Essay: Niklas Jung
Inwiefern ist Behavioural Design eine Form von Nudging?
JUL 2024
Spätestens seit der Veröffentlichung des Buches „Nudge: Improving decisions about health, wealth, and happiness“ von Thaler und Sunstein aus dem Jahr 2008 ist das Konzept der Nudges für viele Disziplinen von Interesse. Dabei behandeln nicht nur Verhaltenswissenschaftler oder Ökonomen das Thema, sondern auch die Philosophie beschäftigt sich vermehrt mit Nudges und ihrer alltäglichen Anwendung. Deshalb beschäftigt sich dieser Text mit designten Nudges, die sich im Überlappungspunkt aus Behavioral Economics, Philosophie und Design bewegen und die Frage aufwerfen, inwiefern Behavioural Design eine Form des Nudgings sein kann – und, wenn die Philosophie ohnehin involviert ist – ob Nudges übehaupt ethisch sind.
Der Begriff ‚Nudge‘ wird spätestens durch das gleichnamige Buch von dem Verhaltensökonom Richard Thaler und dem Rechtswissenschaftler Cass Sunstein im Jahr 2008 prominent. Sie beschreiben, wie man durch einfache Modifikationen in der „choice architecture“ die Entscheidungen von Gruppen beeinflussen kann. (Clavien (2018) S. 366–382, Vgl. S. 366.) Diejenigen, welche die Nudges einsetzen, also die Nudgenden, können Politiker, Unternehmer, Städteplaner etc. sein. Nudges werden eingesetzt, um eine betroffene Zielgruppe in eine gewisse vorhergesehene Richtung zu ‚schubsen‘, also zu nudgen. Das wird durch sogenannte „soft interventions“ oder durch leichte Anreize gewährleistet. (Clavien (2018) S. 366.) Die Anreize sollten nicht zu hoch sein und die ursprünglichen Optionen sollten nach der Intervention durch das Nudging noch gewährleistet sein. Folglich werden keine konkreten Verbote durch Nudges ausgedrückt. Darüber hinaus sollte es möglich sein, sich den Nudges gegenüber renitent zu verhalten. Es ginge nicht darum, dass man neue Ziele bei den Betroffenen, den Genudgden, formulieren möchte. Viel eher sei es die Aufgabe, die Betroffenen bei ihren eigentlichen Zielen zu unterstützen. Nudges sollen einer Entscheidungsschwäche oder psychologischen Voreingenommenheit entgegenwirken und diese schwächen. (Samuli, Kuorikoski, Ehrig, Katsikopoulos (2018): 99-105, Vgl. S. 99.) Die Betroffenen sollen zu einer Entscheidung geführt werden, mit welcher sie zufrieden sind, und das Wohlbefinden der Menschen soll durch diese Interventionen gesteigert werden. Clavien skizziert ein treffendes Beispiel zur Veranschaulichung von Nudges. Ein Unternehmen könnte anstelle von gewöhnlichen grauen Treppenstufen besser leuchtend bunte verwenden, um die Leute dazu zu bringen, häufiger die Treppen zu nutzen als mit dem Fahrstuhl zu fahren. (Clavien (2018) Vgl. S. 366.)
Human-AI Co-Creativity and Design
The American Psychological Association defines creativity as “The ability to produce or develop original work, theories, techniques, or thoughts.“ By this definition creativity can be seen as merely a tool that is not necessarily linked to humans. While humans may arguably be the most creative species other animals, too, show creative behaviour (Laland, 2020). Thus it can be argued that non biological systems could exhibit creativity.
Amidst the large-scale integration of AI, concerns may arise about the relevance of human designers in the future. However, it's essential to recognize that creativity is just one facet of the multidimensional design processes we describe an implement today (Bobbe et. al 2016). Design is inherently holistic and human-centered, emphasizing the importance of human input in understanding context, emotions, and cultural nuances. Moreover, history has shown that design as a discipline evolves alongside technological advancements, constantly adapting and innovating in response to change. As Alfonso Montuori highlights in the Encyclopedia of the Sciences of Learning, “[a] new emphasis on ‘everyday’ and ‘social’ creativity is shifting the focus from individual genius […] to collaborative creativity in everyday life […]” (Montuori &Alfonso, 2012). This makes abundantly clear that it is imperative for the field to understand the role AI can—and will—play in design processes and workflows to be able to define the future roles of human designers. It is important to clearly identify areas of human expertise, develop new skills and competencies, create more efficient workflows, and enhance human-AI collaboration, thereby ensuring that human designers stay relevant in an AI-augmented design landscape.
