" The exhibition ‘Climactic Post Normal Design’ "we question how mainstream speculative challenges the weak logic of design thinking critical design practice distinguishes itself from and aims to shift design debate from thinking design’s racist, sexist and classist foundations” about progressive design objects to reflecting “relevant to the majority of world populations critically on the design processes that exclude who are marginalized in current design practices” most of the world’s population from the debate." “pluriverses that draw on science fiction, CLIMACTIC: POST NORMAL

“alternative models for design that broaden human capacity to DESIGNunderstand and intervene The Exhibition and Workshops in social and environmental crises” “design has failed to create a cogent practice that can tackle 4 November to 11 December 2016 the nature of complex, global, and rapidly shifting futures” “structured uncritically around the logics of coloniality at the foundations of the modern world-system” Miller Gallery at “operating in different spheres: cultural, economic, and geopolitical” Carnegie Mellon University “asks questions of our present capacity to develop and proliferate forms of design thinking that ancient traditions and celebrate make-do culture” accommodate disparity, divergence and conflict, when “ecologies and environments that are neither these challenges are confronted on a global scale “ totally natural, nor totally technological” “We establish that this way of seeing futures as "What alternatives to traditional ways of thinking concrete things must shift from understanding about sustainability and survival, what strategies the present as static, when the reality is the very for coping and dealing with the rapidly shifting opposite: the present changes continuously.” landscapes and ecosystems of a changing planet, “contemporary design alternatives that frame have designers proposed in recent years?” the future as unknowable from a present “alarming statistics of global pollution” seen as unfixed and possibly unfixable” “imagined and lived alternatives” Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016

CONTENTS CLIMACTIC : 01 Introduction

POST NORMAL DESIGN 05 List of Works

4 November - 11 December 2016 53 Workshops, Panels & Talks Miller Gallery Carnegie Mellon University 5000 Forbes Ave Pittsburgh, PA 15213 55 Biographies of Artists United States 64 Curator Biographies c 2016 by the authors 66 Acknowledgments All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the permission of the authors.

Unless otherwise indicated, all images are courtesy of the designers/artists. Edited by Ahmed Ansari, Deepa Butoliya, Katherine Moline. // 1 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 2

CLIMACTIC: POST NORMAL DESIGN

AHMED ANSARI, DEEPA BUTOLIYA, AND KATHERINE MOLINE. OCTOBER 2016

The exhibition, Climactic: Post Normal Design, focuses on design forced migration, and neoliberal economics.1 The curatorial team looks like from Indigenous perspectives, and how it might be populations who are marginalized in current design practices.2 and political activism surrounding issues of coloniality, crises asks questions of our present capacity to develop and proliferate activated as an event in process across a university. The cognitive Thinking pluriversally entails rethinking practices of design that around culture and race, and climate change in both the Global forms of design thinking that accommodate disparity, divergence map reflects commonalities-in-difference between a Canadian take in ways of understanding the world that are inclusive of the South and North. The curatorial premise of the exhibition is to and conflict, when these challenges are confronted on a global scale. First Peoples Knowledge, Australian Indigenous Knowledge, and voices of those who have been marginalized within discourses of engage audiences in thinking about the precarity of the age we What theoretical frameworks and practical examples of designerly a Western conception of transformative knowledge. In this way, contemporary practice. According to Escobar, what this global currently live in, a precarity not in some small part due to the agency demonstrate the available possibilities for addressing the map becomes a mediating object for future intercultural pluriversality also entails is developing models of sustainability contemporary practices of design. Our exhibition, workshops questions that connect to global events? How are designers to conversations. The Possibility of Islands by Cairo based designer and and discourses for transition that are not only embedded in ‘inter- and panel discussions present alternative models for design that approach questions that link climate change in the Middle East to architect Manar Moursi (2013) considers islands from a number of connectedness and interdependencies of ecology’ but also ‘advocate broaden human capacity to understand and intervene in social the creation of diasporas in Europe and the rise of conservative perspectives to create a survival prototype in the event of a tsunami for a diverse economy that has a strong base in communities’.3 The and environmental crises. Climactic: Post Normal Design is co- politics in North America, the United Kingdom, and Australia? engulfing the city of Tokyo, Japan. Rather than attempt to maintain curatorial team has assembled a wide range of works from around organized by the CMU School of Design and Miller Gallery. It is the a hard boundary between land and sea, repurposed plastic-crate the world with the aim to include pluriverses that draw on science fourth iteration of a series of exhibitions and symposia initiated by From the establishment of the Horschule Ulm and the Design islands accommodate both, and do so with the excess of plastic that fiction, ancient traditions and celebrate make-do culture. Feral Experimental: New Design Thinking, shown at University of Methods Movement (if we can consider them originary landmarks), may have contributed to global warming in the first place. Myths New Wales Galleries, Sydney, Australia, in 2014. the 70-odd year history of design thinking is largely unchanged of the Near Future: CCTV by Katherine Moline (2010-2016) collects Works such as Night School on Anarres by Onkar Kular and Noam since Herbert Simon first proposed the definition of design as stories about the social imaginary of surveillance technologies, and Toran with Nestor Pestana (2016) explore the Utopian proposal Three themes draw together the works in the exhibition; Climactic the movement from existing to preferred conditions, with ideal the role that digital recording devices play in reframing the city as of twentieth-century anarchism in Ursula K Le Guin’s novel The Change, Speculative Anything and The Anthropocene. Under the imaginaries in mind. We establish that this way of seeing futures a public space where diverse communities are both monitored and Dispossessed (1974). As an experimental workshop commissioned banner of Climactic Change, defined here as transformation that is as concrete things must shift from understanding the present as connected. In the context of recent crime reports in the media the by Kings College, London, Night School on Anarres imagines how the culmination of a number of divergent trajectories at the same static, when the reality is the very opposite: the present changes work suggests that surveillance technologies, such as CCTV, is an language can create a way of life that doesn’t employ notions of time, the exhibition and symposium posit that design has failed to continuously. Mindful of this fluid temporality the curatorial team infrastructure and a technology with which to create new narratives possession and ownership. Instead of the proprietary norms of create a cogent practice that can tackle the nature of complex, global, has brought together a range of contemporary design alternatives of inclusion at urban intersections. capitalism, the workshop speculates on anarchic principles free and rapidly shifting futures. Often structured uncritically around the that frame the future as unknowable from a present seen as unfixed of political parties and government. Because ownership has been logics of coloniality at the foundations of the modern world-system, and possibly unfixable. A second group of works brought together in ‘Climactic: Post Normal eradicated with the erasure of money, and the allocation of work is the design disciplines exist to uphold hierarchical structures that Design’ address the notion of Speculative Anything. These are governed by a computer, residents of Anarres represent the subtitle maintain the status quo of racist, sexist and class distinctions. In The works assembled in the exhibition both tacitly and explicitly designs that challenge the canons and lexicons of design thinking of Le Guin’s novel: ‘an ambiguous utopia’. Horizon, Open Fires contrast, this exhibition and symposium bring together tacit and address the various dimensions of these rapidly shifting that are largely dominated by white, middle-class men – and by Liliana Ovalle / Colectivo 1050º, (2015) presents the reality of a explicit design engagements with contemporary global challenges futurescapes of social upheaval and climactic change. For example, therefore dismiss or trivialize the discourses that engage design in family of female ceramists in Mexico upholding ancient traditions that are not only complex and multilayered, but are recognized as Design in Times of Crisis: Oniria by Luiza Prado & Pedro Oliveira issues of race, gender, and class. We see little genuine collaboration in ceramics production where decoration is produced with the operating in different spheres: cultural, economic, and geopolitical. (2016) and Design in Times of Crisis: Algerinha Vive by Luiza Prado, with other disciplines and professions on an equal footing with black traces of smoke and coal, a permanent imprint of the fire they We see these spheres as connected to the social imaginary described Pedro Oliveira & Rafael Arrivabene (2016) question the idea of design design and we question how mainstream speculative critical design are exposed to. Mangala For All by Superflux (2015) is a project that by Cornelius Castoriadis and Arjun Appadurai, among others. When fictions by drawing inspiration from interviews and media reports practice distinguishes itself from design’s racist, sexist and classist brought to the surface assumptions in Western media about the the social imaginary is defined by Appadurai as ‘central to all forms on Brazil. The works explore the imaginaries of communities that foundations. In response to the homogeneity of contemporary right of a nation such as India, led by pioneering women in science, of agency’ and ‘the key component’ in globalization where the exist on the fringes of the modern world-system, and involve design discourse, especially in response to the challenges and to work around the costs of the space race. Auto Raja: A sustainable imagination is understood as a ‘social practice’ that is ‘no longer disenfranchised populations that, while often the subject of critiques posed by critical and speculative design practices in community driven Rickshaw Service by Shisti Labs (2013) proposes mere fantasy’, it is foregrounded as fundamental to the recasting dystopian futural fictions, have their experiences and views rarely recent years, we propose that alternative ways of thinking, such as an entrepreneurial platform for Auto Raja drivers whose average of futures now possible in an era dominated by extreme weather, represented in those very fictions. Drawing Together Indigenous the idea of ‘pluriversal studies’ described by Arturo Escobar, open wage is a few hundred rupees (less than fifty US dollars) a week. Futures by Tristan Schultz (2015) maps what cultural competency up futural alternatives that are relevant to the majority of world New Channel: Wishing Game by Tie Ji and Hunan University (2013) // 3 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 4

