A temporal vocabulary of Design Events for Research through Design

Much reporting on research-through-design (RtD) is vague about markers of time and temporal qualities. This lack of temporal attunement risks obscuring important contextual knowledge, hidden labour, material agencies and potential knowledge contributions. We turn to the notion of the event to articulate the granularities and nuances of RtD processes with an expanded vocabulary. We draw on prior calls from RtD practitioners, the philosophical roots of events, and our previous work with the term in our own research. We describe seven terms to expand the temporal vocabulary of RtD, which can be used to build narratives that emphasize knowledge created along the way, and relieve pressure from the ‘final’ artifact. Our contributions are 1) design events as an ontological shift and analytical tool and 2) a vocabulary that scaffolds design events as a sensitizing tool. We end with a call for more experimentation of non-chronological narratives of RtD.


INTRODUCTION
"When preparing a talk about this RtD project, I felt I didn't need to say everything, but I could point to the surprising moments in this design process.Somehow, saying or acknowledging that this is just a part of a moment in the project removes the pressure from having everything else resolved." (Audrey, written reflection on the Odd Interpreters project [18]) "The temporal dissonance I felt this year was that my travel plans (for projects, conferences and holidays) misaligned with the loom's schedule, including events such as the lab being renovated to put in a wall for sound protection, the time it took to put on the first warp, an intern coming in to weave who finished the warp." (Doenja, written reflection on weaving on a TC2 loom) "While my collaborator and I had tried (many times) to create a schedule for the project, it dramatically went over time-in every phase."(Audrey, written reflection on the Inner Ear project [19]) "I think failures are often clear, perceivable, and palpable events that are very good at revealing relations or assumptions." (Doenja, written reflection on The Morse Things project [59]) Above are excerpts from our exchanges around the question: What if we could tell research-through-design stories with a higher sensibility for the interwoven temporalities that shape our practices?While, in principle, RtD foregrounds the process of design [6,23,26,45,87], for over two decades, many RtD projects have focused heavily on final artifacts and a (chronological) description of the design decisions that have led to that outcome.This overlooks the many twists and turns that emerge through the process, which could also contribute important research insights.
A more recent shift within the discourse does focus on ongoing processes within the RtD, including nonlinear paths [17], failures [28,39,59], unreported prototypes [75], loose ends [30] or entwined life events [21,51].What we miss in these stories is temporality.In our writing, as well as in (excellent) works of RtD by others, we find mostly loose markers of time: 'soon, ' 'quickly, ' 'then, ' 'right after, ' 'after many trials and error, ' 'long process, ' -without attention to how these timeframes may be shaping what we learned.We find this a significant oversight: being indifferent to temporality obscures the labour and rigour of the processes.With more thoughtful language around the temporality of a design practice, we argue that researchers may not only present artifacts in a new light but will also articulate better the relations and worlds around these artifacts.This has the potential to create generative starting points not only for analysis and reporting of RtD practices, but also in how we might conceive and work through RtD projects.In this paper, we offer seven terms for a vocabulary that can help us make this shift to take seriously the "through" part of RtD.
We aim to promote narratives of RtD that rely on something other than finished artifacts or success stories.We unpack the potential of design events: occasions in RtD processes.We see in this an ontological shift where things, materials, tools, and designers are not stable but porously intertwined in a world that is continuously becoming or, as Ingold would put it, at a constant boil [40].Events, as a temporal-relational understanding, can also support work that already pays attention to the different (possible) trajectories, whether they long to be extended commitments beyond human lifetimes [24,53,78], engage with topics of urgency [10], promote temporal reversal through un-making [62,68,83], resist progress and stay with the trouble [2,35,63,71,73].
Next, we provide a short review of knowledge production in RtD and introduce the notion of the design event based on its roots in relational philosophy.The main contribution of this paper is seven terms that scaffold the design event.We end with discussing the vocabulary as a sensitizing tool and a call for more experimentation of non-chronological narratives in RtD publications.