What do you think about this revision: Human-AI Co-Creativity can be seen as a perspective to holistically integrate the technology into today's processes, creating powerful synergies. For example, AI can aid research, the creation of briefings, customer personas, as well as help with design conception by rapidly generating countless iterations. However, to fully leverage the potential of AI, designers must actively seek out opportunities to tailor these tools to their specific needs and workflows, rather than simply relying on AI products offered by companies thus potentially limiting their scope. By doing so, designers can create customized AI solutions that augment their unique strengths and working styles, unlocking new levels of creativity and productivity.
Ethical and Legal Considerations
Beyond technological advancements, it's necessary to address ethical and legal considerations surrounding AI in design. As AI influences decision-making processes and generates content, issues of bias, privacy, and accountability, plagiarism come to the forefront. Designers must advocate for responsible AI usage, championing transparency, fairness, and inclusivity. It is however vital to keep in mind that the ongoing transformation does not only affect the design discipline and needs a much broader discourse, involving policymakers, industry leaders, educators, and the general public to ensure that the development and deployment of AI aligns with societal values and promotes a more equitable and sustainable future.
Regulatory frameworks like the EU AI Act (2024) set a comprehensive framework for the development and deployment of trustworthy AI in Europe. The Act aims to address the risks associated with AI, including bias, privacy, and accountability. By providing clear requirements and obligations for AI developers and deployers, the Act seeks to ensure that AI systems respect fundamental rights, safety, and ethical principles. The Act's risk-based approach categorizes AI systems into four levels of risk, with stricter obligations for high-risk applications, such as those used in critical infrastructures, education, and law enforcement.
Furthermore ethical guidelines like the “Manifesto for Collaboration” proposed by Vinchon et al. (2023) and modeled after Isaac Asimov’s “Three Laws of Robotics” (1950) need to be discussed, ensuring alignment of AI with societal values and ethical principles. In their manifesto, they propose four laws that cover plagiarism, harmful content, human-AI collaboration, and transparency in AI-generated content, therebypromoting responsible AI development and use.
Rethinking the Concept of Creativity
The proposed concept of “Extended Creativity” within the framework of the Extended Mind Thesis (Clark & Chalmers 1998) offers a compelling perspective on the integration of AI in design, emphasizing the importance of keeping the human at the center of the creative process. By viewing AI as an extension of human creativity, rather than a replacement, we preserve the essential role of human agency and ingenuity in design.
AI serves as a powerful tool to augment human cognitive abilities, allowing the exploration of new avenues of creativity and problem-solving. However, it is crucial to recognize that AI today operates within the parameters set by humans, reflecting their intentions, values, and creative vision. In this way, AI becomes a collaborator and enabler, rather than a substitute for human creativity.
The symbiotic relationship between humans and AI, exemplified by concepts such as Mixed- Initiative Creative Interfaces (MICI) (Deterding et al., 2017) and Human-AI Co-Creativity (Liapis et al., 2016), underscores the idea that creativity emerges from the dynamic interaction between human intuition, expertise, and AI-driven insights. Designers can leverage AI to amplify their creative potential, while AI benefits from human guidance and contextual understanding.
Furthermore, by embracing AI as Extended Creativity, designers reaffirm their central role in shaping the design process and outcomes. Human skills such as empathy, intuition, and cultural sensitivity remainin dispensable, guiding the interpretation of AI-generated insights and ensuring that designs resonate with human needs and values.
In conclusion, the concept of Extended Creativity offers a human-centered approach to integrating AI in design, emphasizing the collaborative partnership between humans and technology. By acknowledging AI as an expansion of human creativity, designers can harness its potential to expand their creative horizons while maintaining control over the design process. This perspective reinforces the importance of human agency, intuition, and ethical responsibility in navigating the evolving landscape of AI in design. As we continue to explore the possibilities of AI-enabled creativity, it is essential to remain mindful of the unique contributions that humans bring to the design process and strive towards creating inclusive, meaningful, and ethically responsible designs that enrich the human experience.