draws communities together to celebrate traditions that are new, artificially created epoch, especially as it affects those parts of about the ideal room temperature with which to engage producers 1. Arjun Appadurai, 1996, Modernity at Large: Cultural Dimensions of disappearing as younger populations relocate to urban centers for the world that are least equipped to deal with its changes? Inspired of climate control in Denmark. The Free Universal Construction Kit Globalization, University of Minnesota Press, Minnesota, p31. employment. Jugaard and Jua Kali tactics that refute conceptions by the claim that ‘Disparate times call for disparate measures’, and by Golan Levin and Shawn Sims (2012) extends the value of toys from 2. Arturo Escobar, 2011, Sustainability: Design for the pluriverse, of design as status-enhancing ever-new objects, are explored in the recognition that nature is by definition ‘unstable’ by McKenzie childhood to tweenage years by providing two-way adapters that Development, 54(2), pp. 137–140, p.138. Eyewear by Cyrus Kabiru (2016). In a number of works, students Wark, this selection of work provides alternatives for reimaging connect 10 popular construction kits, such as Lego, Fischertechnik 3. Escobar, A., 2012, Notes on the Ontology of Design. In Sawyer of Speculative Critical Design at Carnegie Mellon University (2016) what is possible now.4 and Tinkertoys and encourage new connections between otherwise Seminar, Indigenous Cosmopolitics: Dialogues about the Reconstitution suggest that Post-Critical Design pushes the envelope of critical closed systems. Similarly, BIOdress by Sara Adhitya, Beck Davis, Zoe of Worlds, organized by Marisol de La Cadena and Mario Blaser, design practice by incorporating the theme of the pluriverse and Works such as Gandi Engine Commission by the Tentative Mahony, Raune Frankjaer and Tricia Flanagan (2014) links humans October (Vol. 30). thus challenge how Critical Design is practiced by North American Collective (2015) recreate a walk to reflect on the waste and refuse to plants by a dress and provides a heightened understanding of 4. McKenzie Wark, 2015, Molecular Red: Theory for the Anthropocene, universities. The Critical Jugaard mask by Deepa Butoliya (2016) that cities produce and dump into the Ravi river in Pakistan. It the environment’s quantitative state. In this the collaborators Verso, London, p.i, p.200. taps into the potential of criticality practiced as a part of everyday brings attention to the local and global circulation of waste in the develop a broader exploration of interspecies communication make-do culture and frames jugaad as a tool for political resistance. service of neoliberal capitalism, and its relation to the continued and an approach to sustainable design that moves beyond the The futural aspects of everyday ingenuity are projected through suffering of the people who live on the banks of these flows of Anthropocene. these seeds of resistance mobilized by design that is by everyone, refuse. Energy and Co-Designing Communities (ECDC) by the and for everyone. The alternate futures are an extrapolation of Interaction Research Studio, Goldsmiths University of London The exhibition ‘Climactic Post Normal Design’ challenges the alternate presents, and suggest the future most likely: one where (including William Gaver, Mike Michael, Tobie Kerridge, Liliana weak logic of design thinking and aims to shift design debate from everyday ingenuity replaces corporate systems. Guftugu by Ahmed Ovale, Matthew Plummer Fernandez, Alex Wilkie, and Jennifer thinking about progressive design objects to reflecting critically on Ansari and Mehwish Zara Zaidi (2016) takes a long term view and Gabrys) (2010-2014) worked with communities such as Whitehill the design processes that exclude most of the world’s population documents a conversation between two design scholars, one in Bordon Eco Town and Low Carbon Living Ladock to provoke debate from the debate. In sum, we hope that exhibiting this collection the US and one in Pakistan, about the changing global nature of about the increasingly alarming statistics of global pollution. It of works, and the discussions we hope to generate around them, design practice and education. Likewise, Mapping Transition by explored the Anthropocene as the epoch when the climate created expose design discourse to critical self-reflection, and seed the Terry Irwin and Laurene Vaughan (2016) presents a workshop finale by human activity may be further modulated by reformed activity, grounds for more radical discourses from the margins of design for the exhibition. It maps the next phase of Transition Design and imagined and lived alternatives. Shenango Channel (2015) by practice. Our aim is to challenge the design mainstream towards envisioned by Terry Irwin for Carnegie Mellon University. Create Lab, Carnegie Mellon University, documents toxic emissions creating more diverse, fairer and better alternatives to the kinds of by the energy company DTE Shenango Coke. According to ACCAN futures we have open to us today. In deep considerations of design in the era of The Anthropocene, (Allegheny County Clean Air Now), the DTE Shenango Coke exceeds we take stock of different practices that have developed in response permitted emissions each week. At regular intervals DTE Shenango to situations where the nature of changing artificial/biological loses power which necessitates emergency venting and flaring systems has become increasingly uncertain and the stakes high. for close to an hour, despite promises to stop power failures. Taking seriously the evidence for climate change in both the Global As a result of these power failures neighborhoods downwind of South and North, and of the increasing complexity of ecologies the plant are exposed to toxic and carcinogenic emissions. In and environments that are neither totally natural, nor totally contrast, Design-Antropologisk Innovations Model / The Design technological, we ask what new design practices might emerge Anthropological Innovation Model (DAIM) by Joachim Halse, Eva to reverse and correct the rate, scale, and depth of ecological Brandt, Brendon Clark and Thomas Binder (2008-2010), informed change? What alternatives to traditional ways of thinking about by anthropological field studies, developed the User-Driven sustainability and survival, what strategies for coping and dealing Innovation Box to reimagine collaboration with design users and with the rapidly shifting landscapes and ecosystems of a changing waste management companies in Copenhagen. The Sensitive planet, have designers proposed in recent years? Of particular Aunt Provotype by Laurens Boer/Jared Donovan (2012) presents relevance in 2016: how can designers begin to make sense of this a provotype as a provocative prototype to encourage discussion // 5 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 6

LIST OF WORKS

1 Design in Times of Crisis: Oniria (2016) 7. Drawing Together Indigenous Futures (2015) 13 Critical Jugaad (2016) 19 Design-Antropologisk Innovations Model / The

Luiza Prado & Pedro Oliveira Tristan Schultz Deepa Butoliya, Carnegie Mellon University Design Anthropological Innovation Model (DAIM), 9" iPad Mini Screen Vinyl print, 70 x 56" Artifact, mixed media, 17 x 13.25" (2008-2010) Mirror and make-up kit Print, 25 x 36.25" Joachim Halse, Eva Brandt, Brendon Clark and Thomas Binder Inspiration i en boks: Brugerdreven Innovation på 8 Horizon, Open fires (2015) 2 Design in Times of Crisis: Algerinha Vive (2016) Affaldsområdet, User driven innovation Box (2010), toolbox Liliana Ovalle / Colectivo 1050º 14 Post Critical Design (2016) containing print in various formats, digital video, and raw game Pedro Oliveira, Luiza Prado, Rafael Arrivabene Ceramic cylinder, 4.25 x 5.75" Speculative Critical Design class, School of Design, Carnegie materials Soundscape recording, 9" monitor Ceramic cylinder, 4.25 x 4.75" Mellon University: Rachel Chang; Linna Griffin; Verena Fienjan Rehearsing the Future (Copenhagen: The Danish Design School 3D printed artifact, 3 x 3” Ceramic cylinder, 4.6 x 6.5" Vredeveld; Ji Soo Hwang; Justin Finkenaur; Charles Van De Press, 2010) Ceramic cylinder, 4.25 x 10" Zande; Kaleb Crawford 12 Prints, each 5.75" x 8" Seven Print posters, each 11 x 16.5" video, 10" monitor 3 The Possibility of Islands: A scenario for post- tsunami Tokyo (2013) 9 Mangala For All (2015) Manar Moursi, Studio Meem Superflux, Anab Jain and Jon Ardern 15 Guftugu (2016) 20 Sensitive Aunt Provotype (2012) Prints, three at 20.5" x 16", one at 36.5 x 50" Mangala object and package, 3.5 x 7.75” Laurens Boer and Jared Donovan Ahmed Ansari & Mehwish Zara Zaidi Print, one at 23.25 x 15.5", two at 11.5 x 7.75” Interactive prototype, plastic, 7.5 x 7.5 x 3” Print, dimensions variable Four Prints, each 11.5 x 7" 4 Myths of the Near Future: CCTV (2010-2016) 10 Auto Raja: A sustainable community driven Rickshaw Katherine Moline 16 Mapping Transition (2016) Workshop equipment, 4 x CCT cameras, Service (2013) 21 Shenango Channel (2015) 7" monitor, five prints each 8.3 x 5.8” Srishti Labs Terry Irwin, Laurene Vaughan Create Lab, Carnegie Mellon University Print, 28 x 38" Live workshop on trestle table, Miller Gallery, December 6 2016 Video projection, 90 x 40" Video, 32” monitor 5 The Free Universal Construction Kit (2012) 17 Gandi Engine Commission (2015) 22 BIOdress: A Body-Worn Environmental Interface Golan Levin and Shawn Sims (2014) 32 x 3D printed objects, dimensions variable 11 Wishing, New Channel Design and Social Innovation The Tentative Collective Project (2011) Print, 36 x 60" 18 Prints, each 5.5 x 7.5" Sara Adhitya, Beck Davis, Zoe Mahony, Raune Frankjaer and Video, 10" monitor Tie Ji and Hunan University Audio recording Tricia Flanagan Video game, 40" monitor Video projection, 90 x 36"

6 Night School on Anarres – Imaginings of an anarchist 18 Energy and Co-Designing Communities (ECDC) Utopia (2016) 12 Eyewear (2016) (2010-2014) Onkar Kular and Noam Toran with Nestor Pestana Bill Gaver, Mike Michael, Tobie Kerridge, Liliana Ovale, Matthew Cyrus Kabiru, courtesy of Smac Gallery, Capetown Animation projection, 16 x 18’ Plummer-Fernandez, Alex Wilkie, Jennifer Gabrys Two examples of Eyewear, found objects, one at 8.5 x 3", ECDC Energy Babble, 9.5 x 7” one at 7 x 3.25" 12 Prints, each 8.25 x 5.5” video, 39" monitor // 7 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 8

DESIGN IN TIMES OF CRISIS: ONIRIA 2016 - Luiza Prado & Pedro Oliveira

Collaborating under the nom de plume A Parede, Luiza Prado and from this premise, Prado and Oliveira explore the ways in which Pedro Oliveira create projects in the series Design in Times of Crisis the public perception of birth control, sexuality, and gender could that discuss, through a series of experiments, the current realities possibly shift, and what kinds of resistance strategies would emerge of people living in Brazil. The project, conceived in response to the as a result. country's turbulent general elections of 2014, means to interrogate the social and political tensions that Brazil would face twenty- A written narrative portrays the scenario, and describes a product, something years in the future, should a highly conservative and Oniria, developed to enforce this anti-birth control bill. The product's neoliberal coalition step into power.1 In June 2016, together with marketing strategy focused on gaining the public's acceptance by other researchers with ties to the Global South, Prado and Oliveira associating its use with responsibility, beauty, respectability and launched Decolonising Design, a platform that interrogates the patriotism; this was achieved, for instance, by introducing Oniria in ways in which design practice and design studies act within the influential cultural artefacts - such as telenovelas - and distributing framework of coloniality,3 and this work continue their longstanding it to media personalities. The subsequent success of the product led interrogation of the absence of debate about "issues of race, class to the emergence of make-up trends in which people highlighted the and gender privilege" in Speculative and Critical Design.2 creases left by Oniria on the skin – as an act of defiance, submission, or resignation. Participants in the project were encouraged to take The project Oniria examines how an extremely conservative, anti- selfies depicting how they envisioned these make-up trends. Gallery birth control bills that has recently gained traction in the Brazilian visitors to Climactic: Post Normal Design are invited to respond to House of Representatives could affect which kinds of contraceptive the Oniria story by uploading selfies on Instagram that represent technologies are accessible to Brazilian citizens. In a scenario their interpretation of the narrative through make-up (lipsticks, where there laws have been implemented, new contraceptive pencils, etc) with the hastag #Oniriaclimactic. technologies would need to be developed and released; starting 1. Luiza Prado & Pedro Oliveira, Design in Times of Crisis (2014-2016). Available at http://a-pare.de/2014/brasil-july-2038 2. Pedro Oliveira, 2014, Cheat Sheet for a Non- (or Less-) Colonialist Speculative Design, Medium. Available at https://medium.com/a- parede/cheat-sheet-for-a-non-or-less-colonialist-speculative- design-9a6b4ae3c465#.9eal55ixg 3. Ahmed Ansari, Danah Abdullah, Ece Canli, Mahmoud Keshavarz, Matthew Kiem, Pedro Oliviera, Luiza Prado, Tristan Schultz, 2016, Editorial Statement, Decolonising Design. Available at http://www. decolonisingdesign.com/general/2016/editorial/ // 9 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 10

DESIGN IN TIMES OF CRISIS: ALGERINHA VIVE 2016 - Luiza Prado and Pedro Oliveira with Rafael Arrivabene

