Design and Imagination
Design and Imagination
Design and Imagination
Introduction
Acommonfeatureoftechnological activity, no matter what outcome is in mind, is the ability to design. In common with technology, design is difficult to define briefly although the general statement that it is "the exercise of imagination in the specification of form" captures much of what is involved. This article describes about design and imagination.
Aim of design
Theaimofdesignisto give some form, pattern, structure, or arrangement to an intended technological product so that it is an integrated and balanced whole which will do what is intended. Designing often begins with an idea in a person's mind and the designer has to be able to envisage situations, transformations, and outcomes, and model these in the mind's eye. In the 19th century James Nasmyth, when describing how he had invented his steam pile driver, said that the machine "was in my mind's eye long before I saw it in action"; he could "build up in the mind mechanical structures and set them to work in imagination". Much of this thinking is non-verbal and visual; it also involves creativity, including the ability to put together ideas in new ways. Sometimes this is a solitary activity, and was often thus in the past, but many designers today work in teams where discussion, sketches, and other visual representations, as well as analogies and ideas plucked from apparently unconnected fields, can all help the process.
Problem
Oneproblemwhichdesigners face is that the requirements that a product has to fulfil are not always compatible: ease of maintenance, for example, may conflict with cost and aesthetic appearance; safety considerations may not be reconciled easily with completion of the work by the deadline; and materials chosen on technical grounds for their suitability may raise concerns on environmental or moral grounds (for example, waste disposal difficulties; production by unacceptable methods such as exploited labour). Compromise and optimization are necessary when designing.
Designingissometimes represented as a linear or a looped set of processesstarting with identification of a problem or requirement, followed by generation of ideas for solutions; selection of a promising design option is then detailed, made, and finally evaluated. In reality the processes are almost always less orderly than this. Experience from making, for instance, can feed back and lead to modifications in the design. Also, evaluation is an on-going process throughout the stages. It is also the case that the processes of designing can differ according to the product involved. For example, designing active matrix liquid crystal displays, involving the use of basic scientific research, is different from designing corkscrews or mousetraps. Similarly, designing for manufacture on a large scale may require modifications to an artefact that was designed for use, but only as a one-off product.
Imagination
Imagination, conscious mental process of evoking ideas or images of objects, events, relations, attributes, or processes.
Imagination, perception (the conscious integration of sensory impressions of external objects and events), and memory (the mental evocation of previous experiences) are essentially similar mental processes. This is particularly true when their content consists of sensory images. Psychologists occasionally distinguish between imagination that is passive or reproductive, by which mental images originally perceived by the senses are elicited, and imagination that is active, constructive, or creative, by which the mind produces images of events or objects that are either insecurely related or unrelated to past and present reality. At one time the term imagination included the reviving or "recollecting" processes (memory), as well as the process of creating mental images (imagination). The present stricter definition of imagination excludes and contrasts with that of memory, as the concept of forming something new contrasts with that of reviving something old.
When an imagined and a real perception are simultaneous, the imagined perception may be confused with or even mistaken for the true perception. One objectively measurable example of this phenomenon is synesthesiaan experience in which the stimulation of one sense elicits a perception that ordinarily would be elicited had another sense been stimulated, as when a loud noise registers as a blinding light, or vice versa.
Events and objects that apparently are perceived while dreaming are examples of imaginative exercises that are neither verifiable nor repeatable. In all these psychological events, imagination takes over the functions of perception. The most extreme examples of this kind of confusion are the hallucinations suffered by victims of severe mental disorders such as schizophrenia. When a genuine perception is assumed by the individual to be an imagined one, an opposite error is said to exist; this rare occurrence can be induced in the laboratory under experimental conditions, as in one well-known case in which subjects are asked to imagine a scene or object on a screen, upon which, unknown to them, the same scene or object has been dimly projected. The subject almost invariably believes that the projected image is the product of their own imagination even when it does not correspond exactly with the imagined perception.
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