WAKEFUL

DAYDREAMING
Ecological Mindfulness in Deep Design Thinking
& Food Innovation for
Continental Chef Supplies
7102 lirpA ssecorP ngiseD 2007ED
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 INTRODUCTION

"ONE HEARS A SOUND BUT RECOLLECTS A

HUE, INVISIBLE THE HANDS THAT TOUCH
YOUR HEARTSTRINGS. / NOT MUSIC THE
REVERBERATIONS WITHIN; THEY ARE OF
LIGHT. / SOUNDS THAT ARE COLORED, AN
ENIGMATIC SONNET ADDRESSED TO YOU "
( NABOKOV 1956).

As part of an action research project for CCS

a student MA Design team at Northumbria
University defined the main purpose as:
How can a shared food experience with
cross modal correspondences be
imagineered which is educational and
contributes to our experience on life'
(Spence 2011, Kuiper and Smit 2011) ?There
is renewed discussion in the food innovation
sector on the combination of all five senses
in multi-sensory stimulation (Kay 2015,
Bramman 2014). Spices, sauces, food, music,
new technology and the tableware can
contribute to a holistic five-dimensional'
and synaesthaetic experience
(The Future Laboratory 2015). Yet there is
insufficient research on what exactly an
immersive experience would look like. Our
challenge was to create a shared grill
cooking experience inspired by sustainable
glass and stone teppanyaki and raclette
designs. This celebratory and educational
social and family dining encounter could
increase wellbeing. An all-inclusive food
experience was conceived in combining
natural aesthetics of glass tableware, quirky
cutlery, induction cooking and touchscreen
technology. Customers are expected to
make enriching associations with each of FOOD INNOVATION I PAGE 1
the senses. This embodied cognitive dining
experience awakens and activates us to an
intrinsically creative awareness of the
present (Slepians and Ambady 2013,
Goldman et al 2016) and ecological mindful
concerns in an age of ecological crisis
( Bateson 1972 ). The report is divided into
three distinct action research cycles with all
six facets . This makes it easier for the reader
to be totally immersed in the process of the
project
PAGE 2 FOOD INNOVATION
LITERATURE REVIEW
GUIDED BY AN INQUIRY INTO
SYNAESTHETIC FIVE-DIMENSIONAL
DINING
1.1
Reflective Practice
This design in process report is driven by an
enquiry guided by models forreflection
presnted in literature (Schon 1987, Gibbs 1988,
McKniff 2005,Finlay 2008). Doing becomes
reflection-in and on-action and knowing-in-
action( Schon 1987 ). He challenges technical
rationality and means to overcome
uncertainties in knowledge through
experiential interaction with the process itself
( Dewey 1938 ). Gibbs reflective cycle transforms
into atemplate for my evaluation of active
experiential phases. Each stage in the develop-
ment assists in actualizing a design plan which
leads into the next reflective sequence.
REVIEW
The transformational process involved in
Action Research ( McKniff 2005 ) would
develop a sociallyconcerned practitioner. A
practitioner modifies hisbehavior and
improvesthe design plan and thinking which
in turn could influence others learning.A
complex review by Finlay( 2008 ) critically
examines keyelements of reflective practice.
The author reflects on authentic learning and
radical reflection andjuxtaposes these with the
danger of ineffective practice. Six Hats
strategy emphasizes lateral thinking
supporting your reflection. The procedures are
convenient ways for reflecting on each step of
the cycle with intuition, positive outlook,
cautionary risk assessment, creative
alternatives and focus (de Bono1985).
1.2
W2C: Working to Choose
INNOVATION IN CO-
CREATING
W2C=ADS+M-P4D+A/R (!)
Methods result from design
work, and do not pre-exist it.
VALUE
Pre-existing inputs to design
are resources, often grouped
The interactive framework ofDesmet ( 2002 ): into approaches with specific
scopes and intents, which
aesthetic experience
experience of meaning support different forms of
emotional experience design work for different
types of choice.
is a good guide to empathic innovation. The customer
and practitioner share an understanding of the
affective dynamics of a product with an integral
emotional value. The benefits of co-design in Abstract Design Situations
developingsuccessful services has a unique history in
Britain. These collective participatory co-creative
(ADSs [9]) are structured by
collaborationsimprove the customers experience coordination of the types of
through interaction with the provider (Desmet 2002, design choice that they
Szebeko 1998). Consumer experience is becoming a
major innovating factor in the corporate world where
commit to (e.g., purpose,
wild ideas andempathy at client level is encouraged. artefacts, beneficiaries and
Heuristic management skills are expected and will co- evaluations).
create value inan emerging future of a holistic soul
aspect ( Baumann 2005 ). Social impact design
activism emphasisesthis role of the transformational
practitioner within society. Disruptive aesthetics Meta-Principles for Designing
renegotiate the status quo in the face of global
(M-P4D [5]) express values
climate crisis and a post-growth era ( Markussen
2013,Fuad-Luke 2009) for design work as virtues
(e.g., acquisitiveness,
1.3
inclusiveness) or potentials
Intercultural Artefacts (e.g., expressivity, viability).