Algerinha Vive tells the story of a semi-fictional occupation in Prado and Oliveira have collaboratively published several critiques Brazil, whose population encounters various forms of violence. of speculative critical design, and called attention to how issues The story is expressed through a variety of outlets, including an of gender, race, and class are approached within the field. They investigation around a children’s game which supposedly retells the contend that SCD is dominated by the concerns of the ‘Northern- history of the settlement's tragic demise, an audio tape containing European and/or US-American intellectual middle classes,’ and has a collection of soundscapes created by a local artist, and a timeline failed to honor the political ambitions with which it initiated debate.1 of the history of the Algerinha occupation. This design fiction piece With the objective to transform SCD ‘into a strong political agent’, was inspired by Brazil's current political tensions, as well as by a via a program that challenges the premises of SCD so they can be series of conversations with designers, musicians, and activists. ‘tested, spread out, modified, re-appropriated, bastardized’. Their The project focuses on the reality of those who exist on the fringes projects focus on the realities of colonial and gendered violence to of the modern world-system, disenfranchised populations that ‘question the hierarchies of privilege’2, of which this project is an while often the subject of dystopian futural fictions, have their example. experiences and views rarely represented in those very fictions. Thus, Algerinha Vive presents a visual and aural narrative adjacent to the political conflicts of everyday life in Brazil's peripheries. At the same time, by focusing on the possible outcomes of such 1. Luiza Prado & Pedro Oliveira, 2015, ‘Futuristic Gizmos, an estranged reality, the project does not intend to speak for the Conservative Ideals: On (Speculative) Anachronistic Design’, Modes disenfranchised. Instead, it presents this encapsulation of political of Criticism, No.1, np. Available at http://modesofcriticism.org/ struggles as the starting point for a more profound engagement futuristic-gizmos-conservative-ideals/ with the urgent issues it portrays. 2. Luiza Prado & Pedro Oliveira, 2015, ‘Futuristic Gizmos, Conservative Ideals: On (Speculative) Anachronistic Design’, Modes of Criticism, No.1, np. Available at http://modesofcriticism.org/ futuristic-gizmos-conservative-ideals/ // 11 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 12

THE POSSIBILITY OF ISLANDS: A SCENARIO FOR POST-TSUNAMI TOKYO 2013 - Manar Moursi

Surrounded by the ocean, Japan as an island has always honored examines the ubiquitous plastic crate in particular as a readily the blessing of the sea. The ocean is the bearer of bounties, but the available material that can be configured to create inexpensive sea is also the generator of catastrophes. In recent years, with rising floating modular habitats and reefs. Here, Tokyo is imagined to sea levels, the ocean has betrayed the Japanese with tsunamis that extend into the water and the water to enter into the city. Instead have swallowed entire towns. Although the ocean has often played of proposing a solution to ‘build faster and harder to keep the water a catastrophic role, looking back, one finds an almost continuous out’, this design proposition seeks to merge Tokyo with the water, thread of artificial island projects. From Edo times to today, each transforming the hard boundary into a continuum. The new floating tells a different story of the city’s relationship with the sea.1 neighborhoods accommodate housing and reef. The proposed archipelagos of artificial islands could reduce the impact of storm- The Possibility of Islands: A scenario for post-tsunami Tokyo induced wave energy therefore improving the ecology of estuarine visualizes archipelagos of plastic-crate islands in the flooded post- environments.2 First published in Tokyo Totem in 2015. Render assistance by Rowan Kandil Tsunami city of Tokyo. The proposed islands are projected to be nomadic, mobile and responsive and are the result of imagining a competitive system of flexible DIY networks of mini-islands structured and governed according to agreements among their inhabitants as proposed by the Seasteading Institute. The proposal 1. Manar Moursi (2015), The Sea We Would Like to See, in Tokyo Totem, Edwin Gardner and Christiaan Fruneaux (ed.s), Flick Studio, Japan. Available at http://www.studiomeem.me/index.php/the-sea- we-would-like-to-see/ 2. http://www.studiomeem.me/index.php/architecture/the- possibility-of-islands/ // 13 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 14

MYTHS OF THE NEAR FUTURE: CCTV 2010-2016 - Katherine Moline

Myths of the Near Future: CCTV tests co-design methodologies for exploring the social imaginary of technologies such as CCTV surveillance, and the role that digital recording devices play in reframing the city as a public space where diverse communities are both monitored and connected. Theories of the social imaginary proposed by philosopher Cornelius Castoriadis, anthropologist Arjun Appadurai, art historian Helmut Draxler, and cultural theorist Nikos Papastergiadis provide a number of competing definitions. For Castoriadis, it is the ‘social imaginary’ (communicated in images, practices and institutions) rather than ideology or technology that makes up a society. In his words, ‘Each society is a construction, a constitution, a creation of a world, of its own world’.1 The social imaginary is defined by Appadurai as key to human agency in globalization where the imagination is understood as a ‘social practice’ that is ‘no longer mere fantasy’, but 1. Cornelius Castoriadis, 1984/1997, World in Fragments. Writings on Politics, Society, Psychoanalysis and the in fact ‘a form of work’, that arbitrates individual agency and the Imagination, Stanford University Press, p.9. possibilities defined by the global context.2 Appadurai thus extends 2. Arjun Appadurai, 1996, Modernity at Large: Cultural Dimensions of Globalization, University of Minnesota Castoriades’s proposal that the social imaginary establishes Press p.31 institutions that provide meaning to human experience, and 3. Helmut Draxler, 2006, ‘Letting Loos(e): Institutional Critique and Design’, Art after Conceptual Art, eds. surmises that the social imaginary, where imagination is seen as Alberto Alberro & Sabeth Buchman, MIT Press, p.151 the cultural practice that shapes communities, is fundamental to 4. Nikos Papastergiadis, 2012, Cosmopolitanism and Culture, Polity Press, p.103 understanding everyday experiences. Draxler concurs with these analyses, and proposes that exploring the norms and conventions of practices, such as art and design, reveal the interrelationship of public and private, and, in his words, the ‘participation of the public in the institution’.3 Cultural theorist Papastergiadis attends to how institutional restrictions circumscribe autonomy as well as create opportunities to 'engage with strangers', and develop connections between cultures.4 Based on the theoretical framework of the social imaginary, the themes that are explored in Myths of the Near Future: CCTV include surveillance and safety, anonymity and publicity, closed-circuit television as a creative medium, and the social imaginary of CCTV in urban locations and ecotones that are characterised by diverse communities. // 15 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 16

THE FREE UNIVERSAL CONSTRUCTION KIT 2012 - Golan Levin and Shawn Sims

The Free Universal Construction Kit is a set of two-way adapters for complete interoperability between 10 popular construction toys (Lego, Duplo, Fischertechnik, Gears! Gears! Gears!, K’Nex, Krinkles (Bristle Blocks), Lincoln Logs, Tinkertoys, Zome, and Zoob), conceived and developed by the F.A.T. (Free Art and Technology) Lab in collaboration with Sy-Lab. By allowing different toy systems to work together, the Free Universal Construction Kit extends the value of these systems across the life of a child. Thus, with the Kit’s adapters, playsets like Krinkles (often enjoyed by toddlers) can still retain their use-value for older children using Lego, and for even older tweens using Zome.. By allowing any piece to join to any other, the Kit encourages totally new connections between otherwise closed systems—enabling radically hybrid constructive play, the creation of previously impossible designs, and ultimately, more creative opportunities for kids. As with other grassroots interoperability remedies, the Free Universal Construction Kit implements proprietary protocols in order to provide a public service unmet—or unmeetable—by corporate interests, and the 3D models are freely available to download online.1

1. http://fffff.at/free-universal-construction-kit/ // 17 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 18

NIGHT SCHOOL ON ANARRES–IMAGININGS OF AN ANARCHIST UTOPIA 2016 - Onkar Kular and Noam Toran with Nestor Pestana

Night school on Anarres is an educational experiment examining Credits the Utopian proposals of twentieth-century anarchism. Drawing Night School on Anarres was commissioned by Kings College London as part of Utopia from Ursula K Le Guin’s seminal sci-fi novel The Dispossessed, 2016, a year-long program celebrating the 500th anniversary of the publication of Thomas and focusing on her construction of the fictional anarchist planet More’s Utopia. It ran from 1st July to 14th August 2016 at Inigo Rooms, Somerset House, Anarres and its language Pravic, children and members of the East Wing Strand, London,and was developed in collaboration with Dr. Simon Coffey and public were transported to an alien school to participate in Dr. Martin Edwardes from the Linguistics Department of King’s College London. language and social studies classes. Part sci-fi set, part classroom, part roundhouse theatre, the Night School on Anarres installation is a site where utopic ambitions can be collectively imagined, performed and discussed. Through novel pedagogic approaches, the installation invites travelers young and old to wander around the space and attend classes to learn about the planet's language, customs and behaviors. In so doing, the project encourages visitors to reflect upon current socio-political models with the hope of collectively imagining alternatives.1

1. http://www.onkarkular.com/index.php?/night-school-on- anarres/night-school-on-anarress/ // 19 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 20

DRAWING TOGETHER INDIGENOUS FUTURES 2015 - Tristan Schultz

Drawing Together Indigenous Futures maps out knowledge patterns emerging from yarning sessions with a group of Australia’s leading Aboriginal & Torres Strait Islander academics, held at GNIBI (College of Indigenous Australian Peoples), Southern Cross University, Lismore, in 2013. Participants discussed what cultural competency looks like from Indigenous perspectives, and how it might be activated as an event in process across a university. The cognitive map overlays commonalities-in-difference between a Canadian First Peoples knowledge, Australian Indigenous Knowledge, and a Western conception of transformative knowledge. In this, the map becomes a mediating object for future inter-cultural conversations. Four kinds of drawing together are shown: drawing together with the hand; drawing together assemblages; drawing together mess; and performing drawing ‘together’. The culturally sensitive parts of the information mapped have been concealed for public exhibition. This concealment is itself a commentary on which actors and networks are deliberately left out of maps, whose history is entangled with colonial histories and agendas. This project corrects the selective cartography of colonialism and revives what was destroyed in that process, re-inscribing what has been omitted and excluded, and critiquing assumptions about the neutrality of information design. // 21 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 22

HORIZON, OPEN FIRES 2015 - Liliana Ovalle

Open Fires features the latest explorations by Liliana Ovalle and Colectivo 1050º around the firing process used in vernacular ceramics in Oaxaca, Mexico. The project comprises a variety of exercises where clay pieces are fired in particular geometric setups created with sand, dung and agave leaves. Each composition acquires black traces of smoke and coal, a permanent imprint of the fire they were exposed to. The clay pieces were formed by the artisans Mujeres del Barro Rojo, a family of female ceramists in Tlapazola who inherited ancestral local techniques for utilitarian red clay pottery, a craft that is nowadays struggling to endure. All the ceramics are shaped by hand using a combined technique of coils that are stretched into shape with a corncob. The pieces subsequently go through two different firing processes. An initial open fire, traditionally used in the region, hardens the pieces and makes them stable. In the second stage Ovalle worked closely with the artisans creating different setups for individual contained fires to imprint a black smoked finishing. All the materials used in the clay and the firing process are sourced locally by the artisans.

There were three sets of artifacts created over the course of the exercises. The vases were designed with flat extensions that are used to place dung and other combustible materials to create a small contained fire. The imprinted black traces remain as an indication of the intensity and direction of the flames. The plates, based on the traditional cooking plate comal, were partially masked with sand. The remaining area was covered with dung and agave leaves that combusted into an open fire. The resulting pieces display a contrast between intense black smoked tones and bare red clay. In a similar process to the plates, the cylinders were partially dug into a pile of sand in vertical and horizontal position. The final pieces were then marked with a defined line along the interior and exterior of the shapes, depending on the position they were set up for the fire.