KNOWLEDGE PRODUCTION IN RTD
While early examples of RtD focused on the final design artifact as the primary carrier of knowledge (or per Nelson and Stolterman's the ultimate particular [49]), design scholars have long understood that design is first and foremost a process and a practice (e.g.[66,77]).Within HCI, we continue to debate how we "articulate, validate and constitute the knowledge gained through design research" [37:2429].Design scholars have argued that design may not generate 'universal theories' but instead contingent, situated knowledge, or 'intermediary design knowledge' [37] in formats such as annotated portfolios [14], strong concepts [38], conceptual constructs [77], design programs [65], workbooks [12,67,82], filmmaking [55,57,64] and more.
Yet, these conversations often keep finished artifacts as main exemplars.Recent works have called for more visibility of the messy "through" parts of the design process [17,39].These stories have always existed but are not often part of academic research dissemination formats.We argue that by broadening our understanding of where knowledge is created in RtD, we will not only find more contributions from RtD, but we also can strengthen the rigour and validity by being more transparent about how artifacts are created and how findings are generated.
Central to this is a need for a different (temporal) narrative.For instance, there is a draw to chronological stories (iterations from ideation to concept development, from final design and fabrication to deployment and testing), but this has its limitations.Gaver et al. argue that by looking at emergence as central to design research, we must "present design research as a journey, not a quest" [29:523].We have seen examples of alternative temporal narratives in RtD in recent years, such as comparing RtD artifacts across projects or labs (e.g.[13]), changing theoretical framings of an artifact over time [33], or presenting abandoned directions or prototypes [17,30,75].
When we move away from telling the success story of design work that culminates in a final artifact and deployment study, we argue that we also need a vocabulary around time and temporality.Which parts of the process are worth reflecting on?Which of the 'aha' moments are interesting for others to read about?Which of the many broken prototypes hold important lessons?What do we pay attention to, and how does that change how we document, write up, and do design research?And, to the point of this paper, how might a temporal vocabulary help us attune ourselves to events along the way?

THE DESIGN EVENT
We turn to the notion of event to articulate temporalities in design research with further care, nuance, and generativity.The concept of events has been used in research on documentation examining the need to capture, document, and archive different steps of RtD projects [5,16].Our use of design events is separate from goals to capture or document but instead ontologically generative, following prior articulations [42,81].We turn to the philosophical and theoretical roots of events and articulate three (non-exhaustive) qualities of events that served as starting points for our development of the vocabulary.

Everything can be an event;
Events are not only chronological happenings in human time (such as workshops, co-design sessions and hackathons), but also include objects, things, or materials.For example, in Whitehead's description of Egypt's Great Pyramid, he points out that its relations to its surroundings are different today than yesterday -and therefore, it does not exist, but is happening [80].In other words, one can never stand in the same river twice as the water flowing through will not pass again.This should resonate with designers: fabrics wear and tear, prototypes fall apart, wood expands and shrinks, metal rusts and oxidizes, and code gets bricked.Things are not stable but are always in a state of becoming, and therefore, everything can be seen as an event.The terms in our vocabulary further enable this shift in seeing the world as ongoing.

Events are porous;
Put simply, events are occasions in which some difference can be observed [46,74].The pace at which a difference is revealed and who observes it depends on how events are cut or defined.Yet, an event does not occur in isolation and it is often not clearly bound: any definition is porous.Wilkie and Michael argue that as events are porous, so are design researchers engaging with them: "[. ..] to observe or run a research or design event is also to be a part of an event, and thus to be open to change oneself" [81:3] They further point out that "what the designer believes enters the event is not necessarily what actually enters" [81:4].The role of the designers is not to provide an exact definition, but to become more attuned to what any construction of events includes and excludes.With our vocabulary, we enable propositions for ways of seeing and articulating how time is materialized and expressed.Our terms are not meant to be exclusive: one event can fit multiple terms.The terms can be seen as different lenses to be tried on for fit: prioritizing certain temporalities to reveal the actors and relations exposed within them.

Events are non-anthropocentric;
Lastly, events are non-anthropocentric in their generous inclusive understanding of actors that are (part of) an event.They are also non-anthropocentric in that they do not prioritize human or calendar time as we know it.Important to note in this shift is a focus not on how things are defined by time but how they embody, express, actively shape, act and own their time, or, following Barad: how matter does time [4].The events in our vocabulary attend to nonhuman time and offer opportunities for non-chronological organization.

BUILDING THE VOCABULARY THROUGH OUR PRACTICES
We created our temporal vocabulary by building on this understanding of design events with experiences in our RtD practices.
We each turned to design events for different, yet complementary, reasons, as we share below.

