Balcıoğlu 4T Design Research Award will be given to the best paper that is presented to the 2019 4T Symposium, Design & Authority. The Award will be 250 Euros. Papers will be evaluated by an international Selection Committee specially configured for this purpose.
The application process:
1. An email should be sent to the Secretary of the Committee, Dr. Özlem Altınkaya (email@example.com). The email should include full name and contact details of the author(s) and the full paper but without the name(s) of the author(s) on it.
2. The paper must be original and not be presented or published elsewhere. It should be no longer than 4000 words (excluding the bibliography).
3. The deadline for receiving the full paper is April 15, 2019, 11:59 pm Turkish time.
The Award will be announced during the 4T symposium.
The Selection Process:
Papers received will be sent to the members of the Selection Committee. Each will be read by a minimum of two members and evaluated against the criteria set out below.
A blind review process will be managed by the Secretary who will assign a number to each paper to ensure that the identity of authors cannot be revealed before the papers sent to the Selection Committee members.
Members of the Selection Committee shall decline to evaluate papers if there is a conflict of interest. Papers by relatives, students, colleagues, and co-authors fall into this category.
The Selection Method:
Based on the criteria listed below each paper will be given a score of 0 – 10 against each criterion, 0 being the lowest, 10 the highest score. Half points can also be used if required. Each criterion has a weighting as indicated.
The reviewers will give papers a score against each criterion, multiply the score by the weighting and then add these to produce a total grade for a paper. The grades of each paper will be forwarded to the Secretary of the Committee. The threshold for the award is the minimum grade of 8. Those receiving grades higher than 8 will be listed and the highest scoring two papers will be forwarded to all members of the Selection Committee who will vote for the final judgement. The paper with the highest vote will be given the Award. In the event of a tie, the Secretary will have the casting vote.
The Selection Criteria:
1. Appropriateness (weighting 0,30)
The paper is expected to address to the principal theme of the Symposium
2. Originality (weighting 0.25)
Originality as a new method, empirical result, theoretical perspective and innovative interpretations
3. Quality of the debate (weighting 0.20)
Critical analyses of research findings, hypothesis, theories, concepts and ideas
4. Positioning (weighting 0,15)
Clear positioning of paper with reference to international literature
5. Writing style (weighting 0.10)
Accuracy, clarity, readability, and organization of the paper
4T Design and Design History Association, Annual Symposium, 2019 May 2-4 2019, İzmir, Turkey The coupling of design and authority in a Google search, the “internet search authority,” surprisingly results in entries which have more to do with the procedural and legislative aspects related to design: The “authority” issues rules for which the product of design or the designer has to comply with, or claims privilege in shaping the design product. Authority is usually attributed to an agent of enforcement regulating products and to an extent, that those produce design. Understood as a form of legitimized power, authority is realized only by the mutual recognition of those who hold power and those who do not. A cliché argues that Italians cannot leave their moka pots behind when they go on a holiday, or the Turkish obsessively want their tea served in a specific type of glass, Japanese cars will nev-er reach the quality level of the Germans, the Chinese are the new rulers of the world of electronic gadgets and so on. Another recounts the obsession of those who hold possession of a unique or rare object carrying the signature of a famous designer and how it’s valued. How do we account for the authority of designed objects in our daily lives, or in the way we value other cultures? Digital culture, on the other hand, independent of any geographical, national boundaries, has been enthusiastically embracing all kinds of sharing platforms and collaborative tools. Digital design culture seems to have built its own peculiar collaborative environment. This collaboration does away with authorship by way of open-source software (which are generally not de-vised by designers), or by acts like taking and modifying scripts, utilizing algorithms shared on-line by various designers. Our way of teaching is, therefore, heavily influenced by the way we learn, question, think about and produce design. Call it the “digital elimination of authorship” or the “digital design knowledge of many hands,” old authorial notions of intellectual property and copyright often remain meaningless in such a collaborative environment. Taking these subject headings as possible strands we welcome contributions from all design-related disciplines and fields that address questions such as, but not limited to:
- In what ways do design and authority come together?
- How does design exert authority?
- How can design resist authority?
- How does authority shape design in shaping itself, its powers?
- How do products of design have authority over lives, cultures, countries, histories or how do they lose the authority they once had?
- When does design become complicit with authority in creating authoritarian structures?
- How does authoritarianism enforce design regimes that hold sway over the field of cultural production?
- In what ways can one explain the relationship of authorship, design and authority?
- Is it possible to talk about the authority of collective authorship in design?
Erdem ERTEN, Izmir Institute of Technology / 4T
Evren BAŞBUĞ, Studio Evren Başbuğ
Murat ARIKUT, ma | d design and consulting
Zehra AKDEMİR, İzmir Metropolitan Municipality
20 October 2018 Saturday 11:00
Good Design Izmir, Kültürpark (Culture Park)