Mujeres del Barro Rojo is formed by Angelina Mateo, Amalia Cruz, Alberta Mateo, Dorotea Mateo, Elia Mateo, Macrina Mateo and María Gutiérrez. // 23 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 24

MANGALA FOR ALL 2015 - Superflux, Anab Jain and Jon Ardern

Mangala for All explores India’s space ambitions within the context of global (meta)geopolitics and the commercial space industry. Mangalyaan, or the Mars Orbiter Mission (MOM) is an Indian spacecraft orbiting Mars since 24 September 2014. To coincide with the launch of Mangalyaan, or the Mars Orbiter Mission (MOM), Superflux launched Mangala For All, a reflexive ethnographic performance in the streets of Ahmedabad, India, where they offered participants a Mangalyaan Miniature in exchange for insights into what Mangalyaan and the Indian Space Program means to the people of Ahmedabad. Stories of jugaad, scientific innovation, resourcefulness and creativity in Mangalyaan’s success were entangled with assumptions about its impact on people’s hopes and aspirations, as well as the subtexts of nationhood, geopolitics and the space race. Superflux asked whether Mangalyaan was an act of nation building, or a symbol of progress and development? Was it the Indian elite’s delusional quest for superpower status, as economist-activist Jean Dreze has commented,1 or a way ‘to dislodge the perception of India as a developing nation, by showcasing spectacular technology’?2 1. Jean Dreze, cited in The Logger, Mars Mission: Indian elite’s delusional quest Superflux endorses the interpretation of the Mangalyaan mission for superpower status? http://indiatoday.intoday.in/story/mars-mission-indian- as India’s most audacious and successful example of jugaad so elites-delusional-quest-for-superpower-status/1/321731.html far, as it was completed in 14 months and at low cost ($75 million), 2. Joanna Griffin, Moon Vehicle: Reflections from an Artist-Led Children’s prompting the question of whether cost and time saving are the Workshop on the Chandrayaan-1 Spacecraft’s Mission to the Moon , LEONARDO, sole characteristics of design in precarity.3 In the context of current Vol. 45, No. 3, pp. 219–224, 2012 debates about the value of speculative design and racism, Superflux’s 3. Anu Anand, Shoestring theory: India’s pioneering budget space probe is halfway documentation of the reception and commentary following the to Mars, The Guardian, India, 2 May 2014. https://www.theguardian.com/ launch reveal conflicting interpretations of the right to engage on world/2014/may/02/india-mars-probe-mangalyaan a global social imaginary of space exploration. While The New York 4. Heng, ‘India’s Budget Mission to Mars’, The New York Times, 28 September Times published a racist cartoon subtitled ‘India’s Budget Mission 2014. http://www.nytimes.com/2014/09/29/opinion/heng-indias-budget- to Mars’,4 the BBC published a widely shared photograph of women mission-to-mars.html?_r=0 scientists celebrating the launch,5 offering questions about the 5. Anon, Indian tweets celebrate as Mars probe Mangalyaan enters orbit, BBC, 24 right to imagine futures that differ dramatically from the present September 2014. http://www.bbc.com/news/world-asia-india-29347963 still dominate and filter design discourse. // 25 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 26

AUTO RAJA: A SUSTAINABLE COMMUNITY DRIVEN RICKSHAW SERVICE 2013 -Shristi Lab

Indian cities are likely to house almost 40% of the total Indian driven solution that will operate in a community driven business population by 2030. This will mean almost 590 million people model that aims to empower the auto drivers socioeconomically in across a large spectrum of socio economics and culture living, who a self-regulating system. This will in turn make this much needed share resources.1 Auto rickshaws are a part of the Intermediate mode of transport viable, secure and sustainable. Public Transport system that tries to bridge the gap between the public transport systems and privately owned vehicles. Efficient The AutoRaja envisions a strengthened autonomy and mass transport, as much as it offers numerous advantages does entrepreneurial independence for the service provider, the auto not address the unique demands that Indian cities pose. A key issue driver. Shristi labs believe that this is key to creating a safe, viable of most Indian cities is narrow impregnable roads which pose a and sustainable mode of transport in urban communities. The huge accessibility challenge for public vehicles. The Indian Auto service concept is based on the Srishti Labs framework for Smart Rickshaw has been able to meet the needs of the Indian commuter Communities, that embraces new means of working and living which are unique due to infrastructure challenges, affordability, by adopting innovative and, sustainable ways of communication, and absence of adequate special needs vehicles. However, the knowledge access sharing, and technology adoption. Inspired by socio-economic sustainability of the auto rickshaws is threatened permaculture principles it has three pillars of ethics: care for the because of numerous problems that the drivers face. Limited people, care for the local context, and fair share. The design is based access to knowledge and holistic solutions for solving the existing on community participation, people-to-people communication, problems have increased the dependency of Auto Rickshaw drivers access to local and community knowledge, shared resources, and on socio-economic stability. Srishti Labs is working with the auto self-regulation. driver community, NGOs and technology partners on a community 1. McKinsey Global Institute, 2010. // 27 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 28

WISHING, NEW CHANNEL DESIGN AND SOCIAL INNOVATION PROJECT 2011 - Tie Ji, Hunan

The emergence of Yang Drama can be traced back to the Nuo Credits Drama which appeared in Shang Dynasty or even earlier. In Wishing, New Channel Design and Social Innovation Project rural areas of Youyang County, by playing Yang Drama, village has been awarded: 2011 China's top ten enterprise-led residents make a wish for the things that they cannot achieve in projects for public good, awarded by Global Charity at the real life temporarily. They believe that Guan Yu will help them China Soong Ching Ling Foundation; 2012 Good Design Award beyond the physical world. Yang Drama is not only one of the few (G-MARK) for community development and planning, public entertainment, but also a kind of spiritual sustenance for the first domestic honor in this category; the first prize them. Actors wear different masks to represent different roles, of “China Universities Industrial Design Competition” such as red mask, black mask, cow mask and horse mask. The (CUIDC) by Chinese Ministry of Education; and in 2013, biggest challenge for Yang Drama is the shortage of actors. The old Best Producer Award, awarded by “Yue” Foundation. The masters are passing away, while the young people are migrating project has been exhibited in Milan Design Triennial, Beijing to big cities for their livelihood. The actors of a troupe can only be Design Week, Asian Design Week of Green Design, Bi-City together in the New Year to put on a complete play. Biennale of Urbanism\Architecture (UABB), Business of Design Week (BODW), and French Youth Film Festival. Binding local material and cultural resources, the designers cooperated with residents and co-designed the art works. In order to enhance the interaction between people and Yang Drama, WISHING, an interactive video game was designed for people to participate in. When people approach the screen and make a wish by folding hands and bowing, local residents wearing casual clothes in the video begin performing in costumes. An interactive medium was adopted to reflect the cultural essence of traditional opera, enhance the cultural experience, and facilitate audiences to experience local culture in Youyang County. In 2016 more than ten thousand people around the world have participated in the game, and have attracted the attention of the national government to give support to Youyang culture.

// 29 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 30

EYEWEAR 2016 - Cyrus Kabiru, courtesy of Smac Gallery

Cyrus Kabiru refashions junk, recycled materials, and other found items from the streets of Nairobi, Kenya, into a variety of wearable forms. The ‘C-Stunner’ series of eyewear act as a post-colonial critique of development in Kenya. Constructed from mostly found materials, Kabiru’s sculptures use and question the local practice of jua kali, which is a Swahili term that translates to ‘under the hot sun’, and is used as a general category for products and activities with which vernacular designs are made. That is, a jua kali oven or ladles and woks from the jua kali shop, or the workshops where the products are made are all referred to as jua Kali. This applies to kitchen utensils, chicken feeders, machinery and appliances as well as the actual making of the items themselves. In sum jua kali refers both to the practice of making such artifacts and the artifacts themselves. // 31 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 32

CRITICAL JUGAAD 2016 -Deepa Butoliya

Critical Jugaad is about analyzing and situating jugaad (hindi for “making do with what one has at hand”) in the framework of post-critical design. The third year of Butoliya's doctoral research is rooted in the exploration of global post-critical design practice and the various modes of its representation and discourse. She is particularly focused on the ways that jugaad-like practices play out at the intersection of the global south and critical design.

Critical Jugaad asks critically vital questions including: What is the future of critical design practice? How do we move beyond a western logic of criticality in design? And how do we punctuate critical design and change its representation and discourse to take into account non-western and subaltern perspectives? If the post-critical turn in literature and art was meant to expand How do people use ingenious making practices like Jugaad as a tool for existence, subversion and criticality global perspectives, it did not quite achieve its goals. As Hal Foster against colonial powers of oppression? Jugaad-like practices form cultural binders and empower people succinctly points out, “The post-critical condition is supposed to find a collective force to fight oppression while practicing creative self-expression. This practice is a to release us from our straitjackets (historical, theoretical, and nonviolent critique that provokes and questions the techno-utopian imaginaries. in such practices. Critique political), yet, for the most part, it has abetted a relativism that has and criticism of the social, cultural, economic and political issues engulfing a state, is explored through 1 little to do with pluralism.” Butoliya challenges this condition by ingenious socio-material practices. This research inquiry taps into the potential of such socio-material resituating critical design through a new post-critical perspective. practices and the epistemology of the critical practices that question preconceived assumptions. She sees this approach as not about changing the practice of critical design, but as focusing on renegotiating values embodied 1. Hal Foster, "Post-Critical". 2012 Brooklynrail.Org. http://www.brooklynrail.org/2012/12/artseen/post-critical. in design for the pluriverse we inhabit. // 33 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 34

POST CRITICAL DESIGN 2016 - Speculative Critical Design class, School of Design, Carnegie Mellon University: Rachel Chang; Linna Griffin; Verena Fienjan Vredeveld; Ji Soo Hwang; Justin Finkenaur;

, AM Charles Van De Zande and Kaleb Crawford CRE U S , YO AM CRE I S L AL Speculative Critical Design (SCD) helps us question the role objects E AM and systems play in everyday life. A contemporary criticism of W RE SCD is that it fails to take into account what everyday life means SC for people in different cultural and socioeconomic conditions. The Introducing the objects and systems shown in such speculations are often narrowly unmanned aerial ice cream vehicle! defined in their outreach and result in speculations that are overly focused on narratives of a privileged western world. They fail to capture the disparities of the human condition prevalent in large parts of the world. In this regard, SCD limits perception of design by the general public rather than pushing boundaries of the field. Watch out for these fun flavors dropping near you today! For this class, students were invited to create Speculative Critical Design projects that consider the implications of their speculations Linna Griffin : Home ReSource on everyday life and include those who suffer the consequences of Sustainability has always been the keystone of Tesla Motor’s producing SCD artifacts. Students were asked to design artifacts mission statement. Recently the company changed its statement to that question white privilege while designing for issues of the encompass sustainable energy as well as the realm of transportation. everyday when it is modified by climate change. These concepts This shift has led to the release of new products such as the ‘Power were developed in the framework of post critical design through

Wall’ and the new ‘Solar Roof’; which signifies a move by Tesla into sponsored by your local fraternal order of police chapter which the instructor punctuated critical design practice to remake the market of home goods, with a focus on home owners. However, it as a plural, inclusive, action oriented field of design practice. despite the emphasis that Tesla places on sustainable practices, These projects were developed over a course of 4 weeks in fall 2016 Rachel Chang : Drone Ice cream truck their cars are not completely sustainable by virtue of the precious semester for Speculative Critical Design class run by Deepa Butoliya As part of an increasingly militarized police force in civilian metals that are used to create them. The aluminum body of a Tesla at School of Design, CMU. communities, drones are becoming a regular presence in America's Justin Finkenaur : Mining the digital vehicle itself generates roughly six times its own weight in red mud, airspace. Originally an object of invisibility, this design proposes to The purpose of this piece is to illustrate the relationship between a waste byproduct of aluminum mining. repurpose drones to double as an ice cream trucks, thus making mining and our digital devices. My hope as the designer is to shed To expand on sustainable mining practices, ​Home ReSource is a line drones into objects of hyper visibility that drop sweet treats and light on the exploitation of people from around the world in the of designer home furnishings made from the waste by-products of sedate the general public while keeping tabs on our activities. manufacture of smartphones. Viewers of this poster are encouraged the aluminum, copper, and lithium. By recycling this waste into a to follow the link at the bottom to learn more about how mining is form of consumer goods, Tesla cars would leave less of an ecological connected to manufacturing smartphone technology. footprint and allow the company to further their reach into the home goods market. While the products are fictional, Home ReSource is a speculative future of the company’s development through a critical view of ‘sustainable’ vehicles. // 35 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 36