In contrast Cockton (2005 ) relates worth to

innovation within value-centred interaction
design in IT. He focuses on emotionalvalue Approaches divided into
to worth aspects which must be 'BIG: resources (A/R [11]) is a
balanced, integrated and
constructivist position on
generous'.Moreover, internet applications
transform into intercultural artifacts with design methods as unique
communicative mediation aspects and realisations of approaches,
differing cultures-of-use. Intercultural
i.e., loose collections of
communication enables the human user to
engage in hyperpersonal relationships with resources that each support
clashing frames of expectation( Thorne specific forms of design work
2003 ).

G.Cockton Making Designing

Worth Designing 2012
 Designers embrace personal and commercial
1.4 empathy in poly-sensorial and multidimensional
SHARED-USE IN aesthetics when contibutingto designMichlewski
ENTERPRISE 2008). This attitude reconfigures existing norms and
established standards and reinvents the experience of
an enterprise. Research on shared-use new products
SHARED VALUE reveals a whole range of features that areconnected to
these new values:

Synergy
Shared Expertise
Accuracy/Shared Contemplative Sensitivity
Convivialty
Integration/Domination
Reassurance
Tribalism and Communion
(Roerich et al 2013)

According to Boothby, Clark and Bargh ( 2014 ) co-

experiencing sensorial moments enhances the shared
value of a situation. Even in theabsenceof
communication sharing experience permits a
mentalizing facetin which psychological salience and
hedonic impact increase.

FOOD INNOVATION | PAGE 4

 IMAGINEERING AND
MINDFULLNESS
1.5
The five senses play a key part in contemporary
global cuisine (Rossi and Mele2016). A multi-
sensory synaesthetic experience within food
innovation is evolving as a radical artistic aspect
of social dining. Emotional energy is generated
by imagineering interaction ritual links of shared
practices. Necessaryconditions afford mindful
attention, a designated unique space and shared
co-presencing ( Richards 2013,Atlee 2007 ). Rossy
(2012) shares guidelines for this mindful food
experience:
Breathe and belly check for hunger and satiety
before you eat.
Assess your Food
Slow down
Investigate your hunger and satiety
throughout the meal
Chew your food thoroughly
Savor your food
Additionally a satiating effect and
enjoyment factor is achieved when eating
smaller protions.Slowing consumption and
savouring ones food should be taken into
consideration within experimental design
(Areni, Black 2015). In fact waking up to the
moment and its hyper-sensorial potential is
an intrinsic quality of human experience.
The actual practice and discipline develops
wakefulness and the stability of calm
abiding in the moment ( Goldmann-
Schuyler et al 2016 ). The pedagogical value
ofemotional awareness and mindfulness
becomes clear in the following dispositional
facets:
Attention to emotion
Understanding of the type & source
Negative differentiation
Observing
Describing
Acting with awareness
Non-judgement
Non-reactivity
FOOD INNOVATION I PAGE 5
1.6.1
EMERGING GLOBAL

Sustainable

Futures

Whilst food, fresh water, timber, fibre and fuel are in

rapid demand they are in decline as a resource and
not always sustainable. Mindfulness can increase
well-being and facilitates an empathic focus on
values andgoals which in turn improves
sustainable behaviour ( Ericson, Kjonstad
andBarstad, 2014). Subjective wellbeing (SWB) and
ecologically responsible behaviour
(ER) therefore suggest they are intrinsically
linked.Can people live so as to promote both
personal and planetary wellbeing (Brown, Kasser
2004) ? Ecosystembased manage-ment and
environmental services transport cultural benefits
and intangible values. In this ecologists are of one
mind in assuming that nature has an intrinsic value
and understand the relevance of personal
experience ( Chan, Satterfield and
Goldstein 2012). Here glass above all other
materials fits thiscriteria and is a preferred choice
amongst crafts people for its natural aesthetic
value. Successful Interdisciplinary collaboration
and co-design research is exploring global cross-
cultural and functional avenues to an international
sustainability. Knowledge is integrated at a higher
leveltransforming insights into societal change
(Mauser et al 2013).Universities are leading the way
into a sustainable future and its substance is
already imbedded in ourculture:
Respecting life and natural processes
Living within limits
Valuing the local
6 EGAP I NOITAVONNI DOOF