Reflecting on our past design events
Doenja used design events as a non-anthropocentric framing to accentuate more-than-human stories [58].Her first use of design events was applied retrospectively to make sense of multiple moments leading to a failed deployment study [59].She then actively worked with it in data analysis, resisting binaries such as failures and successes to instead present ongoing and in-progress design work [56,58].Audrey first turned to design events after struggling to find the right way to narrate the story of a long-term RtD projectafter a manuscript was rejected twice [18].It felt like the project had important 'learnings' both in the making and debugging of the artifacts that were created, as well as the deployment of the artifacts within her team's homes.Design events became an important analytical tool to edit Audrey's and her team's design journey and tease out contributions at all these points in time.
We each saw value in using temporally bound units of analysis to look at our work.Design events offered a mindset where we could narrow in on a lesson from within the design process without directly relating it to the broader project (i.e., the full design concept or the final deployment).There was something liberating about writing in this profound and yet incomplete way.
Yet, this new analytical approach also presented challenges.The first challenge of working with events is that they are hard to see in practice.The importance or significance of an occurrence often only becomes understandable in retrospect.In other words, how do we recognize that we are in the middle of an event?Our motivation for the vocabulary below was to create a sensitizing tool that can help keep an eye on these critical moments or periods of time and scaffold the analyses of RtD projects or events in hindsight.Secondly, we also found it challenging to bracket events: Can an event include other shorter events or overlap with another one?Why do some significant events feel like a sharp half-second moment while others are more like multi-week phases?Once we started looking at the term, we realized that 'event' might still be too broad to accurately describe the different temporal 'things' we saw in our work.This prompted us to further investigate.

Developing the vocabulary
The propositions for a vocabulary on design events presented in the next section were developed over multiple writing and discussion sessions between the authors.Inspired by first-person work, we loosely followed approaches such as duo-ethnography [39] and design memoirs [21]: we each reflected on our RtD practices and used examples from specific projects to illustrate some thoughts or questions.To see events, we turned to comments on a Figma board, team communications on Slack or other messaging systems (a question raised, a frustration expressed, etc.) or more personal and spontaneous communication such as Instagram stories.In our teams, we also found that in-progress critiques and end-ofquarter reflections held important intermediary knowledge.Many materials created as instructions within or beyond a team exposed design knowledge that was true at certain moments in the design process.
Our analytical work started with each of us writing an account of our practices focusing on the different temporalities we felt.We aimed to better understand our work with design events by asking each other (asynchronous) questions such as: How did you use design events (within which practice, with what data)?What are the temporalities that emerged in the project/practice?And what different types of knowledge emerged from the project using design events?From here, we came to understand the importance of a shared vocabulary and grouped together examples resulting in seven terms.The presented terms are not meant as a finite, complete vocabulary-rather, we offer it as a malleable start to be shaped and iterated on.We encourage RtD practitioners to use this vocabulary, expand on it, and find which design events might appear in their practices.

A TEMPORAL VOCABULARY OF DESIGN EVENTS
We use design events as an umbrella concept and see the additional terms as scaffolds that can help better see the character, quality, and experience of events.Below, we give short descriptions of the temporal notations accompanied by examples from our practices.We want to re-emphasize how design events are porous and interrelated and how they can be cumulative.In other words, they can build on each other (for example, multiple Moments can become Rhythms), and relations such as Temporal dissonances might be revealed when placed side by side.We have illustrated some of these instances by creating cross-references in the vocabulary.

Moments
Moments are brief events or sharp snippets in which something perceivably occurs, like an LED indicator switching on, thread breaking, ceramic cracking, or a deadline passing.For example, the moment of multiple internet-connected ceramic cups breaking in shipping (Figure 1) was the third occasion of breakage that, in their accumulation, revealed greater fragility of socio-technical systems that IoT devices find themselves in, including shipping services, different time zones, battery life, and material fragility.
Moments can reveal previously under-considered relations, such as material relations between different parts of an artifact or system or social relations in the design team or larger social context of the project.Other scholars have recognized the generative potential of breakdown as an expository tool for hidden agencies and networks [8,41].Beyond breakdown, moments can also include trivial or purely processual events in a design project that could gain meaning accumulatively or turn into other types of events.Taking seriously