Fall 2043 Cycle

Charles Van De Zande : New Cake Flavors New Cake Flavors is an advertisement set in the year 2043- not too NewIndulge in anCake extinct experience fromFlavors the classic days! Frackalypse Manager Calendar Methane Fog Season far away. The earth has warmed quite a bit, and plants from the Day Week Month Year March ! ! ! ! ! Classic Chocolate Cake Highly Recommended to Stay Indoors tropical zone no longer survive naturally. Because of nutrient-rich Theobroma Cacao refers to the naturally- Sunday Monday Tuesday Wednesday Thursday Friday Saturday extinct tree which grows cacao pods. The No Smoking Alert 29 30 1 2 3 4 5 Even a small light from smoking can cause an pod contains cocoa beans, historically irreversible fire. Do not smoke outdoors during Methane Fog Season. soil, and incredible bio-diversity, tropical plants have intricate roasted, ground, then combined with sugar Order: Bills: Gather signatures for $$ $$ Vitamin D supplement, Rent, Insurance, Fracking generation’s Respiratory Filter Check-up Mom RF Check-up Secure safe paths Last seeding day Methane home asphyxiation Attroney’s fee, Community petition Call mom Methane free-parameters Cabbage & Onions to create chocolate. prevention kit garden membership fee March Check list flavor profiles. As the climate changes, many enjoyable experiences Chocolate, one of this cycle’s delicate flavors, Respiratory Filter check-up quickly gained Euro-American popluarity 6 7 8 9 10 11 12 Secure safe paths in your daily parameters after globalization. Chocolate production

Gather signatures for Bone density Check-up will no longer commonly exist, such as tasting tropical fruits. As Last seeding day Community green house Install Methane home Monitor home methane level Fracking generation’s petition Stay indoors started as an artisan craft, but became Carrots & Lettuce sealed for CH4 Season asphyxiation prevention kit and begin analysis Doctor’s note: Keep monitoring Vitamin D levels

CH4 an industry c. 1890 by Swiss inventors, Signatures for Fracking generation’s petition Not enough crowd outside due to Methane Fog new experiences become limited, what behaviors and tastes will Lindt & Sprüngli. 13 14 15 16 17 18 19 The flavor of this cake uses Criollo type Meeting with Anderson’s Law Firm beans, natural to Equador. Our growing Stay indoors Stay indoors Stay indoors Check home Bone density Check-up Community green house develop? If new experiences do not come often, will perception of ! Dangerous scheudule Methane level maintenance conflict. You are highly 7836/7000 steps process maximizes natural cocoa flavors by CH4 recommended not to travel outdoors. Exceeded daily outdoors limits. Take rest indoors ASAP! altering mineral and nutrient proportions in

20 21 22 23 24 25 26 Too much outdoors activity can cause joint pain and exposure to methane gas time change? New Cake Flavors asks the audience to bid now for the crop’s growing medium.

Green house farming Vitamin D Supplement, Last minute signature Fracking generation’s petition Secure safe paths Secure safe paths catalogue Tanning gathering for the petition DEADLINE Rain free-parameters Rain free-parameters Intake gauge slices of special flavored cake so mundane experiences do not soon Methane 82% Hummingbird Cake

Vitamin D 14% Musa acuminata, commonly known as the 28 29 30 31 1 2 3 Veggie fibers 23% become uncommon. Banana, is a leafy, berry-producing plant. Respiratory Filter Check-up of the expected amount per month Community green house Neuturalize garden water Stay indoors Stay indoors Stay indoors Stay indoors Bananas were often eaten whole, peeled sealed for H2SO4 Season with Alkaline ! H2SO4 April: Acidic Rain Season and unprepared. Bananas are native to Southeast Asia. They were one of the earliest domesticated plants; humans first cultivated bananas around 8000 BC. Cavendish bananas rose to popularity in the 1950s after Panama Disease nearly erradicated the popular Gros Michel variety. Ji Soo Hwang : The Frackalypse Hummingbird Cake, originally from Jamaica, became a traditional dessert in Southern NUCLEAR United States. This semi-dense spice cake The urban population lives in a frackalypse, an apocalypse created comes with five forks so you may share with your family! by the aftermaths of fracking. On a daily basis, urban residents deal

with the environmental hazards of fracking, including: a methane Cocoa and Banana FASHION were popular tropic flavors in the early twenty-first century, and Global Seed Vault just reproduced these two crops! filled atmosphere, contaminated water, absence of sunlight and limited vegetation growth. In order to survive in a frackalyptic Lick to taste! Place your bid

SEASON climate, every individual needs to carefully plan daily activities to minimize exposure to environmental hazards. Due to extreme weather conditions, the majority of the year is dedicated to bit.do/NewCake BIZAR USA preparing for and recovering from extreme seasons. Individuals - SEPTEMBER 2050 ADVICEPRICE $5,95 WWW.BIZAR.com closely monitor their health via daily measurement of their physical

Photo from Space Rangers by Atomic Age Pictures (visit http://www.jointhespacerangers.com/) condition. The constant self-monitoring leads to an obsession with planning for survival. At the same time, organized groups continue Verena Fienjan Vredeveld : BIZAR catalogue 2050 to fight the fracking industry and address the problem rather than BIZAR catalogue 2050 releases the newest fashion trends with the symptoms. Yet, in general terms the majority of the population which to survive a nuclear winter through genetic manipulation of have adjusted to the new lifestyle, which revolves around avoiding the body and via DIY design trends that reduce human vulnerability. problems of the frackalyptic environment. Kaleb Crawford : Pocket Guide to Micro Eco Terrorism Such future technologies will transform our bodies, and partially The Pocket Guide to Micro Eco Terrorism is an ode to the eco-punk eliminate our familiar and trusted organs, in order to survive subculture that never was. Designed to challenge the branding of Earth’s changed atmosphere and prepare our bodies for space contemporary environmentalism as a ‘green movement’ based travel. Recognizing that these options will be accessible only for on the tenets of self-righteousness, unity, and love of the planet, privileged elites who can afford them, this future scenario responds the zine proposes an alternate lens that frames sustainability as to the optimistic view regarding genetic modification but questions a DIY, disruptive, demonstration. Drawing its name in reference the ethical implications of reinforcing social divisions through such to the FBI classification of historically violent eco-activist groups expensive technologies. including ELF (Earth Liberation Front) as “Eco-Terrorism”, Micro Eco Terrorism proposes feasible everyday interventions that allow an individual to easily weaponize their surroundings, taking ecological protection on the offensive. // 37 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 38

GUFTUGU 2016 - Ahmed Ansari and Mehwish Zara Zaidi

The word ‘guftugu’ means ‘conversation’ or ‘dialogue’ in Urdu and Hindi, with the connotations of being something casual and engaged. A sit-down between Colleagues or friends to discuss common matters of interest over a cup of tea. Guftugu is a project connecting design scholars from the US and Pakistan. Colleagues united in overlapping craft and interests over a conversation across space and time through the mediation of an ephemeral artifact, a paper toy often crafted by South Asian children in forms of play. Guftugu explores how older forms of asynchronous communication from childhoods that belonged to a world where Skype and other instantaneous communication platforms have not collapsed and flattened space and time can still act as mnemonic devices. The folded paper toys hold links to audio recordings of conversations about the changing global nature of design practice and education between two design scholars, Dan Lockton (US), and Zohaib Zuby (Pakistan). Continuing exchanges will run over the course of the exhibition.

Each of these exchanges have been recorded in a specific manner – both scholars initially crafted questions they’d like to ask the other person, and these questions were then sent, and a day taken for each person to listen to the other’s question, and craft an answer in response. After listening to each other’s responses they then sent another question, and so on. The nature of the conversation slowly unfolding with time to reflect on each answer and craft a reply, This process melds the art of letter writing with the immediacy of oral traditions, and invokes a sense of what shape and form writing traditions in Pakistan, belonging to a largely proto-literate culture, with a heavy emphasis on the speakers voice and their tone as a storyteller, are like. // 39 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 40

MAPPING TRANSITION 2016 - Terry Irwin and Laurene Vaughan

Mapping Transition is an initial exploration of how the Transition Design framework developed by Terry Irwin, Gideon Kossoff and Cameron Tonkinwise can provide an architecture for exploring the complexities of forced migration and the social and cultural dimensions of this. In particular, it embraces the temporal nature of displacement and the deep cultural and social aspects of identity and the experience and manifestation of place. Realized in the gallery, Mapping Transition is a live exploration of theory and a design proposition that will seek to envision the temporal nature of forced migration, and how vernacular cultural heritage, practices and traditions from the past (home) can provide a framework for transitioning into unknown lands, comprised of new and unfamiliar ways. This is not a new phenomenon, throughout history millions of people across the globe have been forced to leave home, to seek safety in unfamiliar lands and cultures; and it continues as an outcome of power struggles and climate change. // 41 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 42

Gandi Engine Commission 2015 - The Tentative Collective

The Gandi Engine Commission is an experimental, site-specific The Gandi Engine commission workshop was recorded for A workshop that navigates through the Ravi river in Pakistan to Thousand Channels, a series of radio episodes that traced the explore themes of development, destruction, waste and toxicity. journey of the traveling public programme Ancestors (South Asia, Drawing on the Persian meaning of the, word ‘ravi’ as ‘narrator’, 2015), curated by Natasha Ginwala. These episodes aurally attend and taking its name from a decommissioned sewage treatment to the Indian subcontinent through conversations, oral histories plant, the project, recreated in the exhibition ‘Climactic: Post and field recordings, and also incorporate performative work, film Normal Design’, was designed as a workshop and a walk to reflect excerpts, internet rips and other sonic elements. This site is an on the waste and refuse that cities produce and dump into the evolving archive of a project that tries to chart shared histories and river. The commission was structured around the following issues: common horizons in the region. colonialism and conquest, pastoralism and productivity, detritus and development, living with discarded things, and a soundwalk. The walk culminated in a site specific video projection in a park near the plant, and brings attention to the local and global circulation of waste in the service of neoliberal capitalism, and its relation to the continued suffering of the people who live on the banks of these flows of refuse. The recreation of the work in this exhibition includes photographs taken from the Ravi Waste Inventory and an audio recording of the workshop held in Lahore. // 43 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 44

ENERGY AND CO-DESIGNING COMMUNITIES (ECDC) 2010-2014 - Bill Gaver, Mike Michael, Tobie Kerridge, Liliana Ovale, Matthew Plummer-Fernandez, Alex Wilkie and Jennifer Gabrys