Accounting for fuel costs

Sharing power
Innovation design & ecological design

( Uhl, Anderson 2001 )

 1.6.2

Global collaborative impact strategy is endorsed

by research into shared leadership and cross cultural

dimensions of transformational andcharismatic

leadership. The emergent team properties consist of team support

and multiple origins of influenceinmotivational

factors and sharing of responsibilities. This mutual

influence on positive directives benefits

self-management, self-sufficiency and increases trust.

(Hanges 1999, Carson 2007, Jassawalla 1999)

Cross Cultural

Shared Leadership
7 I NOITAVONNI DOOF
PAGE 8
2
SHARED VALUE EXPERIENCE IN INNOVATION
HOLOS
2.1 Integrative Review
How could we integrate human centred
concern into the design for CCS and
how did this relate to ecological holistic
concern?
In order to understand human centred
design ( IDEO2009 ) I was determined to
synchronize two vital influences: integral
design with a holistic ecological concern.
My experience was defined by adding two
dimensions with the capacity of relevance
in contrasting these. ( McKniff 2005, Press
2016 ) A significant background factor was
the inability to find words for my emotions
in this matter. I recognized a key sentence
to the understanding of human centred
design:
Its magic, not logic, that ignites
passion in customers ( Neumeier
2005,p73).
It ripens into a vital tool to comprehend
another observation. The central
process for reflection in this sequence
was guided by the observation that
understanding + creativity = insight.
Furthermore to this a junction between
intuition, instinct and knowledge and
the bigger picture needed to be
clarified ( Neumeier 2005 ). The
situation suggested a collaborative
event in terms of our central reasoning
for a shared experience. Expanding and
applying this map I arrived at shared
value experience and collaborative
impact. All these concepts required
interpretation and more research.
 FOOD
PAGE9
INNOVATION

2.2
EMPATHY IN

INNOVATION
I attempted to arrive at an
insight into how cognitive
empathy played into our
shared experience concept. I
had a hunch that there was a
larger picture. The primary
discerning enquiry was to
investigate the affordances
involved in the possible
design of a product for CCS
according to my PDP
template.
WHEEL OF EMOTIONS
I was distressed about the
lack of consideration of
ecological concerns. These
affordances are not
specifically integrated into
contemporary design thinking
as a precondition.Aninability
to find words for this was a
bewildered acknow-
ledgement of my insecurity.
The consequences of my
application of a wheel of
emotions( Plutchik 2002 ) and
ecological concern were
found in a transformation of
rejected emotions with new
vigour. These were utilized in
my observations of feelings.
understanding
+creativity
=insight
A critical incident analysis
revealed an unquestioned
aspect.
The social dining experience
revealed hidden dimensions
whichweremore extensive
than previously assumed.
Reflecting on the word Holos I
realized that it containedall
aspects of understanding +
creativity = insight. In this the
understanding of all
considerations or affordances
regarding a design challenge
were added to a creative
impulse. This creative impulse
can be guided by mindful-
ness (Kabat-Zinn 2003).
Thinking about a social dining
experience lead us to a
reassessment of the
environmental sustainability
of resources and people. I
realized Ineeded to develop a
people perspective where
people become important.
(W.Orr 2002, Gaver 1996 )

The scope of personal value

CCS manager Anthony Ward,
experience transformed into a
the MA class and tutors SYNERGISTIC MINDFUL
sense of collaborative impact. I
accepted the daring turn of APPLICATION:
was confident that the School of
events who encouraged our Our team felt the same I
Design, Northumbria, CCS and
team to look into the empathic suspected and convened with
myecological thinking were
dimension of shared them on this in agreement.
coordinating efforts to come to a
experience.
successful conclusion.
2.2.1

METHOD

& Discussion

Collecting and finding peer reviewed
journals that address all contingencies
concerning empathyexperience and
mindfulness practices and
synchronizing them with our practice.
Mind mapping
Wheel of emotions; diagram, In order
to describe empathic observations
(Plutchiks 1987 )I applied
adjectives/verbs in my reflective cycle
and writing the report (appendixe
8/03/17)
Personal History
To clarify which processes are involved I
will list the factors again ( Table 1). Many
of these termssupported our proposal. I
applied them within our teamwork and
steered our understandingtoward a
mindfulness-based intervention. This was
facilitated by making my team members
awareof an ecological affordance.

