklaras genom historiska och geologiska fenomen och hur vi människor som ett enat samhälle påverkar den. I kandidatarbetet tar jag även upp relaterad litteratur för att ge en inblick i hur dessa ämnen ses av forsknings och filosofi-samhället. Detta för att kunna relatera mitt arbete till andras mer än bara visuellt och ytligt. Jag hoppas med denna artikel att vårt samhälle kan förstå vår påverkan på naturen på ett nytt sätt, eller att den förändrar en persons synvinkel om ens en gnutta. Den ska inte tvinga till förändring, men snarare leda till upplysning och kritiskt tänkande hos individen. Slutligen tas vidare forskning och inspiration upp, detta för att bygga vidare min gestaltning och forskning för framtida arbeten, och därefter summeras mitt arbete med retrospektiv. / How can hyperobjects and critical design be combined to give a broader understanding of man’s influence on water and wind in rivers and other kinds of bodies of water. This article has aimed to combine critical design and hyperobjects and tried to put them side to side through analysis and reflection of Dunne & Raby (n.d) and Morton (2013) (and a number of other articles related to the theme) as closely related things to simplify and concretize two broad themes. Through visualisation I show how nature has its own agency, and how we as humans influence this will. Through an artefact that picks up water and wind’s force and gives it form on a piece of paper I help show nature’s agency. The pictures I create work as the viewer’s window into nature’s will, a window to understand nature in a way that they have not before. “Nature’s will” is explained through historical and geological phenomena and how we as a human society influence this will. The article also brings up related literature to give an idea how these themes are viewed by the science and philosophy communities. With this article I hope that our society can understand what influences nature in new ways, or that it changes a person's way of viewing things, even if just a little. It does not aim to force change, but rather hopes to enlightenment and critical thinking in the individual. Finally, further research and inspiration is brought forward, to build upon my design work and research for future work. My work is summarized in a retrospective after this.

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Studien utforskar ett arbetsperspektiv för produktdesigners i användningen av prototyper, och bidrar därmed till efterfrågan av mer kunskap kring prototypen som verktyg eller metod inom designområdet. Baserat på en hypotes kring appliceringen av externa teorier i utvecklingen och användningen av prototyper, utforskar studien detta genom temat entomofagi som är praktiken av att äta insekter. Studiens övergripande metodik är av kvalitativ karaktär, förstudien använder sig av desktop research, en intervju och ett studiebesök. Det efterföljande designarbetet består av två designexperiment, det första som en intervention tillsammans med en observation och det andra som en digital probe. Designexperimenten utfördes iterativt och den insamlade datan analyserades tematiskt. Insikter från dessa experiment sammanställdes och analyserades mot huvudfrågan, som lyder hur kan produktdesignerns förståelse om prototypen breddas genom ett prototyparbete grundat i provokation? Studien resulterade i en arbetsmodell för produktdesigners som arbetar med designprocesser inom området kritisk och spekulativ design. Arbetsmodellen kallas Tubkikaren, den hjälper designpraktiker att definiera utgångspunkten och avsikten bakom valet och utvecklingen av prototyper i designprocesser. Modellen bär potentialen att underlätta designprocessen och utvecklingen av prototyper på en individuell nivå, samt utgör en möjlig grund för vidare utforskning av prototyper och designmetodik. / The study explores a possibility of how product designers can work with the method prototype, and thus make a contribution to the request for more knowledge about the prototype as a tool or method within the design field. Based on a hypothesis around the application of external theories in the developement and use of prototypes, the study explores this possibility through the theme of enthomophagy which is the practice of eating insects. The overall methodology of the study is qualitative, the pilot study conducts desktop research, an interview and a study visit. The following design work consists of two designexperiments, the first one as a public intervention paired with an observation and the second as a digital probe. The designexperiments were conducted iteratively and the data collected from the these is analyzed thematically. Finally, the insights collected from the designexperiments are gathered and analyzed against the main question, which is how can designers understanding of prototypes be broadened through design work based in provocation? The study resulted in a work modell for product designers that work with design processes within the area of critical and speculative design. The work model is called the Spotting Scope, and is inspired by its namesake. It helps design practitioners to define the starting point and intention behind the choice and developement of prototypes in design processes. This model carries the potential to alliviate the design process and development of prototypes on a individual level. It also carries the potential for creating a base for further exploration of prototypes and design methodology.

Certain unique sights and sounds of video games from the 1980s and 1990s have been codified as a retro game style, celebrated by collectors, historians, and game developers alike. In this report, I argue that this nostalgic celebration has escaped critical scrutiny and in particular omits the diverse experiences of girls and women who may have been alienated by the tough, intimidating nature of a twentieth-century video-game culture that was primarily created by and for boys. Indeed, attempts to attract girls to gaming, such as the 1990s girls' game movement, are usually criticized in or absent from mainstream video-game histories, and girly video games are rarely viewed with the same nostalgic fondness as games like Super Mario Bros. This condition points to a larger cultural practice of trivializing media for girls and, by extension, girlhood and girls themselves. My critical design response to this condition has been twofold. First, I have recuperated and resituated twentieth-century girly games as collectible, valuable, and nostalgic, thereby subverting conventional historical narratives and suggesting that these games have inherent cultural value. Second, I have created new works that reimagine 8-bit style as an expression of nostalgia for twentieth-century girlhood rather than for twentieth-century boyhood. This report contains documentation of some relevant projects I have undertaken, such as the creation of a video-game museum and an 8-bit video game called Electronic Sweet-N Fun Fortune Teller. In these projects and in future works, I hope to disrupt dominant narratives about video game history and nostalgia that continue to marginalize and trivialize girls' and women's experiences and participation in contemporary game cultures. / text

Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.