ECDC is a speculative design project developed as a collaboration who they trust?’ In 2014, ECDC distributed Energy Babble devices between the departments of sociology and design at Goldsmiths, to thirty homes. The Energy Babble is a domestic appliance University of London. Funded by the Research Councils UK (RCUK) that broadcasts comments and sounds sent from a network of Energy Program, ECDC is one of several projects that explore how Babbles. The ECDC team describes the Energy Babble as “familiar, the UK can reduce its energy consumption by 80 percent before playful, [and] ambiguous” and designed to provoke debate within 2050.1 ECDC’s design process combines a number of methodologies, communities.2 With the Babble network device, ECDC explores including fieldtrips, workshops, and the distribution of cultural the imaginative and emotional dimension of energy usage and probe packs in communities such as Whitehill Bordon Eco Town what they call the “potential” of people’s imaginative application of and Low Carbon Living Ladock. The workshops explore questions, technologies.3 such as ‘How is people’s engagement with technology affected by Credits 1. ECDC, “Background: Energy and Co-Designing Communities,” www. ECDC acknowledges the contributions by all participants engaged with the project, including ECDC communities: Reepham Green Team, ecdc.ac.uk. Transition New Cross, Greening Goldsmiths, Low Carbon Living Ladock and Grampound Road, Meadows Partnership Trust, Energise 2. ECDC, “Process: Energy and C-Designing Communities,” www.ecdc. Hastings, Whitehill Bordon Eco Town; the communities: Awel Aman Tawe Community Energy, Baywind Energy Co-operative Ltd, BedZed, ac.uk/#. Isle of Eigg Heritage Trust, Hook Norton, Lammas Low Impact Initiative, Low Carbon Berwick, Low Carbon West Oxford, Moneyless Village, 3. ECDC, Oxford poster, October 2011, www.ecdc.ac.uk/pdfs/ECDC- Muswell Hill Sustainability Group, One Planet Sutton, Sanford Housing Cooperative, Sustainable Blacon, Tinkers’ Bubble, Transition Town oxford-poster.pdf. Brixton, Transition Town Peckham and Transition Town Totnes; and resources provided by: Community Energy Initiatives, Energy Savings Trust, Department of Energy & Climate Change, Forum for the Future, Grassroots Innovations Blog, Nanode, Bristol Energy Network and Electric. // 45 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 46

DESIGN-ANTROPOLOGISK INNOVATIONS MODEL / THE DESIGN ANTHROPOLOGICAL INNOVATION MODEL (DAIM) 2008-2010 - Joachim Halse, Eva Brandt, Brendon Clark and Thomas Binder

The Design-Anthropological Innovation Model (DAIM) is a large- scale co-design research project developed in the Scandinavian model of participatory design. It investigated user-driven innovation in waste disposal and recycling services in Herlev, Høje Tåstrup and Brøndby, three suburbs of Copenhagen. Subtitled “Rehearsing the Future”, DAIM was informed by anthropological field studies. These included documenting observations about waste practices by garbage collectors in their daily work and by community residents who use domestic waste management. DAIM developed the User- Driven Innovation Box with which Vestforbrænding and other utility companies can reflect on and renew recycling processes and customer communication. DAIM was funded by the Danish Government’s program for user-driven innovation and was selected by INDEX AWARD (2009) as an example of Danish design that aims to improve life.1

1. Index, “Democratic Waste Management,” 26 June 2009, www. designtoimprovelife.dk/democratic-waste-management.

Credits DAIM is the result of interdisciplinary collaboration by the Danish Design School, (SPIRE) at the University of Southern Denmark, the waste incineration company Vestforbrænding, Danish design studios including 1508, 3PART and Arkitema, and international partnerships with MakeTools, SWECO FFNS and Ergonomidesign // 47 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 48

Sensitive Aunt Provotype 2012 - Laurens Boer and Jared Donovan

The Sensitive Aunt Provotype was designed as part of Indoor Climate understand what they call the “tensions at the fuzzy front end of and Quality of Life, a three-year research study of participatory new product development”.3 The tensions to which they refer involve design and user-driven innovation resulting from collaboration the different conceptions of a new product or service from the between two universities and five industry partners.1 Indoor Climate perspectives of manufacturers and design users. The Sensitive Aunt endeavoured to understand inhabitants’ experiences of comfort in emits coloured light in relation to the temperature and air quality of domestic, business, and institutional environments. It involved a the environment in which it is placed. In addition, when the buttons literature review on the meaning of comfort, an ethnographic study on the top of the device are pressed, it displays suggestions for ways of a range of indoor climates and environments, a provotyping to improve the temperature, light intensity, and air quality on an process designed to provoke debate and engage participants in LED screen. The provotype was distributed and tested in a range of discussions about future possibilities, and a final phase on the contexts by each industry partner involved in the project. development of new product opportunities.2 Laurens Boer, Jared Credits Donovan, and Jacob Buur describe “provocative prototyping” as The designers acknowledge the support of The Sønderborg Participatory Innovation Research Centre that which engages a range of stakeholders and helps participants (SPIRE) at the University of Southern Denmark; the International Centre for Indoor Environment and 1. The Indoor Climate and Quality of Life research project was Energy (ICIEE) at the Technical University of Denmark (DTU); window and skylight manufacturer conducted between 2007 and 2010. Velux; indoor climate designers WindowMaster, Nilan; engineering consultancy Grontmij; and 2. Jacob Buur, “Why Listen to Users?” in Making Indoor Climate: insulation company Saint-Gobain Isover. Enabling People’s Comfort Practices, ed. Jacob Buur (Sønderborg: Mads Clausen Institute for Product Innovation, 2012), 3. 3. Laurens Boer, Jared Donovan, and Jacob Buur, “Challenging Industry Conceptions with Prototypes,” CoDesign 9, no. 2 (2013): 73, 87. The authors note that provotyping is a design approach developed in systems design in the early 1990s. // 49 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 50

SHENANGO CHANNEL 2015 - Create Lab

ACCAN (Allegheny County Clean Air Now) reports that the energy The Shenango Channel has recorded and broadcast video of company DTE Shenango Coke exceeds permitted emissions these multi-colored emissions since January 2015, proof that toxic limits every 5 of 7 days, based on information it had gathered on organics condense into various colors when battery is allowed to health impacts, video and analysis of measured emissions, which vent directly to the air. These heavy organics are carcinogenic were published on the website Shenango Channel.1 As recently at minute levels, and include high levels of PAHs, which recent as June 11, DTE Shenango lost power again, triggering emergency studies associate with autism. Black smoke can come from venting and flaring for 53 minutes. This was despite promises to burning raw coke oven gas, and other black and grey emissions install power backup equipment. Avalon, Bellevue, the North Side, can be escaping coal or coke. All are toxic when inhaled. The Lawrenceville, O'Hara and Fox Chapel were downwind and bore Shenango Channel allows residents to compare days each week for the brunt of the toxic and carcinogenic emissions – for example, air quality on a synchronized calendar that allows viewers to move a resident of Avalon, Leah Andrascik, complained that her two to specific days of the year.2 Speck takes readings every minute young children ‘could smell the noxious odors filling the air’ and and graphs them to allow residents to understand the data the interpreted them, as have many others in the community, as measuring of air quality, while a map shows wind direction and marking exposure to raw coke oven gas and other unprocessed strength to show the neighborhoods affected. The site also has a emissions. crowd-sourced citizen science engagement component, allowing visitors to share and discuss information they find on social media.

1. http://shenangochannel.org/ 2. https://vimeo.com/140196813 // 51 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 52

BIODRESS: A BODY- WORN ENVIRONMENTAL INTERFACE 2014 - Sara Adhitya, Beck Davis, Zoe Mahony, Raune Frankjaer and Tricia Flanagan

BIOdress1 allows the natural environment to communicate with communication and the development of an approach to sustainable humans and provides a precursor of how design might be approached design that moves beyond the Anthropocene. It creates a mode of from an environmental perspective. By linking the human wearer expression for silent, non-human elements, such as plants, which of the dress to a selected element of their natural environment, are often forgotten due to their inability to compete against the BIOdress provides a heightened understanding of the environment’s human voice. quantitative state. The wearer is linked to a specific plant, which is able to sense the quality of its surrounding environment on 1. https://the-walter-collective.com subtler levels, such as changes in air quality. This piece is the first representation by this group of a broader exploration of interspecies // 53 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 54

WORKSHOPS & PANELS

Monday, November 7, 4:00-6:00pm Thursday, November 17, 12:00-2:00pm Thursday, December 1 – 12:00-2:00pm Tuesday, December 6, 12:0-2:00 The Privilege Of Participation, Workshop Speculating Jugaad Futures, Workshop Design, Science Fiction and Worldling pm Mapping Transition, Workshop Dimeji Onafuwa, Jabe Bloom and Teju Cole Deepa Butoliya Ahmed Ansari Terry Irwin and Laurene Vaughan

This workshop explores allyship with regards to race and culture The Speculating Jugaad Futures workshop invites participants to The philosopher Vilem Flusser in his famous essay "About the Word Mapping Transition is an initial exploration of how the Transition in contemporary society, particularly in a climate of social unrest. engage in speculating and imagining futures through making in 'Design'", traces a geneology of the word and connects it to the Latin Design framework can provide an architecture for exploring While working to become aware of the politics of their privilege, an indigenous hacking system called Jugaad in India. Jugaad is a 'ars' or 'artifex', both of which have connotations of cunning and the complexities of forced migration and the social and cultural participants will engage in alternative frameworks and will identify Hindi term which means making do with what you have at hand deception. In a key sentence of the essay, Flusser points out that the dimensions of this. In particular, it embraces the temporal nature scenarios relating to actions, speech and practice that address the and implies creativity in face of adversity within limited resources. design disciplines were to make possible a culture that was "aware of displacement and the deep cultural and social aspects of identity social and cultural implications of allyship in times of social unrest. We will explore the futural aspect of Jugaad by simulating the of the fact that it was deceptive". Telling Lies with Design Fictions and the experience and manifestation of place. Realized in the It begins and ends with a conversation with Teju Cole, author of absence of resources while creating future scenarios. The goal of takes this literally as the starting point for our workshop, where gallery, Mapping Transition is a live exploration of theory and Known and Strange Things and Open City. this workshop is to engage in alternative and plural imaginaries of we attempt to uncover the logics of lying at the heart of design design proposition that will seek to envision the temporal nature of the future. imaginaries about the present. We will do this through questioning forced migration, and how vernacular cultural heritage, practices Thursday, November 10, 12.00-2.00pm the logics at the heart of current beliefs about the present and future and traditions from the past (home) can provide a framework for Where's Mr. Debate? Panel Discussion Friday, November 18, 12:00-2:00pm in American culture today and designing new fictions for others we transitioning into unknown lands, comprised of new and unfamiliar Panelists Bruce Tharp, Maria Lamadrid, Marti louw. Myths of the Near Future: CCTV, Workshop will probably never encounter in life. ways. Moderator: Anne Burdick Katherine Moline Saturday, December 3, 12:00-2:00pm Tuesday, November 15, 12:00-2:00pm CCTVs have a powerful and ongoing daily role in structuring and Interplay, Workshop disciplining our lives through the biopolitics of surveillance. The TALKS Bodies in Motion, Workshop Laverne Baker Hotep and Sheila Collins Myths of the Near Future: CCTV workshop looks at the social Stephen Neely practices shaped by technologies of observation and inspection InterPlay is a global social movement dedicated to ease, connection, Thursday, November 8, 12:00-2:00pm In the Bodies in Motion workshop, we invite participants to explore to look anew at the way in which we use technology to shape the human sustainability and play. The Interplay workshop invites Curators Talk at Miller Gallery bodies-in-action as a medium of design, in an effort to broaden stories we tell about ourselves and others. participants to unlock the wisdom of your body! With the creative, Ahmed Ansari, Deepa Butoliya, Beck Davis, Katherine Moline conceptions of and possibilities for design practice. Interaction easy tools of InterPlay, participants increase their understanding designers have demonstrated growing interest in the performative of experiences related to race and racism explore meaningful body as a major variable in designed systems, aspiring to whole-body questions deepening insight into how gravely racism impacts our interaction, defined as “interfaces that are in some way physically humanity. embodied” (Hornecker, 2016), and the development of systems that will “more fully engage people’s bodies” (Zimmerman & Forlizzi, 2014). However, most design-led research on human bodies has been concerned with how bodies interact with the forms and products of design— artifacts, spaces, interfaces, communications and services. By considering bodies as a medium for design, we hope to contribute new ways of thinking about the body in design, particularly the design of bodies-in-action. We invite anyone from any background to attend. The only requirement is that attendees be willing to participate in hands-on, collaborative, and body- based movement exercises. Participants should be interested in considering design as a ubiquitous practice, which may require de- prioritizing, for now, concerns about professionalized design and expertise. // 55 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 56

