1
CDI
MING
Introduction to
Innovative Design
Thinking
Lecture 7
1.
2.
3.
4.
5.
Tao’s Thinking
The use of nothingness
Application of Tao in Education
To Design a project
Cultural barriers
2
Tao’s thinking in Education
1. What is Tao (道)?
2. What is Nothingless“Wu”(無)?
3. Application of Tao in Education
3
Tao’s thinking in Education
文字
創意
圖象
美學
文化
老莊
4
Tao’s thinking in Education
學會學習
5
Tao’s thinking in Education
Perception
Concept
Idea
WHY
WHAT
HOW
6
Tao’s thinking in Education
Concept formation
Knowledge
Concept
Experience
7
Tao’s thinking in Education
Knowledge formation
Personal
Codified
Tacit
Knowledge
Knowledge
Knowledge
8
Tao’s thinking in Education
New
Perception
Perception
Concept
Idea
Heritage
9
Tao’s thinking in Education
New
Perception
Perception
Proficiency of
Languages
Concept
Idea
Heritage
10
Tao’s thinking in Education
Lo-gy (老子) has many off springs:
Archaeo-logy
Geo-logy
Numero-logy
Ultra-logy
Bio-logy
Horo-logy
Onto-logy
Zymo-logy
Crimino-logy
Ideo-logy
Psycho-logy
Archeo-logy
Dermato-logy
Limno-logy
Socio-logy
Methodo-logy
Eco-logy
Metro-logy
Techno-logy
Termino-logy
………………………………………
11
Tao’s thinking in Education
道=無
12
Tao’s thinking in Education
無
道=無
有
13
Tao’s thinking in Education
道生一 , 一生二 ,
二生三 , 三生萬物
14
Tao’s thinking in Education
文字
老莊
創意
文化
圖象
美學
15
Tao’s thinking in Education
文字 老莊
創意
文化
圖象 美學
16
Tao’s thinking in Education
合一
17
Tao’s thinking in Art & Design Education
合一
無
18
Tao’s thinking in Art & Design Education
有
無
19
Tao’s thinking in Art & Design Education
有
無
無
20
Tao’s thinking in Education
吾生也有涯 ,
而知亦無涯 ,
以有涯隨無涯 ,
殆而已矣 .
21
Tao’s thinking in Education
學會學習
22
Tao’s thinking in Education
知其不知
不知所知
23
Tao’s thinking in Education
有=有
24
Tao’s thinking in Education
25
Tao’s thinking in Education
無=有
26
Tao’s thinking in Education
27
Tao’s thinking in Education
無中生有
28
Tao’s thinking in Education
29
Tao’s thinking in Education
文字=無名
創意=無知
圖象=無物
美學=無心
文化=無識
老莊=無
30
Tao’s thinking in Education
有意栽花花不發
無心插柳柳成蔭
31
Use of Nothingness
You know everything,
you are nothing!
You know nothing,
you are everything!
32
Use of Nothingness
Imagine:
A white board is useful
when it is empty.
Once it was filled with
scribbling, it is useless.
33
Use of Nothingness
One can eat because
one is hungry.
One can learn because
one is empty!
34
Use of Nothingness
One can be creative
because one knows
nothing about what s/he is
doing. And once you don’t
know, there you have
room to grow.
35
Use of Nothingness
To be creative…..
=
To be empty!
36
Use of Nothingness
As an educator, we
are trained to “feed”
students and make
them full.
37
Use of Nothingness
As a creative educator,
we are trying to “feed”
them with knowledge
and then empty them
out.
38
Use of Nothingness
To empty your students,
empty yourself first. The
greatest enemy in
creativity is always you
– yourself!!!!
39
Use of Nothingness
Enjoy knowing nothing,
then you will know
everything out of nothing;
and then empty out and
being nothingness again.
40
References
吳汝鈞, 老莊哲學的現代
析論, 文津出版 1998
41
Design a project
To design a design project,
there are some points we
teachers need to pay attention
into.