BODY OF KNOWLEDGE
Felix Dölker and Florian Schunck founded their design studio schunck dölker in 2015. Their portfolio focuses on corporate design and web design, while also including the design of print media, exhibitions and installations. Felix Dölker is also a board member of the Deutscher Werkbund Hessen e.V.. The non-profit association, which is part of the Federal Association of German Werkbünde, promotes interdisciplinary exchange, young designers and the critical examination of developments such as the widespread availability of AI tools.
→ felixdoelker.de
Ali, Basma Nashaat & Elzeni, Mostafa (2024) Ai-Acd: A Proposed Workflow of Ai-Powered Architectural Computational Design Process. Available at
→ SSRN: https://ssrn.com/abstract=4691649 or
→ https://dx.doi.org/10.2139/ssrn.4691649
Botha, Marc (2019, January 21). Artificial Intelligence is just a Tool, accessed 28 February 2024,
→ Artificial Intelligence is just a Tool | by Marc Botha | Towards Data Science
Xiao, L., Wu, Q. (2024). From Auxiliary Design Tools to Intelligent Collaborative Partners: The Transformation of the Relationship Between Design and Computing. In: Stephanidis, C., Antona, , Ntoa,S., Salvendy, G. (eds) HCI International 2023 – Late Breaking Posters. HCII 2023. Communications in Computer and Information Science, vol 1958. Springer, Cham.
→ https://doi.org/10.1007/978-3-031-49215-0_12
Deterding, S., Hook, J., Fiebrink, R., Gillies, M., Gow, J., Akten, M., Smith, G., Liapis, A., & Compton, K. (2017). Mixed-Initiative Creative Interfaces. In Proceedings of the 2017 CHI Conference Extended Abstracts on Human Factors inComputing Systems (CHI EA '17). Association for Computing Machinery, New York, NY, USA, 628–635.
→ https://doi.org/10.1145/3027063.3027072
Library of Mixed-Initiative Creative Interfaces, accessed 28 February 2024,
→ http://mici.codingconduct.cc/
Liapis, A, Yannakakis, G.N., Alexopoulos, C., & Lopes, P.L. (2016). Can Computers Foster HumanUsers’ Creativity? Theory and Praxis of Mixed-Initiative Co-Creativity. Digital Culture & Education, 8.
Wu, Zhuohao & Ji, Danwen & Yu, Kaiwen & Zeng, Xianxu & Wu, Dingming & Shidujaman, Mohammad. (2021). AI Creativity and the Human-AI Co-creation Model.
→ https://doi.org/10.1007/978-3-030-78462-1_13.
American Psychological (n.d.). Creativity. In APA Dictionary of Psychology, accessed June 17, 2024, from
→ APA Dictionary of Psychology
Laland, Kevin (2017, April 20) These amazing creative animals show why humans are the most innovative species of all. The Conversation.
→ https://theconversation.com
Bobbe, T., Krzywinski, J., & Woelfel, C., (2016). A Comparison of Design Process Models from Academic Theory and Professional Practice.
→ https://www.designsociety.org/download-publication/38931
Montuori, Alfonso (2012). Creativity and Its In Encyclopedia of the Sciences of Learning (1st ed., p. 837). Springer New York.
→ https://doi.org/10.1007/978-1-4419-1428-6
Vinchon, F., Lubart, T., Bartolotta, S., Gironnay, V., Botella, M., Bourgeois-Bougrine, S., Burkhardt, -M., Bonnardel, N., Corazza, G.E., Glăveanu, V., Hanchett Hanson, M., Ivcevic, Z., Karwowski, M., Kaufman, J.C., Okada, T., Reiter-Palmon, R. & Gaggioli, A. (2023), Artificial Intelligence & Creativity: A Manifesto for Collaboration. J Creat Behav, 57: 472-484.
