Design-based research studies are conducted as iterative implementation-analysis-modification cycles, in which emerging theoretical models and pedagogically plausible activities are reciprocally tuned toward each other as a means of investigating conjectures pertaining to mechanisms underlying content teaching and learning. Yet this approach, even when resulting in empirically effective educational products, remains under-conceptualized as long as researchers cannot be explicit about their craft and specifically how data analyses inform design decisions. Consequentially, design decisions may appear arbitrary, design methodology is insufficiently documented for broad dissemination, and design practice is inadequately conversant with learning-sciences perspectives. One reason for this apparent under-theorizing, I propose, is that designers do not have appropriate constructs to formulate and reflect on their own intuitive responses to students’ observed interactions with the media under development. Recent socio-cultural explication of epistemic artifacts as semiotic means for mathematical learners to objectify presymbolic notions (e.g., Radford, Mathematical Thinking and Learning 5(1): 37–70, 2003) may offer design-based researchers intellectual perspectives and analytic tools for theorizing design improvements as responses to participants’ compromised attempts to build and communicate meaning with available media. By explaining these media as potential semiotic means for students to objectify their emerging understandings of mathematical ideas, designers, reciprocally, create semiotic means to objectify their own intuitive design decisions, as they build and improve these media. Examining three case studies of undergraduate students reasoning about a simple probability situation (binomial), I demonstrate how the semiotic approach illuminates the process and content of student reasoning and, so doing, explicates and possibly enhances design-based research methodology.

The first part of this paper examines the differences between Piaget’s constructivism, what Papert refers to as“constructionism,” and the socio-constructivist approach as portrayed by Vygotsky. All these views are developmental, and they share the notion that people actively contribute to the construction of their knowledge, by transforming their world. Yet the views also differ, each highlighting on some aspects of how children learn and grow, while leaving other questions unanswered. Attempts at integrating these views [learning through experience, through media, and through others] helps shed light on how people of different ages and venues come to make sense of their experience, and find their place – and voice – in the world. Tools, media, and cutural artifacts are the tangible forms, or mediational means, through which we make sense of our world and negociate meaning with others. In the second part of this paper, I speak to the articulations between make-believe activities and creative symbol-use as a guiding connection to rethink the aims of representations. Simulacrum and simulation, I show, play a key role besides language in helping children ground and mediate their experience in new ways. From computer-based microworlds for constructive learning (Papert’s turtle geometry, TERC’s body-syntonic graphing), to social virtual environments (MUDing). In each case, I discuss the roles of symbolic recreation, and imaginary projection (people’s abilities to build and dwell in their creations) as two powerful heuristic to keep in touch with situations, to bring what’s unknown to mind’s reach, and to explore risky ideas on safe grounds. I draw implications for education.

In this paper two swarm intelligence algorithms are used, the first leading the “attention” of the swarm and the latter responsible for the tracing mechanism. The attention mechanism is coordinated by agents of Stochastic Diffusion Search where they selectively attend to areas of a digital canvas (with line drawings) which contains (sharper) corners. Once the swarm’s attention is drawn to the line of interest with a sharp corner, the corresponding line segment is fed into the tracing algorithm, Dispersive Flies Optimisation which “consumes” the input in order to generate a “swarmic sketch” of the input line. The sketching process is the result of the “flies” leaving traces of their movements on the digital canvas which are then revisited repeatedly in an attempt to re-sketch the traces they left. This cyclic process is then introduced in the context of autopoiesis, where the philosophical aspects of the autopoietic artist are discussed. The autopoetic artist is described in two modalities: gluttonous and contented. In the Gluttonous Autopoietic Artist mode, by iteratively focussing on areas-of-rich-complexity, as the decoding process of the input sketch unfolds, it leads to a less complex structure which ultimately results in an empty canvas; therein reifying the artwork’s “death”. In the Contented Autopoietic Artist mode, by refocussing the autopoietic artist’s reflections on “meaning” onto different constitutive elements, and modifying her reconstitution, different behaviours of autopoietic creativity can be induced and therefore, the autopoietic processes become less likely to fade away and more open-ended in their creative endeavour.

Key words: creativity, autopoiesis, stochastic diffusion search, dispersive flies optimisation, generative art.

Context: The problems that are most in need of interdisciplinary collaboration are “wicked problems,” such as food crises, climate change mitigation, and sustainable development, with many relevant aspects, disagreement on what the problem is, and contradicting solutions. Such complex problems both require and challenge interdisciplinarity. Problem: The conventional methods of interdisciplinary research fall short in the case of wicked problems because they remain first-order science. Our aim is to present workable methods and research designs for doing second-order science in domains where there are many different scientific knowledges on any complex problem. Method: We synthesize and elaborate a framework for second-order science in interdisciplinary research based on a number of earlier publications, experiences from large interdisciplinary research projects, and a perspectivist theory of science. Results: The second-order polyocular framework for interdisciplinary research is characterized by five principles. Second-order science of interdisciplinary research must: 1. draw on the observations of first-order perspectives, 2. address a shared dynamical object, 3. establish a shared problem, 4. rely on first-order perspectives to see themselves as perspectives, and 5. be based on other rules than first-order research. Implications: The perspectivist insights of second-order science provide a new way of understanding interdisciplinary research that leads to new polyocular methods and research designs. It also points to more reflexive ways of dealing with scientific expertise in democratic processes. The main challenge is that this is a paradigmatic shift, which demands that the involved disciplines, at least to some degree, subscribe to a perspectivist view. Constructivist content: Our perspectivist approach to science is based on the second-order cybernetics and systems theories of von Foerster, Maruyama, Maturana & Varela, and Luhmann, coupled with embodied theories of cognition and semiotics as a general theory of meaning from von Uexküll and Peirce.