42
Design a project
We have to find a theme
suitable for students. How can
we find this?
Ask the student.
Treat yourself as a student.
43
Design a project
We have to find the NEED
suitable for design activity.
But, what is the Need?
44
Design a project
The NEED can be at different
levels:
 To student
 To teacher
 To school
45
Design a project
To parents
 To Education Department
 To society
 To China
 To mankind

46
Design a project
To me, the NEED is to
stimulate students
independent and innovative
thinking, to develop confident
and to self-transcend.
47
Design a project
There is a well known
problem in Design education
issued by ED????(Not sure)
The ill-defined design
problem.
48
Design a project
To me, there is NO ill-defined
design problem, there is only
ill-conceptual and “lazy”
thinker.
49
Design a project
A design project should be full of
fun, challenges, interesting and
worth learning. If most of the
students do not like the project, it
is a poor project.
Fun is the key in Creativity.
50
Design a project
The theme should be closely
related to students’ knowledge,
experience and / or familiar
environment. It may be useful
sometimes for students to decide
their themes.
51
Design a project
The theme should have room
for interpretation. If the
design project falls into the
subordinate area, teacher must
help students to find the way
out.
52
Design a project
The project brief should
clearly describe the situation
of the problem, the criteria,
resources available, content /
context to be covered,
submission and DEADLINE.
53
Design a project
Plan carefully the content you
are going to conduct within
the lessons, and examine the
feasible possibilities. If you
know the outcome already, it
is not a good project.
54
Design a project
Encourage students to
challenge the theme, to
interpret it, to analyze it,
question it and even propose
anti-theme for the project.
55
Design a project
Personal tutorial is very useful
for teacher to read students’
mind. This can arouse their
creativity because you teacher
feels interesting and do care
about how they think.
56
Design a project
Encourage students to make
full use of their knowledge
not only within the design
domain but everything they
know for the project.
57
Design a project
Exhibit or record down
students’ works and show
your appreciation for their
affords. Give full marks if
they deserved, and write
comments on their works.
58
Design a project
Teaching students to be
creativity means killing
teachers’ time and patient.
The more you contribute, the
more you yourself to be proud
of. You can master creativity!
59
Culture
What is Culture?
Culture is what’s shared by a
large group and transmitted
across generations – ideas,
languages, beliefs, attitudes,
behaviors and traditions.

60
Culture
It is also a collective value
system for a nation to think,
analyze, criticize and agree
with specific issues. Culture is
a living social organism,
which transcend through time.
61
Culture
Different types of Culture:
1. High Culture
2. Popular Culture
3. Sub Culture
62
Culture
We have to know the cultural
background of our situation
and the participants under any
creative works. Why?
63
Culture
So that you know their
history, need, their value
judgments, beliefs, and most
important, you know how
they think and interpret.
64
Culture
Citizens within a specific culture
can communicate effectively not
only because they speak the
same languages, but also think
and interpret things in similar
attitudes under the same value
system.
65
Culture
Under the same culture,
citizens will understand the
specific signs and symbols
using in their premises, which
are really difficult for the
outsider to decipher.
66
Culture
The signs and symbols must
echo to the consumers’ daily
lives in order to activate the
consumption desire. However,
most consuming intention is
unconscious and super-ego.
67
Culture
Signification can only
happened under the umbrella
of the same culture, and the
signifier becomes the idealist
practice of one’s wish.
68
Culture
Nowadays, consumption is
cohere with culture. Despite the
fact that Globalism becomes one
of the horrible threat of
Nationalism, creativity still stick
to the end users.
69
Culture
Knowing you (students; parents
and significant others) and
knowing me (teacher) is a
Chinese slang, which is true
whenever you wanted to initiate
any new and creative move
within educational domain.
70
References
Consumption, Robert
Bocock, 1993
Social Psychology, David
G. Myers, 1999, 6th Edition
71
72
Ming
Thank You