→ Artificial Intelligence & Creativity: A Manifesto for Collaboration - Vinchon - 2023 - The Journal of Creative Behavior - Wiley Online Library
Asimov, Isaac (1950). “Runaround“. I, Robot (The Isaac Asimov Collection ed.). New York City: Doubleday. p. 40.
→ ISBN 978-0-385-42304-5.
Sabeth's podcast recommendation
Sabeth first came into contact with the idea of a symbiosis between AI and humans in the podcast "Search Engine". The episode "Who should be in charge of AI?" is about OpenAI and - of course - also briefly features Elon Musk, who touches on the concept.
→ https://open.spotify.com/episode
Essay: Niklas Jung
Inwiefern ist Behavioural Design eine Form von Nudging?
JUL 2024
Spätestens seit der Veröffentlichung des Buches „Nudge: Improving decisions about health, wealth, and happiness“ von Thaler und Sunstein aus dem Jahr 2008 ist das Konzept der Nudges für viele Disziplinen von Interesse. Dabei behandeln nicht nur Verhaltenswissenschaftler oder Ökonomen das Thema, sondern auch die Philosophie beschäftigt sich vermehrt mit Nudges und ihrer alltäglichen Anwendung. Deshalb beschäftigt sich dieser Text mit designten Nudges, die sich im Überlappungspunkt aus Behavioral Economics, Philosophie und Design bewegen und die Frage aufwerfen, inwiefern Behavioural Design eine Form des Nudgings sein kann – und, wenn die Philosophie ohnehin involviert ist – ob Nudges übehaupt ethisch sind.
Der Begriff ‚Nudge‘ wird spätestens durch das gleichnamige Buch von dem Verhaltensökonom Richard Thaler und dem Rechtswissenschaftler Cass Sunstein im Jahr 2008 prominent. Sie beschreiben, wie man durch einfache Modifikationen in der „choice architecture“ die Entscheidungen von Gruppen beeinflussen kann. (Clavien (2018) S. 366–382, Vgl. S. 366.) Diejenigen, welche die Nudges einsetzen, also die Nudgenden, können Politiker, Unternehmer, Städteplaner etc. sein. Nudges werden eingesetzt, um eine betroffene Zielgruppe in eine gewisse vorhergesehene Richtung zu ‚schubsen‘, also zu nudgen. Das wird durch sogenannte „soft interventions“ oder durch leichte Anreize gewährleistet. (Clavien (2018) S. 366.) Die Anreize sollten nicht zu hoch sein und die ursprünglichen Optionen sollten nach der Intervention durch das Nudging noch gewährleistet sein. Folglich werden keine konkreten Verbote durch Nudges ausgedrückt. Darüber hinaus sollte es möglich sein, sich den Nudges gegenüber renitent zu verhalten. Es ginge nicht darum, dass man neue Ziele bei den Betroffenen, den Genudgden, formulieren möchte. Viel eher sei es die Aufgabe, die Betroffenen bei ihren eigentlichen Zielen zu unterstützen. Nudges sollen einer Entscheidungsschwäche oder psychologischen Voreingenommenheit entgegenwirken und diese schwächen. (Samuli, Kuorikoski, Ehrig, Katsikopoulos (2018): 99-105, Vgl. S. 99.) Die Betroffenen sollen zu einer Entscheidung geführt werden, mit welcher sie zufrieden sind, und das Wohlbefinden der Menschen soll durch diese Interventionen gesteigert werden. Clavien skizziert ein treffendes Beispiel zur Veranschaulichung von Nudges. Ein Unternehmen könnte anstelle von gewöhnlichen grauen Treppenstufen besser leuchtend bunte verwenden, um die Leute dazu zu bringen, häufiger die Treppen zu nutzen als mit dem Fahrstuhl zu fahren. (Clavien (2018) Vgl. S. 366.)
Human-AI Co-Creativity and Design
The American Psychological Association defines creativity as “The ability to produce or develop original work, theories, techniques, or thoughts.“ By this definition creativity can be seen as merely a tool that is not necessarily linked to humans. While humans may arguably be the most creative species other animals, too, show creative behaviour (Laland, 2020). Thus it can be argued that non biological systems could exhibit creativity.