Key words: Perspectivism, semiotics, complex phenomena, social systems theory, differentiation of science, perspectival knowledge asymmetries.

Robert Stecker has posed a dilemma for the constructivist theory of interpretation: either interpretations consist of statements with truth values or they do not. Stecker argues that either way, they cannot change the meaning of an artwork. In this article, I argue contra Stecker that if interpretations consist of meaning declarations rather than statements, they can change the meanings of the objects toward which they are directed, where whether they so consist is largely a function of the interpreter’s intentions. Hence, the second horn of Stecker’s dilemma is defeated.

This paper has a dual purpose. On the one hand, it suggests ways of making autopoietic theory more precise and more operational for concrete communication analysis. I discuss concepts such as distinction, system, bound- ary, environment, perturbation, and compen- sation. The explication of the concepts is ba- sed on catastrophe theory, and in order to make them operational I emphasise their affinity to traditional semiotics and communi- cation theory. On the other hand I propose changes to the semiotic tradition in order to incorporate insights from autopoietic theory, namely that the human condition is characte- rised by the phenomenon of self-reference and therefore also by the unavoidability of para- doxes. Firstly, this means that truth cannot be a basic semiotic concept; instead the notion of stability is suggested. Secondly, in order to act in a paradoxical context, we need to unfold the paradox in time, which again calls for a dynamic theory of meaning.

Social Constructionism has been instrumental in remodeling grounded theory. In attempting to make sense of the social world, social constructionists view knowledge as constructed as opposed to created. This paper discusses how social constructionists construct knowledge and argues that social constructionism is concerned with the nature of knowledge and how it is created and as such, it is unconcerned with ontological issues. Society is viewed as existing both as a subjective and an objective reality. Meaning is shared, thereby constituting a taken-for-granted reality. Grounded theorists understand knowledge as beliefs in which people can have reasonable confidence; a common sense understanding and consensual notion as to what constitutes knowledge. If it is accepted that social constructionism is not based on a relativist perspective, then it is compatible with Grounded Theory methodology.

The intended study is to reveal the importance of values in the process of constructing our implicit knowledge. There is a strong connection between emotions and knowledge and this relationship appears especially in the process of evaluation. Our approach describes knowledge as more intuitive and emotional and unconscious than is traditionally proclaimed. It serves especially practical and useful purpose and our former experience is its foundation. As we evaluate the world which we get to know, our system of knowledge contains also its meaning for us, our value system is hidden in it and it influences our further conduct. Our activity is the aim of our life, through which we cause changes in the world as well as in us.

Key words: value, evaluation, implicit knowledge, constructivism, emotions, knowledge, activity.

This chapter situates the conception of language (and communication) in enaction in the context of the research program of the cognitive sciences. It focuses on the formulation of the synthesis of hermeneutics and speech acts and the vision of language according to the metaphor of structural coupling. The exclusion of expressive speech acts in this design is problematized. An examination is offered of the critical steps to the theory of language as a reflection and the linguistic correspondence of cognitivism. We examine the foundations of the proposal in the line of language and social enaction as emergent phenomena which are not reducible to autopoiesis but which constitute a new neurophenomenological position in the pragmatic language dimension. A proposal is made for the integration of hermeneutic phenomenology with genetic and generative phenomenology in social semiotics. The inclusion of expressive speech acts based on the functions of language in the Habermas–Bühler line is also addressed. An opening is proposed of enaction to the expressive dimension of language and meaning holism with the referential use of language.

Key words: enaction, neurophenomenology, performative speech acts, expressive speech acts, background, meaning holism.

This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to ful?ll an ill-defined goal. Creativity is considered as the result of an emergence of organizational complexity in each cognitive system participating in the design process, while it is trying to purposefully incorporate new constraints in its meaning structures. The meanings generated in each system are identi?ed as the contingent and anticipatory content of its representations, and where self-organization is the dominant process in which they are continuously involved. Furthermore, Peircean semiotic processes appear to provide the functionality needed by the emergent representational structures in order to complete the cycle of a creative design process. Creativity originates in the abductive stage of the semiotic process, the fallible nature of which is maintained in the proposed framework by the fact that the respective emergent representations can be mis?ts. The nodal points of the framework are identified and analyzed showing that a cognitive system needs the whole interactive anticipatory cycle in order to engage in a creative design process.

Key words: Anticipations, Creativity, Emergent Representations, Peircean Semiotic Processes, Self-organization