Encounters
Encounters are instances where separate actors come together or gather, for example, when laser cutting, 3D printing or CNCing a new material (machine encountering material), planned (human) encounters such as (online) project meetings, or assembling parts of the final object.Encounters don't have to include human actors and can play out over more extended periods than Moments.For example, Odom and Wakkary describe encounters between everyday objects that, over time, form ensembles, such as a pair of glasses, a diary, a glass of water and a reading light on a nightstand [52].
To illustrate encounters as design events, we reflect on the prototyping process to build Broadcast, a device that listens for home WiFi traffic and activates when WiFi traffic is detected [18].While prototyping during the COVID-19 pandemic, the prototype moved across the homes of different team members (Figure 2, top).Every encounter between the new WiFi networks and the device demonstrated new and unexpected behavior of our code.This collection of encounters eventually led us to reflect much more deeply on WiFi 'full' and WiFi 'sparse' environments and how these environments were distributed within our own team.In another example (Figure 2, bottom), an unexpected participant (a snail) presented itself in an encounter, prompting reflection on the definitions of participation in this project.
Encounters, particularly those where new actors come together, are potent for knowledge generation and can be more actively enabled in RtD projects.It is also an event that can reveal the conditions that allow actors to gather.Encounters can enable understanding of different response-abilities [32] of entities in the design project.

Transitions
Transitions happen when tasks are taken over, materials are changed, or prototypes or samples are left behind (Figure 3).
In one of our projects, an instructional file and set of woven fabric samples were prepared to assist a team member in a different country in weaving a previously designed draft.The loom she was weaving on had a different configuration than what the draft was created for, and she was working with different materials.Because of this, the instructions had to be detailed enough for her to understand how the original samples were constructed, which parameters were considered, and where she could alter and adjust.The instructions were made with a level of detail and care that is Bottom: A different type of encounter during a pilot deployment of a shape-changing textile initiated as a collaboration with rainy weather: a snail appeared after a couple of days.This encounter prompted reflection on who is invited or prioritized to collaborate in more-than-human design work.not easily translatable to other projects.The instructional can be considered a type of in-process 'ultimate particular' and share a likeness with alternative design research dissemination such as DIY tutorials [20] or open-source and self-build platforms [27].
Transitions announce a state of being between events, Moments, Pauses, or other.In this, transitions are indicators for potential knowledge externalization and contributions.Also, the tools created during transitions, such as reports, instructions, or translations, are important indirect data sources containing tacit design knowledge.

Pauses
Pauses can be short or long events that indicate moments of waiting, doing nothing, staying still, and standing back.They can include intentional pauses, as described by Yoo and Friedman [25], or pauses introduced by material curing or drying time, supply chain issues, or repair and maintenance.
For example, in the Odd Interpreters project, SA's team wanted to develop an artifact that would display the changes in sunlight over time [18].The team wanted to test if natural hand-dyed fabric (without a fixative) could fade noticeably over time.After dying different fabrics with a few dyes (Figure 4), we had to wait six weeks to see the results and decide which combination to choose.During that period of waiting, other parts of the work could still happen (the coding of the Arduino and the design of the encasing to be 3D printed).Yet, it felt like no final decisions could be made because they were contingent on the final fabric and dye.Working in this state of 'moving forward' yet remaining open to future changes created a space where experimentation and contemplation were welcome.When embraced, pauses can be generative and reveal deep insights.Even if things appear as passive -they might be on their way to becoming active.

Rhythms
Rhythms are recurring events that can be repetitive, predictable, cyclical, or appear as a pattern.Rhythms can take place beyond the project, such as seasons (see Figure 5, right), deadlines, and academic calendars.But materials, tools, and machines of the project itself have a pace and tempo, too (see also Other-time).
In our practices, we found that rhythms can play shaping roles.In multiple projects of Doenja, a TC2 jacquard loom is used to weave on (Figure 5, left).For this, the loom needs to be periodically warped-a time-consuming process in which new yarn is wound on the beam led through the heddle and tied on.This process strongly influences the planning of the projects and what can and cannot be woven at a given time.The warping process also promotes moments in which people gather to use up the remaining yarn, plan the next projects roughly, and warp the loom.This materialdetermined rhythm inadvertently creates points of reflection and futuring (e.g.planning or fantasizing new projects) within a studio or lab.Acknowledging rhythms and how they influence project work is essential in a more relational understanding of RtD practices.It can be generative in defining the projects and researchers' positionality in a broader context.

