Dr Iryna Kuksa holds a permanent Senior Research Fellowship in art and design at Nottingham Trent University, UK. Educated at Oxford, LSE and Warwick, she has extensive research expertise in industrial design, digital and social media, and digital humanities. Her influential book Making Sense of Space: The Design and Experience of Virtual Spaces as a Tool for Communication (Chandos, 2014) redefined the use of digital spaces for communication and creative practice. Her innovative approach to understanding the role of design in social media and consumer culture, led to the launch of a new research field of design for personalisation (Design for Personalisation, Routledge, 2017). Iryna's research on 3D visualisation and digital design as a tool for education has been recognised by the prestigious award of Harry Ransom Fellowship. Her 3D reconstruction of 1921 Norman Bel Geddes' set design for Dante's The Divine Comedy has been part of the first exhibition of Bel Geddes' industrial and theatre designs 'I Have Seen The Future: Norman Bel Geddes Designs America' in Austin, USA. In 2019-2020, she was a Visiting Scholar at the Harvard Graduate School of Design and acts as a guest reviewer for the Master in Design Engineering program. Iryna leads a major ECR development initiative; co-leads the Design Research Centre and is a Board member of the Creative and Virtual Technologies Lab at NTU. In 2021, she was elected to the National Research Centre on Privacy, Harm Reduction and Adversarial Influence Online College of Peer Reviewers.

PART 1 Personalisation: expectations, challenges and reality 1. The contemporary phenomenon of personalisation 2. Personalising consumption or consuming personalisation 3. The ethical dilemma of personalisation

PART 2 Digital personalisation 4. Delivering personalised, digital experience 5. Predictive personalisation: are we watching or being watched? 6. Personalisation: what the experts think

PART 3 Tailor personalisation 7. Individualisation of markets: towards personalisation 8. Consumers and producers: whose personalisation is it? 9. Customisation and co-creation: an evolving complexity

PART 4 Personalisation by material engagement 10. Personalisation and the category of the person 11. Persons consuming 12. Persons repairing: reficio ergo sum

PART 5 Back to the personalised future 13. Lessons learned: personalising the future, personalising ourselves