FOOD INNOVATIONPAGE 10
 FIG 1 Plutchik's Wheel of emotions

11 EGAP I NOITAVONNI DOOF

FIG 1 Plutchik's Wheel of Emotions

 IN CROSS CULTURAL TEAMS
2.3 MINDFULNESS-BASED
INTERVENTIONS

REFLEXIVE CONCLUSION

In retrospection:
The interdisciplinary social arts and my
experiences with ecological design
thinking frompersonal history provided
a data bank of previous knowledge. I
intuitively understood how toassociate
shared experience with value
experience, shared-use experience and
colla-borativeimpact. I applied these
with good results in teamwork
inspiring team members to a
MindfulnessAPP. Beyond these aspects
mindfulness revealed itself to be a
primary pattern with cohesive
capacities. Holistic mindful ecological
thinking and the 'magic' that ignites
the passion in customers appeared to
be intrinsically linked in contemporary
design and in cross cultural-functional
teamwork ( Comisceo Global 2016,
21 EGAP I NOITAVONNI DOOF

Zellmer-Bruhn 2014). By applying

mindfulness to cross cultural inter-
relationships I could be more attentive
to other participants and develop an
empathic consideration. The quality of
design dialogue improved.
HOLOS
2.4 HOLISTIC
DESIGNTHINKING

In order to improve the conventional

understanding of affordances in
design anabsent empathyfor the
environment must be formulated.
This inconsistency evolves into an
insight without whichthere is no
'wise' decision making (All Party
Parliamentary Mindfulness Group
2017) . I incorporatethis new insight
into my practice by calling it Holos in
relation to collaborative cross
functionaldesign strategy for new
products. I recommend to adapt
Holos to all further design challenges.
And to encourage other design
innovators to adjust their own holistic
wheel of affordances totheir
personal practice. Companies and
organisations must alter their scope
for designconsiderations in the light
of Holos. Limitations of the
application of mindfulness are in
itstime intensive practice ( Final
Conclusion )

FOOD INNOVATION I PAGE 13


GENERATIONOFAMOBILEAPPFORMINDFULNESS
3.1
CROSS FUNCTIONAL SELF-SUFFICIENCY
There was no clear idea for an app only a
consideration of the possibility of including IT in
a shared-useexperience. It seemed like an
exciting area. Jade and Jingya researched the
possibility of an interactive digital concept table
for social dining. We decided to concentrate on
shared experience, tableware and cutlery
instead. At this stage we did not realize that it
would be an all-inclusive way to integrate all
elements of our research in a final step.
Tableware, mindfulness, raclette and the
touchscreen concept table would become one
unit. Team members who were working
throughout their degree and sited on internships
found it difficult to balance both sides. This made
regular meetings in an assigned group space
impossible. Consequently teamwork was
conducted by only two members in that most
creative instant of insight.
FOOD INNOVATION| PAGE 14
Applyinga self-sufficient perspective-taking
strategy negotiated steps that led us to new
insights. Any discrepancies in behaviour toward
the team work initially resulted from unclear
roles which were later resolved in cross
functional team discussions. The MA room
created tensions rather than a healthy environ-
ment to collaborate and co-operate in. A group
room in the library reflected our need to share in
intimacy and a shared value experience.
Metacognitive activities were not leading us
directly to a solution of something we did not
realize was of importance to the design. We
therefore did not introduce a validation process.
The initial idea to a design came out of a place of
potentiality.
3.2 Internal Dialogue
THE 'MAGICAL'
PLACE OF
POTENTIALITY
It felt like we had postponed several ideas
around interactive technology to a later
date. On the 7/03/17 Jingya and myself
found ourselves exposed without the rest
of the team. Instead we researched
onPinterest with great success:Appendix
images.https://uk.pinterest.com/chrystoir
/synaesthesia-ma-group-school-of-design/
A silent enthusiasm to continue the
research or to allow some kind of
breakthrough existed between myself and
Jingya. On an unconscious level the rest of
the team appeared to acknowledge this.
Looking back through my notes I
recognized that I had accessed the right
side of my brain ( 21/02/2017) of inner
visual twilight imagery (Moon 2006). My
hope was that at some later point a
moment would be suggested in which an
idea could spontaneously arise. This
unconscious continuation of an internal
dialogue with the process evoked a
mysterious or magical turn to the events.

