The roles of art, design, and architecture on long-duration human space missions could have deep, significant impact on the functional capabilities of human environments in space, far beyond mere form and aesthetics. Yet, today’s technology-driven paradigm of space design pays limited attention to “soft” disciplines that relate to artistic and designerly modes of operations. This current worldview is governed by engineers and project managers. “Soft” considerations are looked at as nice-to-have add-ons at the end of the project, dependent on resource availability. While sufficient for short missions, this unnecessarily constrained view of artistic and designerly modes must change for long-duration missions, as the crew spends nearly 100% of their time inside a severely limited volume, in virtual isolation. Thus, it becomes necessary for all the systems, usable objects, and artistic artifacts inside the habitat to be connected to the goal of facilitating engaging interactions with the crew. Artifacts – as boundary objects in the intersection of various disciplines – facilitate circular conversations between an observer (crew member) and the environment of the spacecraft, and have many important functions. They provide emotional connections and comfort, promote well-being, support autonomy, help thinking to evolve novel ideas, and aid discovery and entertainment. When designing for experiences and interactions in space, artists, designers, and architects are able to look at artifacts from the perspective of the crew as observers, and imagine a rich set of interactions through various aspects and stages of the spaceflight. As a result, these artifacts support the higher-level needs of the observer, beyond basic physiological, psychological, and safety needs. They are designed for the well-being of the crew members, while sustainably utilizing the habitat volume and resources. In this paper we systematically show how human-centered roles and circular conversations between the observers and their environments can be incorporated into the culture of designing for space travel through the involvement of artists, designers and architects, from an early stage of designing the mission and its elements. This process is inclusive of the people who envision and create the environments and user experiences, and those who experience, use, and evolve them. Making the case about the importance of these considerations may help artists, designers, and architects to reframe the discourse of their contributions to space exploration and, in effect, find a stronger acceptance from the decision makers of a technology-driven human space exploration paradigm.

Key words: design, art, space habitat, human spaceflight, boundary objects, cybernetics.

This paper analyses the paradigm of constructivism, relating it to current theoretical and empirical developments within social science. I am meeting the demand for describing social and cultural phenomena beyond correspondence-theoretical approaches by critically discussing various forms of constructivism and elaborating on the epistemological position of ‘The Social Construction of Reality’ (Berger & Luckmann). I argue that Berger and Luckmann are epistemologically ‘unscrupulously’ and, subsequently, show analytical weaknesses. This critical discussion forms the backdrop of an unfolding of the position of practice theories and a discussion of their innovative potential to social science research. In this context, the question of how to deal with media as artefacts and technologies is evaluated. I discuss this relationship and analyse it from a communication studies point of view, by means of two prominent analysis concepts, namely the ‘actor-network-theory’ of Bruno Latour and the ‘boundary objects’ approach of Susan Leigh Star from the field of science and technology studies. Finally, I outline central theoretical challenges and analytical perspectives for communication and media research.

Key words: Constructivism, practice theory, actor-network-theory, science and technology studies, boundary objects, communication analysis, media analysis

We contribute to the business network literature by presenting and introducing a radical constructivist research approach, in which we foreground sharing the context of an actor’s understanding of interaction. We elaborate the approach by illuminating the problematic issue of boundaries in business network research. We conceptualize boundaries as inter-action spaces and times where differences are created, maintained and changed in a physical-social setting. We make a distinction between boundaries and borders, with the latter being simply representations. We undertake a review of select realist and social constructivist business network literature to distinguish and elaborate the potential of a radical constructivist perspective, as an alternative approach. The approach appears most useful when the researcher and interview participant do not have a convergent understanding of the research phenomenon. Further, a radical constructivist approach is eminently suitable for settings where inter-action conditions and content are changing, for example in times of crisis or network change. We present the metaphors of castles and frontiers, as illustrative research tools suitable for a radical constructivist study of boundaries in business networks.

Key words: border, boundary objects, context, inter-action, metaphor, spatial and temporal research.

Context: The article discusses design strategies for infusing constructionism and creativity into widely recognised media such as e-books. Problem: E-books have recently included constructionist widgets but we do not yet have creative designs for readers who may want to both read and tinker with an e-book. Method: The generation and study of a community of interest collaboratively designing e-books, with a strong constructionist element. Results: Some first examples of social creativity in the collaborative design process are discussed in the article, showing the complexity of fusing reading with constructionism and the importance of the designers’ own ability to exchange widgets meant for the book and at the same time use them as boundary objects to communicate with each other. Implications: Social creativity in such design processes is considered as key for spreading and democratizing design for constructionism and creativity.

Key words: Social creativity, design, constructionism, creative mathematical thinking.