Amidst the large-scale integration of AI, concerns may arise about the relevance of human designers in the future. However, it's essential to recognize that creativity is just one facet of the multidimensional design processes we describe an implement today (Bobbe et. al 2016). Design is inherently holistic and human-centered, emphasizing the importance of human input in understanding context, emotions, and cultural nuances. Moreover, history has shown that design as a discipline evolves alongside technological advancements, constantly adapting and innovating in response to change. As Alfonso Montuori highlights in the Encyclopedia of the Sciences of Learning, “[a] new emphasis on ‘everyday’ and ‘social’ creativity is shifting the focus from individual genius […] to collaborative creativity in everyday life […]” (Montuori &Alfonso, 2012). This makes abundantly clear that it is imperative for the field to understand the role AI can—and will—play in design processes and workflows to be able to define the future roles of human designers. It is important to clearly identify areas of human expertise, develop new skills and competencies, create more efficient workflows, and enhance human-AI collaboration, thereby ensuring that human designers stay relevant in an AI-augmented design landscape.
What do you think about this revision: Human-AI Co-Creativity can be seen as a perspective to holistically integrate the technology into today's processes, creating powerful synergies. For example, AI can aid research, the creation of briefings, customer personas, as well as help with design conception by rapidly generating countless iterations. However, to fully leverage the potential of AI, designers must actively seek out opportunities to tailor these tools to their specific needs and workflows, rather than simply relying on AI products offered by companies thus potentially limiting their scope. By doing so, designers can create customized AI solutions that augment their unique strengths and working styles, unlocking new levels of creativity and productivity.
Ethical and Legal Considerations
Beyond technological advancements, it's necessary to address ethical and legal considerations surrounding AI in design. As AI influences decision-making processes and generates content, issues of bias, privacy, and accountability, plagiarism come to the forefront. Designers must advocate for responsible AI usage, championing transparency, fairness, and inclusivity. It is however vital to keep in mind that the ongoing transformation does not only affect the design discipline and needs a much broader discourse, involving policymakers, industry leaders, educators, and the general public to ensure that the development and deployment of AI aligns with societal values and promotes a more equitable and sustainable future.
Regulatory frameworks like the EU AI Act (2024) set a comprehensive framework for the development and deployment of trustworthy AI in Europe. The Act aims to address the risks associated with AI, including bias, privacy, and accountability. By providing clear requirements and obligations for AI developers and deployers, the Act seeks to ensure that AI systems respect fundamental rights, safety, and ethical principles. The Act's risk-based approach categorizes AI systems into four levels of risk, with stricter obligations for high-risk applications, such as those used in critical infrastructures, education, and law enforcement.
Furthermore ethical guidelines like the “Manifesto for Collaboration” proposed by Vinchon et al. (2023) and modeled after Isaac Asimov’s “Three Laws of Robotics” (1950) need to be discussed, ensuring alignment of AI with societal values and ethical principles. In their manifesto, they propose four laws that cover plagiarism, harmful content, human-AI collaboration, and transparency in AI-generated content, therebypromoting responsible AI development and use.
Rethinking the Concept of Creativity
The proposed concept of “Extended Creativity” within the framework of the Extended Mind Thesis (Clark & Chalmers 1998) offers a compelling perspective on the integration of AI in design, emphasizing the importance of keeping the human at the center of the creative process. By viewing AI as an extension of human creativity, rather than a replacement, we preserve the essential role of human agency and ingenuity in design.
AI serves as a powerful tool to augment human cognitive abilities, allowing the exploration of new avenues of creativity and problem-solving. However, it is crucial to recognize that AI today operates within the parameters set by humans, reflecting their intentions, values, and creative vision. In this way, AI becomes a collaborator and enabler, rather than a substitute for human creativity.
The symbiotic relationship between humans and AI, exemplified by concepts such as Mixed- Initiative Creative Interfaces (MICI) (Deterding et al., 2017) and Human-AI Co-Creativity (Liapis et al., 2016), underscores the idea that creativity emerges from the dynamic interaction between human intuition, expertise, and AI-driven insights. Designers can leverage AI to amplify their creative potential, while AI benefits from human guidance and contextual understanding.
