A Sense of Design: The Embedded Motives of Nature, Culture, and Future - Principia Designae: Pre-Design, Design, and Post-Design - page 50

origin of these “closed system” problems is probably the popular enthusiasm for
making objects, including those that are designed (Csikszentmihalyi and Rochberg-
Halton 1981 ). Although these problems are complex and intertwined, we attempt to
classify them to find a suitable approach to identify the sense of culture. The social
brain hypothesis (e.g., the “Machiavellian intelligence” hypothesis) models the
human brain's evolution process as the coevolution of humans, who are fundamen-
tally a social species rather than individualists (Byrne and Whiten 1989 ). Accord-
ingly, scholars claim that human behavior tends to aim to govern the natural world
by forming culture. This illuminates connections between social motives and the
senses of nature and culture.
4.4 Sense of Future
In the previous section, we discussed the interactive relationship between humans
and artifacts as a creative activity. The main goal of most design initiatives is to
produce products; the unintentional final outcome of products is the state of the
world's environment. This is the result of a closed system. In the cycles of the
creative process, human cognition seems to be separate from outside factors. To
break free from the closed system of conventional design, the sense of future must
be discussed. In doing so, we hope to increase awareness of a sense of the future.
From an ethics perspective, the reasons for creativity are essentially different
from the reasons for social design. Notably, neuroethics (biomedical ethics) has
focused on detecting brain functions to answer the question of why only humans
can have a motivation for the actions of others (Farah 2010 ; Bruni et al. 2013 ) .
These features connect to deep design thinking in future-minded individuals.
4.4.1 Deep Design Thinkers
In the twentieth century, problems related to the embodied incoherence of industrial
society tended to be uncontrolled. Correspondingly, aspects of design studies,
research, discussions, and education have grown rapidly without much criticism.
Before completing theoretical academic studies of design, we must develop design
students to be human resources who are able to contribute to an industrial society
through their design ability. Design education models that privilege realistic design
practice—such as experiential learning that is connected to the real world—over
philosophical reflection (however important and relevant) are needed.
This chapter identifies the roles of academics in regard to designing an advanced
society, which should differ from academic roles in conventional society. The
history of the nineteenth and twentieth centuries developed a firm foundation for
production and manufacturing, which is usually understood as a restricted meaning
of design. This restricted meaning of design fits the framework of conventional