Other-time
Other-time refers to the temporal lifeworld of non-researchers in the project that may influence or prompt events, such as machinetime (looms, 3D printers), material-time, participant-time, as well as political events or personal life events.
For instance, working with clay involves many steps, regardless of the fabrication technique (3D printing, slip casting, etc.).Clay needs to be wedged and prepared before it can be printed.Once shaped, it has to dry and be trimmed.It is bisque-fired and may or may not get glazed and fired again.Every step takes time and is hard to predict as it depends on the temperature and humidity in the studio (Figure 6) and cannot be influenced by the researcher's agenda or timeline.
Events such as Pauses and Temporal dissonances allow othertime to unfold -as its temporalities may take longer to unfurl or resonate.Paying attention to and taking stock of other-time is important to anticipate events in RtD projects better and to give other agencies a more active role in design processes.5: Left: A TC2 Jacquard loom mid-warping process.Right: a project of Doenja using herbariums as a tool for noticing, in which they are revisiting and recreating an existing herbarium.Seasonal rhythms and cycles of trees, shrubs and grasses determine whether samples for the herbarium can be collected, and by effect, when Doenja can work on this project.

Temporal dissonances
out with publishing timelines (such as conference deadlines that prompt the work to be written up in certain moments).Temporal dissonances become clear when events clash, for example, Temporal dissonances are illustrated well when clay-time (see the rhythm of seasons (in doing multispecies work) not working Other-time) met participant-time (Figure 7).The Inner Ear project  [19] involved slip-casting central modules, deploying them to capture data with six participants, collecting them back, 3D printing data physicalizations rings, assembling these rings with the central modules and deploying them back with participants.Clay-time was already filled with uncertainty, which was only exacerbated by the scheduling complexities of matching participants' time with our team's availability for meeting with them.Temporal dissonances do not necessarily prompt pauses or slowing down; they can also be starting points for fabulations.In Figure 8, Doenja worked with missing information created by temporal dissonance in the herbarium project (as described in Rhythms).While the shrub she was looking for was not in bloom, she speculated on the possible colors of the flowers.
Temporal dissonances can reveal material agencies that are not obvious and need careful attunement to find opportunities to work actively with (see [47,86]).They also reveal the multiple temporalities existing within a project and can sensitize designers towards a more open attitude toward this plurality.

EXPANDING, INTERTWINING AND NARRATING THE TEMPORALITIES OF RTD
With this work, we encourage other design researchers and RtD practitioners to attune themselves to the temporalities that exist in their processes.A first step for working with design events is to 'see' them.Our call is not to build new tools for capturing the temporal qualities of RtD projects (as others have suggested previously, e.g.[16]); instead, we argue that temporal markers are already hiding in plain sight.

A vocabulary for sensitizing
Our intention to create a sensitizing tool is to allow design researchers to see the knowledge contributions within their ongoing design work.The goal was to go beyond 'trusting the process' to respecting the process and embracing the ongoing becoming and 'knowing' that happens along the way.Yet, when writing the examples for each design event above, we found friction when trying to articulate what exact knowledge was generated within specific events (i.e.how might design events offer generativity).Design insights occur across events and require forms of storytelling (synthesizing, organizing, narrating) to yield new knowledge.However, our point stands: design researchers need to be attuned to parts of the story (or events) before telling a full story.Using the vocabulary to see and name events along the way is an important step.Furthermore, a new attunement to design events will challenge how design researchers plan or conduct their projects.For instance, in some of our projects, we have started to plan phases of the work according to the seasonal Rhythms, exposed our work to enable unexpected Encounters, and are taking photographs of more mundane Moments in anticipation that some of them might grow into knowledge.Various events emphasize how other actors gather (Encounters, Transitions, Other-time, Temporal dissonances).These will become generative once we understand design as relational and acknowledge their positionality amongst broader contexts.While the vocabulary we offer may help see the interwoven timescales of a practice, the challenge is in deciding how to find points of alignment across actors, even through layers of agency, power, and labor.Finally, design events can be generative by shifting how design researchers think of process-oriented knowledge externalization.While we often think that a quick instruction or a note left for the next person to use a tool are temporary, with design events (especially Transitions), we may realize that these expressions of tacit knowledge would benefit from care when being created (which may extend their longevity).

