Systems thinking is a mindset to delineate
underlying systemic interrelationships which are responsible for
patterns of behaviour and events. It embodies a world-view for
understanding objects and values; a world-view where understanding
lies in interpreting interrelationships within systems.
Interrelationships are responsible for the manner
in which systems operate, and result in the patterns of behaviour
and events we perceive. In this sense, a system exhibits
characteristics that cannot be found in any of its parts. These
characteristics emerge from the interactions of the parts of the
system.
Systems thinking is commonly applied to
understand the material world of objects. Here the perspective is
an operational one and has the aim of managing the environment to
target particular objectives.
Systems thinking is also applied to manage the
non-material world of values, where the aim is to define mental
systems for managing the unknown in the context of:
- the
human sensitivity to the numinous;
- the need
for rules of morality;
- and the
concept of the 'love that passeth all understanding'.
With regard to the first type of value system, we
live in a culture whose attention to, and understanding of, reality
is changing. This is becoming ever more evident in our contemporary
educational and social systems, science and art and design.
At present three perspectives of consciousness dominate our Western
culture, from which subjective reality is viewed, perceived and
conditioned.
The first, in a historic sense, is the
traditional view of body and mind as separate entities: the mind is
separate from the body, mind from matter. The outer external
physical world is where subjective experience is located external
to the brain and is transmitted to the brain for analysis.
In sharp contrast is the reductionist view, where
subjective experience, whether perceptual, emotional or otherwise,
is located in the brain and not external where preference and
priority are given to objective, observable and measurable
phenomenon.
But there is a third perspective whch defines
consciousness not as the end product of material evolution, rather
that consciousness creates reality, or is reality, where both
internal and external phenomena are valid and valuable.
A recent social survey indicates that we are
presently at the forefront of a cultural shift to the third
perspective, which has been called an Integral Culture. The values
and beliefs inherent to this rapidly growing community include
idealistic and humanistic motives, concerns and interests in
relationships and psychological development, environmentalism, and
the co- creation of a positive and meaningful future.
Advances in the new sciences of quantum physics,
holistic biology and complexity theory (with their discoveries of
non- locality, ecological independence, and self-organising
systems) are proceeding according to the third perspective.
Nick Udall believes that this is an opportunity
for designers to transform their identity in order to learn to
explore, harness, and play with, their own consciousness.
Further still, the emphasis is no longer on designing objects
per se, but designing conscious objects which through
mediation, or relationship, enable the Subject to release an
attachment to the known, and an aversion to the unknown, and
experience an empathy with knowingness. It is this empathy, and
indeed intimacy, between the Subject and the Object which activates
numinous experiences and expands consciousness.
Udall’s view is that it has become
essential, if not imperative, for designers to question the role of
Design, and their relationship to it. Design has helped increase
material investment to an unprecedented level, but it has not
really advanced humankind in terms of improving the content of
experience. Design has certainly focused on the user so that
interaction is pleasurable with regard to function; but pleasure
itself does not bring happiness, or add complexity to Self.
Pleasure helps to maintain order, but by itself cannot create new
order in consciousness. To improve the quality and richness
of subjective experience, the designer must discover ways of
encouraging mindful interplay - to experience the totality, the
subtleties, and the numinosity of living.