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"Willis, Anne-Marie"
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Editorial
Cigdem Kaya Pazarbasi, in 'Contemporary Art and Critical Perspectives in Industrial Design Education', presents a case for, and case study of, the value of exposing industrial design students to selected critical art practices as a way of shifting their focus from how to design to what to design. From the other side, we hoped that critical thinkers from the humanities and social sciences would begin to realize that it is not sufficient to address questions of power, inequality, justice, ethics, the political and the like only at the level of institutional structures or of values, beliefs, attitudes, opinions and behavior as if such things were self-evident; that a wider range and greater number of critical thinkers would be able to recognize that the socio-political-cultural is never separate from prefigured and configured material and immaterial forms that have become increasingly directive of the possibilities of human existence - and here we are not talking just of professional design but of all forms of prefiguration across times and cultures that result in new or modified material or immaterial forms that endure in themselves and/or in their effects. 2 Returning to the engagement of design from within design that goes under labels such as design research, design studies and design history, this activity has expanded over the last decade with the proliferation of postgraduate study programs, this linked also to an imperative to publish imposed by the neo-liberal, managerialist mindset that dominates universities, which goes in the direction of breaking down intellectual work into measurable units amenable to monitoring and evaluating 'performance,' the quantifiable level of which has a huge effect on the funding of universities and the expansion or contraction of departments within them.
Journal Article
Design and the Global South
There is a growing community of critical design thinkers of the global South who recognize how design, as delivered by design education and professional practice, constituted in the service of colonialism, is deeply embedded in a Eurocentric epistemological foundation. [...]the reception to it has been disappointing. Design so characterized is powerfully presented as 'a creative and dynamic reflection and realization of the people's forgotten and discarded needs, wishes, and longings that would be inevitably linked to the local cosmologies, ethics and systems of knowledge seen not as the dead and museumized past, or as a conservative fundamentalist dystopia, but as a living and breathing present and a promise for the future.'
Journal Article
Transition Design: the need to refuse discipline and transcend instrumentalism
[...]my initial reaction is: Theory is taught so it can be 'applied' to design tasks. [...]theories of culture and cultural difference are taken up as if their only purpose is to define target groups and enhance marketing strategies. [...]advice propels the student back to delimited 'designing-in error, back to designed objects and images, outputted as craft-style objects or posters, apps, or websites (badged as 'an awareness campaign'). [...]the supervisors feel secure because they are still turning out Graphic or Product or Interaction Designers, their disciplines remain intact and their jobs secure. There is a need to create new learning contexts by teaching philosophy, social and political theory in relevant, new and engaging ways to designers as well as to graduates and professionals from non-design fields, so as to create new postures - that is, new modes of thinking and acting in professional and everyday life.The challenge here is how to provoke and inspire those whose education and professional life have inclined them toward analysis and critique to be able think and act creatively and pre-figuratively. *Mish is Egyptian Arabic slang denoting not, negative, refusal.
Journal Article