Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
120
result(s) for
"Willis, Anne-Marie"
Sort by:
The Designing of Time
This chapter sets out to show that different ways of 'thinking time' have effects: they design actions-in-time. What ways of thinking and acting-in-time might be appropriate now, as defutured futures travels towards us? To explore this, the chapter ranges, probably provocatively, across many moments of time from the cosmologies of Amazonian Amerindian collectivities, to ancient and modern Egypt, to disjunctive temporalities in which fast-fashion collides with a changing climate and wildfires rage across Australia. Drawing on Heidegger, Cheah, Danowski, and Viveiros de Castro, the co-constitution of temporalities and worlds is examined under the shadow of the finitude.
This chapter sets out to show that different ways of 'thinking time' have effects: they design actions-in-time. To explore this, the chapter ranges, probably provocatively, across many moments of time from the cosmologies of Amazonian Amerindian collectivities, to ancient and modern Egypt, to disjunctive temporalities in which fast-fashion collides with changing climate and wildfires rage across Australia. Maintaining employment levels and standards of living are their touchstones, no matter that most jobs and standards of living are deeply unsustainable as they are inseparable from a global economy bent on defuturing. The 'rapid and far-reaching transitions' required are not just material and technological, but in the very categories of thinking by which the peoples attempt to grasp the unfolding situation. Previously, fashion brands would release two to four seasonal collections a year. Now, facilitated by the social media-boosted online global marketplace, the availability of cheap labour and cheap fabrics, and a super-efficient logistics industry, they release up to ten collections year.
Book Chapter
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