FOOD INNOVATION | PAGE 15

I accepted the experience of these
dimensions as natural and super-ordinary
loops. In this the cycle returned to its
outset in trusting the pause in between
the moments, a place of potentiality.
Applying trust in mindful affective
reactivity to present a flash of illumination
can be delightful. For reasons, primarily
unknown to us, we applied a non-
conscious strategy of distancing ourselves
from an early output for a design.
3.3 Shared Contemplative Sensitivity
& Wakeful Daydreaming
We had intervened by neglecting the
immediate drive to arrive at a solution in the
beginning of the project. This non-approach
emerged as a pedagogical tool for our
consciousness and evolving multiple
intelligences (Timmins, Brualdi 1996). The
internal factors in part resulting from outside
influencesweresharedcontemplative the shared experience contentdeveloped
sensitivitiesof a mindful dimension. These
generated a juncture at which we departed
from any immediate design needs. Time
restricted contingencies represented
external factors of work, employment and
professional internships. Another major
outward element influencing us adversely
was the space in which team meetings took
place. The interior design of our MA room
was not suited to collaborative and co-
operative team work. Our team meetings
benefited from afore mentioned applied
mindful phases ( Warren, Kasser 2005 ). We
could say therefore that our decision making
was influenced by a form of mindful open
communication of attentiveness and
wakeful daydreaming (Thomas 2006, Menon
et al 2003 ). Cross cultural-functional shared
leadership responsibilities and allocation of
team roles produced an open weave of
communication and commitment.
3.4 Imagineering for CCS Enterprise
At first I sat in the team orientating myself
toward the applying brainstorming of
variedideas and mind mapmaking. I
realized that we could have integrated the
idea of a concept table better right from the
beginning.The processgave us very little
timeto develop anything coherent. Instead
into the central piece. Images of social
dining around a digital touchscreen table
inspired us toimagineer a shared raclette
experience (Atlee 2014). I defined
imagineering as a profoundly empathic
way tocreateextraordinary experiences
(Kuiper 2011) We had radically differentiated
the one trick pony approach ofcompetitive
consumerism from authentic integral design
( Neumeier 2005) I could have made a list of
possible IT Innovationsand linked them up
right from the start,instead of doing this
unconsciously in my mind.It is possible that
the results would have been different.The
consequences of ordering our design
choices right from the beginning
andcreating a second mind map would
have made our meetings more time
effective. This intermediate step mayhave
created more opportunities for re-design at
a later stage. Despite recognizing other ways
of doingthings the cycle continued to spiral.
Our non-approach strategy allowed for
another acute breakthrough. This
majorunforeseen change ( Table2) FOOD INNOVATION | PAGE16
recognized in a moment of quietude and
silence was the culmination of ourproject .
The ecological mindfulness (Hosking 2000)
aspect and all three technological devices
merged intoone synthesis.
Many emotional experiences from Table 1
accompanied the cycle and guided us often
in a subliminal engagement with an internal
design dialogue see p.19 )
PAGE 17