Furthermore, by embracing AI as Extended Creativity, designers reaffirm their central role in shaping the design process and outcomes. Human skills such as empathy, intuition, and cultural sensitivity remainin dispensable, guiding the interpretation of AI-generated insights and ensuring that designs resonate with human needs and values.
In conclusion, the concept of Extended Creativity offers a human-centered approach to integrating AI in design, emphasizing the collaborative partnership between humans and technology. By acknowledging AI as an expansion of human creativity, designers can harness its potential to expand their creative horizons while maintaining control over the design process. This perspective reinforces the importance of human agency, intuition, and ethical responsibility in navigating the evolving landscape of AI in design. As we continue to explore the possibilities of AI-enabled creativity, it is essential to remain mindful of the unique contributions that humans bring to the design process and strive towards creating inclusive, meaningful, and ethically responsible designs that enrich the human experience.
BODY OF KNOWLEDGE
Felix Dölker and Florian Schunck founded their design studio schunck dölker in 2015. Their portfolio focuses on corporate design and web design, while also including the design of print media, exhibitions and installations. Felix Dölker is also a board member of the Deutscher Werkbund Hessen e.V.. The non-profit association, which is part of the Federal Association of German Werkbünde, promotes interdisciplinary exchange, young designers and the critical examination of developments such as the widespread availability of AI tools.
→ felixdoelker.de
Ali, Basma Nashaat & Elzeni, Mostafa (2024) Ai-Acd: A Proposed Workflow of Ai-Powered Architectural Computational Design Process. Available at
→ SSRN: https://ssrn.com/abstract=4691649 or
→ https://dx.doi.org/10.2139/ssrn.4691649
Botha, Marc (2019, January 21). Artificial Intelligence is just a Tool, accessed 28 February 2024,
→ Artificial Intelligence is just a Tool | by Marc Botha | Towards Data Science
Xiao, L., Wu, Q. (2024). From Auxiliary Design Tools to Intelligent Collaborative Partners: The Transformation of the Relationship Between Design and Computing. In: Stephanidis, C., Antona, , Ntoa,S., Salvendy, G. (eds) HCI International 2023 – Late Breaking Posters. HCII 2023. Communications in Computer and Information Science, vol 1958. Springer, Cham.
→ https://doi.org/10.1007/978-3-031-49215-0_12
Deterding, S., Hook, J., Fiebrink, R., Gillies, M., Gow, J., Akten, M., Smith, G., Liapis, A., & Compton, K. (2017). Mixed-Initiative Creative Interfaces. In Proceedings of the 2017 CHI Conference Extended Abstracts on Human Factors inComputing Systems (CHI EA '17). Association for Computing Machinery, New York, NY, USA, 628–635.
→ https://doi.org/10.1145/3027063.3027072
Library of Mixed-Initiative Creative Interfaces, accessed 28 February 2024,
→ http://mici.codingconduct.cc/
Liapis, A, Yannakakis, G.N., Alexopoulos, C., & Lopes, P.L. (2016). Can Computers Foster HumanUsers’ Creativity? Theory and Praxis of Mixed-Initiative Co-Creativity. Digital Culture & Education, 8.
Wu, Zhuohao & Ji, Danwen & Yu, Kaiwen & Zeng, Xianxu & Wu, Dingming & Shidujaman, Mohammad. (2021). AI Creativity and the Human-AI Co-creation Model.
→ https://doi.org/10.1007/978-3-030-78462-1_13.
American Psychological (n.d.). Creativity. In APA Dictionary of Psychology, accessed June 17, 2024, from
→ APA Dictionary of Psychology
Laland, Kevin (2017, April 20) These amazing creative animals show why humans are the most innovative species of all. The Conversation.
→ https://theconversation.com
Bobbe, T., Krzywinski, J., & Woelfel, C., (2016). A Comparison of Design Process Models from Academic Theory and Professional Practice.
→ https://www.designsociety.org/download-publication/38931
Montuori, Alfonso (2012). Creativity and Its In Encyclopedia of the Sciences of Learning (1st ed., p. 837). Springer New York.