Promoting different forms of narrative
Stories are inherently temporal formats that can weave together different types of temporalities, allowing for more connected and relational types of knowledge.Events hold potential as ingredients for storytelling forms suited for the messy, asynchronous, and non-linear ways of RtD to explore forms of narrative and uses of language.It has previously been argued that HCI would benefit from a better understanding of basic plots for storytelling [11].Design events extend this call with temporal narrative structures.For example, researchers can shape the temporal environment by using serial or episodic stories, combining multiple individual stories (duology, trilogy, tetralogy or polyphonies), building stories within stories, retelling the same story from different perspectives, or making use of a frame story in which segmented events are tied together by a central one.They can also experiment with temporal order through flashbacks, flashforwards, stories that begin right in the middle or using language to elongate or shorten time.
With design events, we offer building blocks for such temporal narratives that can be woven together differently.We could see design events being used as an analytical tool for auto-speculation [44], fabulations [72], or diffractive analysis [50,69,79].We also see opportunities in works that have experimented with publication formats and dissemination [34,60,61,84].For example, Helms' reflections invite the reader to print out the poems and redistribute the pages to engage with them spatially rather than chronologically [34].This could work well for entangling events like Moments, Rhythms, and Transitions.Our invitation to the community is to use the vocabulary to experiment with temporal form and structure in research narratives.Lastly, while our focus in this paper has been on RtD specifically, we invite adjacent practices such as materialdriven research [9,15,43,47], soma-design [36,76], biodesign [7,54,86], digital fabrication and craftsmanship [1,3,22,31,48,85] and design research more broadly to take up and adjust these terms for fit too.

CONCLUSION
To conclude, we have proposed seven terms to cultivate a stronger temporal sensitivity in research-through-design: moments, encounters, transitions, pauses, rhythms, other-time, and temporal dissonance.Together, design events have the potential to shift how we conceive, conduct, and report on RtD projects -offering care and attention to elements we might have been indifferent to before.We argue that this ontological shift towards the temporal nature of RtD (or the constant becoming of materials, tools, designers, infrastructures) can expose relations and new learnings.Our final call is towards more transparent and open reporting on the unexpected, weird, and non-rational things that happen in design.Here, we argue that our design events vocabulary will not 'tell' designers which events are significant to report on -we trust designers will know to recognize their contributions.But we believe that this vocabulary can help build an analytical attunement towards events (quick, long, cyclical, relational, etc.) that allows designers to hold on to, gather, expand on, and work with them: the first step to looking at and reporting on RtD practice differently.

Figure 1 :
Figure 1: Three different moments of breakage in the Morse Things project [59] allowed (or forced) to embrace fragility in the theoretical framing.From top left, clockwise: A cup breaking in the process of designing custom packaging, the same cup breaking after it had been repaired with kintsugi, and finally, multiple cups and bowls breaking in shipping.

Figure 2 :
Figure 2: Top: A prototype present in different homes behaves differently, forcing many rounds of debugging with the code.Bottom: A different type of encounter during a pilot deployment of a shape-changing textile initiated as a collaboration with rainy weather: a snail appeared after a couple of days.This encounter prompted reflection on who is invited or prioritized to collaborate in more-than-human design work.

Figure 3 :
Figure 3: Top: Instructional file for a woven fabric.Bottom left: example of a material transition, representing colors chosen for paint side by side with printed ink on paper, painted swatches on paper and on 3d printed materials.Bottom right: labelling different yarns to communicate with a team member.

Figure 4 :
Figure 4: Nine swatches of hand dyed fabrics to be exposed to the sun for multiple weeks while we wait for them to fade.

Figure
Figure5: Left: A TC2 Jacquard loom mid-warping process.Right: a project of Doenja using herbariums as a tool for noticing, in which they are revisiting and recreating an existing herbarium.Seasonal rhythms and cycles of trees, shrubs and grasses determine whether samples for the herbarium can be collected, and by effect, when Doenja can work on this project.

Figure 6 :
Figure 6: Left: Ceramic pieces at different stages: ring fresh off the 3d printer (front right), central module drying (back left), and central module waiting to be trimmed and sanded before bisque firing (front left).

Figure 7 :
Figure 7: Temporal dissonance between (Left) clay-time-the multi-step production and assembly process of the ceramic pieces, and availability to meet with the research and filming team (right).

Figure 8 :
Figure 8: Page from the Herbarium with fabulated colors for the Weigelia sample, which can be either pink, red or yellow depending on the specific type of Weigelia.