Table 2

MOMENT OF CHANGE

place
TEXTIN THIS BLOCK
3.5 Cross Cultural
Intermediation
The special method involved
in letting go of any precon-
ceived ideas directed us back
to what was essential.
Mindfulness to one another
was discovered to be an
indispensable aspect of cross
cultural intermediation
throughout. Applying this
style ofclear comunication
opened a door to the
possibility of variation in our
design. Amore concrete form
emerged which could be
called a unit. In letting go we
came to a synthesis of
twoormore values.I will
return to the insights attained
at the Shared Value
Experience stage.Applying
shared contemplative
sensitivity to shared
experience in a family setting
steered us toward
understandingholistic family
values.
Mindfulness and pedagogical values
for the children and teenagers
synchronized into an Android App
and further interactive dimensions (
Final R. Conclusion) through
serendipity. The skills we applied are
perfectly described in a table ( figure
1). Diverse orientations in our team
determined a broader range of
skillsets. These could be utilized in
crossfunctional team collaborations.
Mindfulness is not the only tool that
enhanced commitment and shared
ownership. The realization that inter-
dependent relationships are of
mutual benefit suggest a synergy
aspect atwork ( Kuiper 2014).
Jassawalla and Sashittal ( 1999 )
observe: harnessing the potential of
serendipity in design innovation is
ascertained in environments where
collaborative behaviour is supported.
FOOD INNOVATION I PAGE 18
PAGE 19
3.6Cross Functional Polyphony
To further implement this form of holistic commitment we need to build on cross functional new
product strategies. A basic requirement to this end would be to practice:
During these meetings we would
amplify our mindfulness skills and any
synergies within the group
(Jassawalla 1999 ). This could play back
into the re-design of our App concept
and focus on aspects we wish to teach
through our Mind-fulness APP. A
renewed focus and attention
(Harding 2017) would crystallize an
improvement of the App in terms of
eco-educational usefulness.Tapping
into wakeful intentional daydreaming
( Menon et al 2003 ) with twilight
imagery is another valuable strategy.
FOOD INNOVATION
Thisarea of confusion in which Mindful circle
internal dialogue and vertical
polyphony progress in ways of
meetings
imaginary and visuallatitudes is an Group mindfulness
instructional ground for learning.
According to Seikkula (2006) a kind
sessions.
of communal dialogueis generated. Wakeful intentional
Multiple voices from internal
daydreaming with
present& history and non-conscious
interpersonal sourcesinfluence the twilight imagery
on- going conversation. This deep Mindfulness Walks in
learning and thinking reveals itself
in an elegant pursuit of truth Nature
wherethe discovery process and
formation process meet in
asynthesis..
 FOOD INNOVATION I PAGE 20

SUSTAINABILITY

AND GLASS

With Gavin Marshall

Owner of the 'ERNEST' and award winning
Glassblower

4.1
Empathic Innovation
Guidance

O Out of previous considerations of a

grander theory we arrived at a central
theme which was initiated partlyby our
lecturer Mr.Lievesley (McKniff 2005, p.21).

The purpose of our shared raclette experience was now tounite
the family around a table and inspire mindful learning (Hassad
2012).Other team members were in total agreementwith the
implementation of a central theme. I recognized the
relationshipto tribalism and communion. Thefamily co-
designs a shared practice with mindful ritual links around the
multi sensorial experience of eatingtogether ( Nikon Europe
2015). The background factors are mentioned in the two
previous reflective researchcycles. Five meetings with glass-
blower Gavin Marshall lead the design negotiations toward a
sustainable
choice of glass for a first prototype. We arrived at preliminary
designs for bowls and dishes. The cycle wascompleted and we
arrived at a complete vision for our five dimensional family
dining experience( Bramman 2014 ).

4.2
ACTION RESEARCH INTERVIEWS
CREATION IN ENTERPRISE
What I endeavoured to achieve was a
definite link to a friend who
founded an award winning
restaurant and is an award winning
glassblower ( Marshall 2009). We had
talked about green issues, yoga and
mindfulnessin the past. I was
optimistic I would gather a lot of
data from Mr. Marshall (Appendix).
The fruitful consequence of
ourmeetings were interviews/
surveys, videos and a prototype
mould for a glass dish inspired by
raclette grill. Myinitial aims were to
make a longboard/ surfboard design
for a glass dish which devolved back
into arectangular style board ( i.e.
skateboard ). I was extremely
grateful for Gavins input and fully
respected hisexpertise. I accepted
the support and guidance of an
expert and applied negotiations of a
co-design betweenall members
(Sanders andStappers 2007). The
playful and trusting design path
unfolded from ideas of a raclette
to an induction plate. We arrived at
an idea of glass tableware and
design solutions through an
experimentalvirtual world of
experimental drawings ( McKniff
2005). Pinterest was employed as
part of a daydreamingreactivity
process to investigate inspiring
possibilities and opportunities.
Gavins feelings around a production
for CCS were mixed because he
FOOD INNOVATION I PAGE 21
ON CO-
works occasionally from his small
studio without a kiln.He stressed
that we would only be able to cast a
larger order with the assistance of
Sunderland glass factory. Hiswork is
inspired by one off crafts pieces and
unique commissions. However if it
was possible to co-designpieces and
manufacture tableware quicker he
could imagine returning to a regular
studio practice . Hewould deliver the
designs and prototypes to the
Sunderland Glass Factory for
production. Next I tried toconnect
the shared experience feature with
ecological mindfulness in a
consequential way. The appearance
of the APP exploded within weeks
into another flash of insight.
Discovering a new bowl design with
naturalaesthetics was the
culminationof many cycles of
mindful deep design thinking.
Sharing the teams inspiredinsight
on induction plates gave me a sense
of great satisfaction accorded by the
full commitment shown. Iwill refer
to the completely realized cycle in
the Final Conclusion.
FOOD INNOVATION I PAGE 22

