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.