→ https://doi.org/10.1007/978-1-4419-1428-6
Vinchon, F., Lubart, T., Bartolotta, S., Gironnay, V., Botella, M., Bourgeois-Bougrine, S., Burkhardt, -M., Bonnardel, N., Corazza, G.E., Glăveanu, V., Hanchett Hanson, M., Ivcevic, Z., Karwowski, M., Kaufman, J.C., Okada, T., Reiter-Palmon, R. & Gaggioli, A. (2023), Artificial Intelligence & Creativity: A Manifesto for Collaboration. J Creat Behav, 57: 472-484.
→ Artificial Intelligence & Creativity: A Manifesto for Collaboration - Vinchon - 2023 - The Journal of Creative Behavior - Wiley Online Library
Asimov, Isaac (1950). “Runaround“. I, Robot (The Isaac Asimov Collection ed.). New York City: Doubleday. p. 40.
→ ISBN 978-0-385-42304-5.
Sabeth's podcast recommendation
Sabeth first came into contact with the idea of a symbiosis between AI and humans in the podcast "Search Engine". The episode "Who should be in charge of AI?" is about OpenAI and - of course - also briefly features Elon Musk, who touches on the concept.
→ https://open.spotify.com/episode
ABOUT US GESTALT ERROR 409
BEOBACHTUNG Erfahrungsbericht VW in Wolfsburg 409
USE »Atemberaubend, oder?« Eine Apple Vision Pro Rezension Jakob Nonnen
ESSAY Extended Creativity: a Human Centered Approach to Working with AI Felix Dölker
USE The Curious Case of the TrackPoint ChatGPT & Sabeth Wiese
INTERVIEW Fünf Fragen zu Bibliothekspflanzen Anne Christensen
INTERVIEW Über Theorie und Praxis Prof. Dr. Felix Kosok
USE Traumreise in die Unterwelt Sabeth Wiese
BEOBACHTUNG Erfahrungsbericht Bauhaus Dessau 409
INTERVIEW Fünf Fragen zu Symbiosis – Living together Carl F. Then
INTERVIEW Five Questions on the University of Brighton Design Archives Sue Breakell
READ Backstage Talks Magazine Sabeth Wiese
ESSAY Zu Design und Utopie. Ein essayistisches Plädoyer Fabio Sacher
PROJEKT About Kreativbranche II: unglitched but shit Sabeth Wiese
PROJEKT Scherben Sammeln? Mudlarking Charlotte Bluhme
INTERVIEW Über die Grenzen des Designs Constanze Buckenlei und Marco Kellhammer
BEOBACHTUNG Eva Illouz und die Wurzeln der Experience Sabeth Wiese
ESSAY The Rise of Designforschung – Goodbye Autorendesign? Carl F. Then
USE DB, warum lässt du mich so sitzen? Sabeth Wiese
ESSAY Crypto Aesthetics Johannes Wilke
USE Der geschenkte Wasserfilter Franziska Porsch
READ Geschichte des Designs Carl F. Then
INTERVIEW About Design at Olivetti Pietro Cesari
USE Liebeserklärung an das Mono A Sabeth Wiese
BEOBACHTUNG Erfahrungsbericht Vitra Campus 409
INTERVIEW Fünf Fragen zu Hans "Nick" Roerichts Archiv Viktoria Lea Heinrich
ESSAY Gendered Embodiment through Designed Objects Anis Anais Looalian
BEOBACHTUNG Inside BWL Sabeth Wiese
INTERVIEW Fünf Fragen zu Designmanifesten Prof. Dr. Daniel Hornuff
ZITATE Designliteratur in Zitaten 409
PROJEKT GELD GELD GELD Sabeth Wiese
ILLUSTRATION In Design Limbo Pt.2 Mira Schleinig
WATCH Design is [messy] Carl F. Then
PROJEKT Umwandlungen. Gestaltung mit einem Insekt Simon Schmalhorst
INTERVIEW Über Designliteratur Helge Aszmoneit
READ Wie eine Person zu einem Nutzer wurde Franziska Porsch
PROJEKT Glitched about Kreativbranche Sabeth Wiese
ILLLUSTRATION In Design Limbo Pt.1 Mira Schleinig
READ Artificial Intelligence. A Guide for Thinking Humans Carl F. Then
INFO Newsletter
INFO Datenschutz
INFO Impressum