Downshifting
into
Simplicity of
Design
4.3 WITH GAVIN MARSHALL
Facebook Photos
Jade was driving to ever more designs and
prototypes for the bowls and dishes for the
racletteexperience. Existing food innovation
designers inspired our reflections on multi
sensorial capabilities andsynaesthetic aspects of
the design for cutlery. Laura presented exciting
ideas for the cutlery and itwasdecidedthat Jade
wouldcast some in silicon. The sustainability
question is still not resolved. Once again I was
hopingthat the energy of a path not taken
immediately will manifest in different ways at a
later date. The mainstrategy to add experimental
drawings to our existing pool of ideas each group
session made us widen ourdata search. The
drawings on their own did not work as well as we
had anticipated. Initially we had hopedfor key
innovations yet most of our designs continued to
spin around existing formulas.
FOOD INNOVATION I PAGE 23
There were forethoughts on the message of ecological
sustainability, mindfulness and family values.Gavin
went surfing with his kids and his parents happened to
be over from Belfast.Animaginative visual episode of
sea and ocean environments in the North East
influenced my daydreaming.I noticed photos posted
on his facebook of waves and glittering sunlight. In
order to account for theseexternal factors I started
looking for a connection in the design of surf boards
and eventually longboard-skateboards.
Iwas frustratedand followed the flow of my
team member's stimulus, dropping all personal
designs. Myenthusiasm was more in the
Mindfulness App. I saw an entrance to another
way of thinking here and my PDP concern
guided me to a very insightful realization.
Downshifting into voluntary simplicity would
bring that flash of illumination I had waited
for. The moment I let go and visualized into
the Mindfulness AppI saw beach stones which
are quite a typical branding image for mindful
promotion. The product wasdisplayed before
my inner eye. A bowl made from a beach stone
plaster mould was the result. I went for a
mindful walk by the beach myself. The data
collection on sustainable materials ended with
a very real pre fabricated object made by
nature.
 FOOD INNOVATION I PAGE 24

4.4 The Story

Dynamic Forces

An ecological creation story is reflected in the

narrative of our exploration of the design possibilities.
Thedata gathered by myself and the message therein
speak of the difficulties that artists and crafts people
have.The story played itself out upon the background
of a struggle for personal freedom within the Crafts.
Thiswas reflected here in the efforts of the Ouseburn
Arts Valley Community to maintain integrity. It
issurprising that this living story displayed itself
through the collaborative energy directed by
ecologicaldesign thinking. The conclusion I can make
here is that mindfulness and ecology are intricately
linked toeach other in synergy. Ecology again is
directly linked to resources and food innovation.
The clear themetherefore is that the
starting point is the earth and its
environment. The current endpoint is
aproduct derived directly from that
source of all nourishment. Dynamic
forces of an animate universe
hadinvoked a new breath of
communion. This bio-mimicked form
of the product is borrowed in a
plagiaristicappreciation from the sand
underneath the beach stone and the
timeless activity of the ocean.

Ouseburn Arts Valley

"THE PRESENT IS NOT A TIME FOR
DESPERATION BUT FOR HOPEFUL
ACTIVITY.
THOMAS BERRY
THE MEADOW ACROSS THE CREEK,
IN THE GREAT WORK, P19 (R).Evolution
SINCE 2011
 The Mould

4.4.1 How do innovation designers design new democratic

participation models in which a community has more

impact on its complex position ?

My knowledge claim illuminates the weave out of which new and cohesive patterns emerge. I propose
thatHolos is recognizable in all steps of the designer process and will inevitably lead us to a holistic and
atleast part hybrid sustainable solution. There are no other choices in an understanding of the real value
ofecological mindfulness. New insights inevitably lead to a circular economical sustainability which
areinstantly pedagogical in learning from and revealing the Whole. The whole narrative is elucidated
byGavin in his portrayal of the effects of student gentrification around Ouseburn valley and socio-
politicalattitudes towards artists and designers. Ouseburn valley artists are in need of support and
representation soas to be able to manoeuvre opinions within Newcastle Council. Sustainability in this
presents us with a newset of questions.

