Search results

Numerous design methods are available to facilitate digital innovation processes in user interface design. Nonetheless, little guidance exists on their appropriate selection within the design process based on specific situations. Consequently, design novices with limited design knowledge face challenges when determining suitable methods. Thus, this paper aims to support design novices by guiding the situational selection of design methods.

Our research approach includes two phases: i) we adopted a taxonomy development method to identify dimensions of design methods by reviewing 292 potential design methods and interviewing 15 experts; ii) we conducted focus groups with 25 design novices and applied fuzzy-set qualitative comparative analysis to describe the relations between the taxonomy's dimensions.

We developed a novel taxonomy that presents a comprehensive overview of design conditions and their associated design methods in innovation processes. Thus, the taxonomy enables design novices to navigate the complexities of design methods needed to design digital innovation. We also identify configurations of these conditions that support the situational selections of design methods in digital innovation processes of user interface design.

The study’s contribution to the literature lies in the identification of both similarities and differences among design methods, as well as the investigation of sufficient condition configurations within the digital innovation processes of user interface design. The taxonomy helps design novices to navigate the design space by providing an overview of design conditions and the associations between methods and these conditions. By using the developed taxonomy, design novices can narrow down their options when selecting design methods for their specific situations.

This study aims to investigate how art events can enrich novice visitors by transforming their practices.

This research uses an interpretive case study of the art exhibition “1/1/1/1/1” in the Oppenheim gallery in Wroclaw. It draws on multiple sources of evidence, namely, novice visitors’ interviews, observation including photo studies and content analysis of art-makers’ mediation sources. This study is an example of contextual theorizing from case studies and participatory action research with researchers as change agents.

The evidence highlights that aesthetic values and experiences are contextual to practices and are transformable into other values. The findings illustrate the role of practice theory in studying how art-makers inspire the transformation of practices, including values driving the latter.

The findings provide implications for transformations of co-creating contextual values in contemporary visual art consumption and customer experience management.

Practical implications to arts organizations are also provided regarding cultural mediation conducted by art-makers. Exhibition makers should explain the meanings of the particularly visible artefacts to allow visitors to develop a congruent understanding of the meanings. The explanations should not provide ready answers or solutions to the problem art-makers suggest to rethink.

The social implication of our findings is that stakeholders in artistic ventures may undertake adequate, qualified and convergent actions to maintain or transform the defined interactive practices between them in co-creating contextual aesthetic values.

The study provides new insights into co-creating values in practices in the domain of contemporary art exhibitions by bringing the practice theory together with an audience enrichment category, thus illustrating how novice visitors get enriched by transforming their practices led by contextual values of “liking” and “understanding”.