BIOGRAPHIES

1. Design in Times of Crisis: Oniria UNSW Art & Design. Katherine explores the cross-overs between Shawn Sims is the founder and director of Synaptic Lab that is the Venice Architecture Biennale. His work has been acquired by 2. Design in Times of Crisis: Algerinha Vive avant-gardism in visual art and the social pacts of contemporary developing new technology applications in the area of form. A the Welcome Images Collection. Luiza Prado and Pedro Oliveira are Brazilian design researchers experimental design. Since co-convening the symposium sds2k4: graduate of the Pratt Institute School of Architecture and Carnegie and PhD Candidates at the University of the Arts, Berlin. Luiza’s Experimental and Cross-Cultural Design (2004), she curated the Mellon University’s Computational Design Lab, he is currently 7. Drawing Together Indigeneous Futures research (funded by the Brazilian Council for Research and exhibition Connections: Experimental Design (2007) and introduced working in robotics and advanced digital design & production Tristan Schultz is an interdisciplinary designer and lecturer in Development - CNPq) is provisionally titled “Technoecologies of international leaders in experimental and speculative critical design methods. He won a 2012 Award of Distinction in the Prix Ars visual communication design at Queensland College of Art, Griffith Birth Control” and investigates how various designed devices, to Australian audiences. More recent exhibitions she has curated Electronica’s Hybrid Art category. University. His research interests are related to the connections systems, and techniques used to manage fertility produce new since completing a PhD in Art History include Feral Experimental between Design and Colonialism, with a particular focus on new topologies of bodies and genders in the world. Their work has been at UNSW Galleries (2014), Experimental Practice: Provocations in 6. Night School on Anarres – Imaginings of an anarchist Utopia openings combining Design Futures and Australian Aboriginal performed and exhibited in São Paulo, Brazil; Bremen, Germany; and Out of Design at RMIT Design Hub (2015), and Experimental Onkar Kular’s research investigates how contemporary design cultural production. Previously, Tristan was a research collaborator Rotterdam, Netherlands; and Limerick, Ireland; and Belgrade, Thinking: Design Practices at Griffith University Gallery (2015). practice, its processes, methodologies and outputs, can be used as a with Southern Cross University as part of the Indigenous Musical Serbia. Pedro’s research (funded by the Brazilian Council for Katherine’s art practice investigates how design processes and medium to engage with social and cultural issues. Using a range of Journeys project and with GNIBI College of Indigenous Australian Research and Development – CNPq - and the German Academic technologies can be diverted to the production of experiential different media to include objects, films, events, performances and Peoples as part of the Indigenous Futures project. Tristan is a Exchange Service - DAAD), is currently titled "The Apparatus of and conceptual interactions. Current research projects include installations his research is disseminated internationally through panel member of the Australia Council for the Arts (a council of the Auditory Governance", explores the design of listening devices and a critical review of research methodologies in art and design, a exhibitions, workshops, lectures, film festivals and publications. His Australian Government) as an Aboriginal and Torres Strait Islander how practices of listening shape, configure, and perpetuate power series of experimental workshops on social practices with mobile work is in the collection of the CNAP, France and he has also guest Arts Strategy Panel Member. struggles and violences with and through sound. telephones and CCTV, and a number of ongoing systems artworks. curated the exhibitions Crafting Narrative for the Crafts Council UK Katherine was awarded the Dean’s Award for Outstanding Research and The Citizens Archive of Pakistan for the British Council at the 8. Horizon, Open fires 3. The Possibility of Islands: A scenario for post-tsunami Tokyo Supervision, College of Fine Arts, UNSW in 2009. Royal Festival Hall. Onkar Kular was the 2014 Stanley Picker Design Liliana Ovalle is a London-based designer from Mexico who Manar Moursi’s work spans the fields of architecture, urbanism, Fellow at Kingston University, and is currently a Professor in Design graduated from the Royal College of Art in 2006. Her work includes design and art. A graduate from the University of Virginia, Manar 5. The Free Universal Construction Kit Interventions at HDK, Gothenburg University. commissions and production pieces for Plusdesign Gallery, obtained a fellowship to complete a dual Masters degree in Golan Levin is Associate Professor of Computation Arts at Carnegie Nodus, and Anfora among others. Liliana designs objects where Architecture and Urban Policy from Princeton University in 2008. Mellon University, where he also holds Courtesy Appointments Noam Toran’s work involves the creation of intricate narratives the functional and the aesthetic components are accompanied by In 2011 Manar founded Studio Meem an interdisciplinary design in the School of Computer Science, the School of Design, and the developed as a means to reflect upon the interrelations of history, a reflection on some contemporary life aspects. She pays special studio based in Cairo. The studio’s mission is to experiment with Entertainment Technology Center. Since 2009, Levin has also memory, cinema and literature. His research-based works examine attention to inquiring themes such as the “incomplete” and the constructive systems that involve sustainable use of natural, served as Director of CMU's Frank-Ratchye STUDIO for Creative how fictions influence the collective consciousness, be it as history, “unrehearsed” observed in the urban context. In 2006 she received social and economic resources. Studio Meem’s first constructed Inquiry, a laboratory for atypical and anti-disciplinary research myth or memory forming. This is realised through an original way the Talent Award by the British Council and in 2008 the Mexican architectural project was the architectural design of a disaster across the arts, science, technology and culture. A two-time TED of deconstructing and reconfiguring cinematic and literary codes, Clara Porset Special Award. Her designs have been selected for relief center in Istanbul with architect Omar Rabie. It was among speaker and recipient of undergraduate and graduate degrees from conventions and structures, and weaving them with historical multiple exhibitions including Design Miami, Gallery Libby, Sellers the top eight projects shortlisted for the ThyssenKrupp Elevator the MIT Media Laboratory, Levin was named one of "50 Designers materials, thereby complicating and questioning the divide between and Museo Poldi Pezzoli. Since 2011 Liliana is researcher at the Architecture Award. The Studio’s product line Off the Gireed, Shaping the Future" by Fast Company magazine in October 2012. artefact and artifice. His work is exhibited, screened and published Interaction Research Studio, Goldsmiths University of London. inspired by everyday street objects in Cairo, was awarded a Red Dot He has exhibited widely in Europe, America and Asia, including internationally. In April 2011 she joined the collective Okay Studio based in North Design Award and a Good Design award in 2011. Manar received the the Whitney Biennial, the New Museum of Contemporary Art, London. Her project Sinkhole Vessels, the first collaboration with ArcVision Women in Architecture Award in 2014. Her monograph the Kitchen, and the Neuberger Museum, all in New York; the Ars Nestor Pestana is a speculative designer, animator and illustrator, Colectivo 1050º, is part of the permanent collection at Museum of Learning from the Sidewalk: 1001 Street Chairs in Cairo is half way Electronica Center in Linz, Austria; The Museum of Contemporary currently based in London. His work explores the social and cultural Arts and Design in New York. to reaching its crowd sourced funding at https://www.indiegogo. Art in Taipei, Taiwan; the NTT InterCommunication Center (ICC) in impacts associated to a human desire for detachment - being from political systems, ideologies or indulged by forces that surpass com/projects/sidewalk-salon-1001-street-chairs-of-cairo#/. Her Tokyo, Japan; and the Zentrum für Kunst und Medientechnologie Colectivo 1050º is a platform where designers and artisans work our human condition. In the construction of fictional narratives writings on urban issues have appeared in Thresholds, Lunch, (ZKM) in Karlsruhe, Germany. Levin received undergraduate and together to make high-quality functional ceramics in Oaxaca, exploring the links between science, art, design and technology, Magaz and Al Masry El Yowm. graduate degrees from the MIT Media Laboratory, where he studied Mexico. In their projects, they challenge old conventions and set Pestana develops film, animation, illustration and performance. in the Aesthetics and Computation Group. Between degrees, he up new paradigms about new possibilities for traditional processes. Since completing an MA, with distinction, in Design Interactions 4. Myths of the Near Future: CCTV worked for four years as an interaction designer and research Colectivo 1050º is the commercial branch of Innovando la Tradición at the Royal College of Art, he has exhibited at Somerset House, the AC, a multidisciplinary non-profit and a sustainable-design project Dr Katherine Moline is a Senior Lecturer in research practices at scientist at Interval Research Corporation, Palo Alto. Bio-art Seoul 2015, and the Swiss Pavilion's School of Tomorrow at // 57 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 58