FOOD INNOVATION I PAGE 25

 Changing Intentions
4.5 P A R T I C I P A T O R Y D E S I G N
The most important lesson I learnt from doing the
action research interviews with Mr. Marshall was
to beopen to modifications of the original
purpose of our proposal. We were very successful
in developing ideasquickly and connecting them
(appendix). The complete journey however was
diverged from what I had anticipated.Varied
opinions on the glass design merged into one and
led to an intrinsic acceptance of changing
andmerging intentions. This has transformed how
perceive the world.
My ways of knowing have evolved into
an intercommunication with holistic
affordances. Further insights on how to
support sustainable arts communities
with innovative practices have arisen. The
interviews and surveys helped me put our
project intocontext with the real world. I will
propose a participatory beach stone bowl
design in form of a mindful walkby the beach.
The mould would be made at the surf shack of
Ouseburn SurfClub. Perhaps Crowdfunding
can do the rest.
FOOD INNOVATION I PAGE 26
 FOOD INNOVATION I PAGE 27

5
Do multiple design
ideas pen ultimately
merge when the
direction is informed
by an ecological
concern ?

I feel that the experience has guided me

to a threshold where design thinking and
the narrative growinto a synergy.
I have grasped the importance of all my
previous practice within interdisciplinary
social arts and thecrafts
My ways of knowing have heightened a
sixth sense to recognize the moments in
which I should letgo. Another essential
moment is the re-ordering of data
memorized by constantly re-checking
myreflexive templates.
My paradigms have been altered to
incorporate the knowledge of others and
cross functional insights. I can
nowaccept advice and other's hunches.
The turn in events is signified by Mr.
Marshalls change in context. It becomes
apparent thatcraftspeople are
constantly battling the adversities set
against them by greed and ignorance.
A final cycle emerged: an interactive
induction cooking concept table for
ecologically mindfuleducational
purposes with gamified application
version (enterprise).
 6
Imagineering the Visual
Ecology of Future Family
Dining

By utilizing my constantly updated reflective cycle template I

was able to recognize principles of unity within my notes.
There was clearly a metalanguage which concerned
ecological design thinking, Thetheory-in-action eventually
described a cyclic universe which revealed itself coherently.
We started fromcross-talk between the senses and its use in
shared experiences resultingina multi-layered product
withmultiple perspectives and relevancies. Because of this a
final change in strategy arose. We now recommenda
combination of induction cooking with touchscreen table
and visual ecology plus a mindfulness App. Thisinnovative
shared immersive sensitivity towards eating reconciles
mindful ecological attitudes withtechnological visual
representations of similar empathic dimensions. A mindful
synergy is responsivelyproclaimed in this synthesis.
Experiential multi cross wiring ways are discovered in a
pedagogical settingaround the dinner table. The tableware
and cutlery will activate the multi-sensorial capacities of
participantsin this dining experience which can be imagined
into any setting.An educational and/or gamified version for
the interactive induction cooking table and apps could
be conceived. The final product innovation would be further
developed by us as a consultancy with co-partners:

Whirlpool, Bauknecht
Genkan Ltd ( Games Designers )
82 EGAP I NOITAVONNI DOOF

Food Innovation

for Continental Chef Supplies

g
 High Collaborative Teams

d
ieve
h Synergy to synthesis
n Ac
tio
ra Mindfulness
nteg
n/I
ctio Transparency
ra
e
Int At Stakeness
nal
o
cti
-fun improved co-ordination
ss
ro
ofC
e
egre joint planning
D
Improved Co-operation in product decision making

Improved information sharing

MINDFUL SYNERGY
ROLES were identified and made it easier to imagineer together

These cross functional capabilities helped us direct the turn of events

 7/02/17
Roles have not been
identified yet: difficult

SHARED
EXPERIENCE

SYNAESTHESIA
 Add a little bit of body text

18/03/2017
I used these templates to help me write the report
I used these templates to help me write the report
 Cross
cultural
functional

VERTICAL POLYPHONY

Interbeing, non-conscious
dialogue
It is Worth More When It is Shared: Exploring Values Related to Shared-Use New
Products

shared contemplative sensitivity

Haithem Guizani, Meyer

Hagg`ege, Gilles Roerich