that offers services to potters to support their activity, to preserve 10. Auto Raja: A sustainable community driven Rickshaw Service 13. Critical Jugaad Charles Van De Zande is a screen printer from Raleigh North the local vernacular techniques and upgrade their cultural value. Srishti Labs was conceived in 2009 as a hybrid, bridge organization Deepa Butoliya is a PhD student in Design Studies at Carnegie Carolina, and is a third year in the Environments Design track, CMU. Their work has been recognized in Mexico, United States, Japan that blends the creative energy of students with the disciplined Mellon University with a background in Architecture and Industrial His interests include craft industries, and the use of technology to as one of the most outstanding examples in the field of Crafts and expertise of industry professionals in working towards innovating Design. She worked for several architectural firms in India enhance expression and interest among others. He is concerned Design. Their latest exhibition, Clay and Fire: The Art of Traditional for India. Its mission is to explore solutions for big challenges before transitioning to Industrial Design and working with Jindal about the limitations of human experience that may occur in the Pottery in Oaxaca, Mexico, is now in Europe, at The MuZee in in Indian society, provide a platform to nurture collaborative Architecture Ltd., MIT development lab and Havells Sylvania India near future. Belgium as part of Beaufort Triennial of Contemporary Art, and approach for innovation & vision of the future, and to provide Ltd. Deepa has also received MFA from University of Illinois, Chicago will be next exhibited at The Arabia Design Museum Gallery in our clients with a creative playground to develop out-of-the-box and has taught Industrial Design undergraduate classes at the Kaleb Crawford is a senior Communication Design major who likes Helsinki, Finland. Mujeres del Barro Rojo, is part of Colectivo 1050º. ideas that have business relevance. As an overall theme for design School of Design, University of Illinois, Chicago. She is interested the idea of having a succulent garden, but doesn’t actually own any The group of ceramists is formed by Angelina Mateo, Amalia Cruz, research and innovation at S.labs look at contemporary Indian life in Speculative and Critical Design and plans to explore further her succulents. Whenever he uses a public computer, he changes the Alberta Mateo, Dorotea Mateo, Elia Mateo, Macrina Mateo and through the lens of Being Mobile, a broadening of perspective about own theories and tools for research in this domain. wallpaper to an image of a forest. He’s passionate about preserving María Gutiérrez. the ways people encounter, engage and solve everyday problems in the environment, but sees much of modern environmentalism as transition. Srishti Labs advances human centered innovation, user 14. Post Critical Design a capitalist commodification of nature. He believes it strips away 9. Mangala For All experience and interaction design to make critical contributions Rachel Chang is currently pursuing a degree in Communication much of what makes it actually worth saving, reducing it to leaf Superflux is an Anglo-Indian design practice: based in London, to society. We are driven by our long-term vision of creating and Design at Carnegie Mellon University. She is interested in exploring logos, outstretched hands, and the color green. Kaleb wonders what but with roots and contacts in the Gujarati city of Ahmedabad. As sustaining an environment to envision, explore, craft and express how design constructs and abstracts meaning. else environmentalism might look like when it caters to different a collaborative design practice, Superflux work at the intersection innovative solutions that are desirable, feasible, responsible and cultures and subcultures, and how we can use design to cultivate a of emerging technologies and everyday life to design for a world in sustainable. Linna Griffin is a Senior Industrial Design Student from New Jersey. more genuine appreciation of the planet. flux. Since coming to Carnegie Mellon to study design, she has focused 11. Wishing, New Channel Design and Social Innovation Project on creating sustainable design solutions for the betterment of the 15. Guftugu Anab Jain is a Professor of Industrial Design at the University of Professor Tie Ji is Deputy Dean at the School of Design, Hunan planet. One day she hopes to work for Tesla. The Mediators Applied Arts Vienna. Her undergraduate degree was awarded University. He leads the Communication Lab at Hunan University. Ahmed Ansari taught courses in interaction and game design, in by the National Institute of Design (NID), India, and her MA in His research and practice mostly focus upon social innovations Verena Fienjan Vredeveld is an Industrial Design student at the philosophy of technology, and in cultural and media theory Interaction Design by the Royal College of Art. As a TED Fellow, and design in rural China, including founding the “New Channel” the Technical University of Eindhoven. She is studying Product at several academic institutions in Karachi before coming to Jain is the recipient of several awards, including the Award of program in 2009, initiating the “LotusPrize” Design and Innovation Design at Carnegie Mellon University’s School of Design for the Pittsburgh to pursue his PhD in Design Studies at Carnegie Mellon Excellence ICSID and Apply Computers, Innovation Award, Chicago Competition for social engagement, and curating the 2012 Sino- Fall 2016 semester. She has always been interested in how people University. Right now, he is involved in studying and thinking International Film Festival and the UNESCO Digital Arts Award. Italian Design Exhibition, and more recently the “Xiang” Culture differentiate themselves through their clothing because fashion about techno-social relationality and different ways of conceiving Anab's work has been exhibited at MOMA, New York, Tate Modern, Maker Joint Exhibition at the 2015 Milan Expo Gate. He is General is such an effective communicator of personal expression. She is technical space, especially in relation to ideas of immunology Science Gallery Dublin, V&A Museum, London, National Museum of Secretary of the Teaching Instruction Commission of Industrial exploring how can we can alter our bodies to take self-expression and excess. He is also interested in how artifacts and systems are China and the London Design Festival. She serves on the Advisory Design in the China Ministry of Education. to the next level by means of genetic modification. appropriated, reinterpreted, subverted and circumvented in urban Boards of London School of Economic’s Media and Communication contexts back home, giving rise to new political and social forms department, MxTek, and Broadway Cinema and Media Centre, and 12. Eyewear Ji Soo Hwang is an Industrial Design student in Carnegie Mellon of life in the South Asian city. A Fulbright scholar, he has an MDes is a guest lecturer at HEAD Geneva, Royal College of Art, VCU Qatar, Cyrus Kabiru has actively been pushing the boundaries of University. With a focus on product design and design research, she in Interaction Design from CMU, and a BDes in Communication Goldsmiths and CIID. conventional craftsmanship, sculpture, fashion, design, art and continues to expand her study to develop her design process. Lately, Design from IVSAA, Karachi. photography since 2011. Cyrus Kabiru was born in 1984 in Nairobi, she has been working on several speculative critical design projects. Jon Ardern holds an MA in Design Interactions from the Royal Kenya, where he still lives and works. His first solo exhibition was Mehwish Zara Zaidi is an Assistant Professor in the School of College of Art and his work has been exhibited at the MOMA, New in 2008 at the Wasanii Workshop in Kenya and he has subsequently Justin Finkenaur is interested in designing products that help Media & Communication Studies at SZABIST, Karachi. A graphic York, and the V&A Museum, London. Jon has been awarded prizes exhibited in England, the USA, Sweden, Holland, Italy, Turkey, South people navigate complex systems and environments. He believes designer by background specializing in information design, she from UNESCO and the Social Design Network, New York. He has Africa and in his home country. His work has been collected by Zeitz a well-designed user experience requires not just designers, but teaches classes in graphic design, media design, copywriting, and lectured at the Architectural Association London, MAD Faculty MOCAA, Cape Town, South Africa; Studio Museum, Harlem, New also experts in areas such as business and engineering. Justin concepts and theories of information visualization. She has a MDes Genk, Belgium and Kitchen Budapest Hungary. He has been the York, USA; Lemaître Collection, Paris, France; Han Nefkens H+F enjoys team projects, and strongly supports multidisciplinary in Communication Design from IVSAA, Karachi and an MDes in lead technologist for a series of European wide projects for Snibbe Collection, Nederlands; Helena Fernandino & Emilio Pi Collection, collaboration. He is currently studying product design at Carnegie Communication Design from the University of Malaysia, Sarawak. Interactive and has worked for a wide range of open source projects Madrid, Spain; Kuano Trust – (patronage of Robert Deveroux), Mellon University as well as pursuing courses in Interaction Design. Along with her design work, she has dabbled in short fiction and and startups, including the now-famous citizen journalism site Nairobi Kenya; Scheryn Art Fund, Cape Town, South Africa; and documentary filmmaking, focusing on subjects like healthcare and Demotix. Saatchi & Abel Collection, Cape Town, South Africa. // 59 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 60

feminist activism in Pakistan. Basel, Switzerland and an MSc in Holistic Science from Plymouth Museum of Modern Art. He has published over seventy articles Colectivo 1050º, is part of the permanent collection at Museum of University/Schumacher College, England. and is an elected member of the Computer–Human Interaction Arts and Design in New York. The Conversationalists (CHI) Academy. Professor Gaver currently holds an ERC Advanced Zohaib Zuby is a Senior Lecturer at Indus Valley School of Art and Dr Laurene Vaughan is Professor of Design at RMIT University. Investigator Grant and is principal investigator of ECDC. Matthew Plummer-Fernandez is a British/ Colombian artist and Architecture (IVSAA), teaching courses in the history of architecture, She is an artist, writer and designer who is fascinated by the ways designer who makes work that critically and playfully examines 20th/21st century architectural theory, and philosophical inquiry. that people design and make place. Her practice spans a spectrum Professor Mike Michael is a sociologist of science and technology. new sociocultural entanglements with emerging technologies. His He has a Bachelors in Architecture from IVSAA and a Masters of embodied domains of making and performance, from walking His research interests include the relation of everyday life to current interests span bots, algorithms, automation, copyright in Muslim Cultures from the Aga Khan University. Zohaib has interventions to the design of collaborative digital performances. technoscience, biomedical innovation, and culture, the interface and filesharing. Based in New Cross, London, he is also a research been involved in various forms of social activism in Karachi, and She is a founding member of the Arts and Cartography Commission of the material and the social, and process methodology. associate and technologist at the Interaction Research Studio at practices architecture using a human-centered approach in both in the International Cartographic Association. her recent projects Recent research has addressed the complexities of HIV pre- Goldsmiths College, University of London. commercial and social projects. His academic interests include local include The Stony Rises Project, a curatorial exploration of exposure prophylaxis clinical trials (with Marsha Rosengarten), Dr Alex Wilkie has worked at the intersection between design and historiography, ethics, the philosophy of language, and postcolonial vernacular practices, immigration, modes of dwelling and the the interdisciplinary use of sociological and speculative design science and technology studies (STS) for over twelve years. Wilkie studies. crafting of landscape in the making of place. This included an techniques to explore energy demand reduction (with the ECDC studied interaction design at the Royal College of Art and was associated book Designing Place (Melbourne Books, 2010). project team), and the development of an ‘idiotic methodology’. He awarded his PhD in sociology, based on an ethnographic study of Dan Lockton is an Assistant Professor in design at Carnegie Mellon has authored six books and over one hundred papers and chapters. user-centred design. He was an original member of govcom. org, a University. His research and teaching focuses on links between 17. Gandi Engine Commission Michael is a co-editor of The Sociological Review. group who designed and developed the Issuecrawler, an online tool design, understanding, and human behavior, in relation to society, The Tentative Collective, led by Yaminay Chaudhri, Fazal Rizvi, for tracing and visualising controversy on the web and has been a sustainability and futures, and draws on influences from a range Shahana Rajani, Zahra Malkani, and Hajra Haider is a gathering of Dr Tobie Kerridge is based at the Interaction Research Studio, member of the Interaction Research Studio at Goldsmith, University of fields. Before joining Carnegie Mellon, Dan was a researcher artists, curators, teachers, architects and often, collaborators from University of London. His PhD thesis explored the mixing of of London since 2006. Wilkie is particularly interested in exploring and tutor at the Royal College of Art, London, at the Helen Hamlyn completely different backgrounds including fishermen, housewives speculative design and public engagement with science and computational technology and the politics of participation in Centre for Design and in the Innovation Design Engineering and domestic workers. It was established in 2011 and is based in technology in two public engagement projects: biojewellery issue-oriented design as well as inventive research methods and program. He is currently writing a book for O'Reilly, ‘Design with Karachi, Pakistan. While they work site specifically in response to and material beliefs. Kerridge has helped develop an innovative research through design. He currently works on topics including Intent’, to be published in 2017. Dan has an MPhil in Technology the city, they are also interested in engaging with its peculiar co- mixed method approach to design research, with a recent focus the design of energy and climate change, healthcare informatics Policy from the University of Cambridge and a PhD in Design from opting of global modernity in the rapidly transforming landscapes on community and energy reduction. Kerridge is co-convener of and technological interventions into domestic living. Wilkie is also Brunel University, London. of the global south; in particular, the precarious urban geographies MA Design: Interaction Research, which offers a research-based committed to developing sociological accounts of design practice, of the city and the voids it opens for groups like ours to inhabit. approach to interaction design. Kerridge’s work has been exhibited drawing on his engagement with developments in actor-network 16. Mapping Transition Navigating through these precarious urban geographies, they hope internationally, including the Museum of Modern Art in New York theory and process sociology. Terry Irwin has been a designer for over 40 years and has taught to create poetic and ephemeral moments in conversation with the and the Design Triennial in Beijing. design at the University level since 1986. She was a founding city’s infrastructures, while making connections to its complex Prior to joining the Department of Sociology at Goldsmiths, partner and creative director of the transdisciplinary design ecological and geological histories. Liliana Ovalle is a London-based designer from Mexico who University of London, Dr Jennifer Gabrys was Senior Lecturer and firm MetaDesign with offices in San Francisco, Berlin, London, graduated from the Royal College of Art in 2006. Her work includes Convenor of the MA in Design and Environment in the Department and Zurich. There she directed projects for clients such as Apple 18. Energy and Co-Designing Communities (ECDC) commissions and production pieces for Plusdesign Gallery, of Design at Goldsmiths, University of London. Her research Computer, Nissan Motors, Berlin Transport Authority, Audi, Ernst Professor William (Bill) Gaver leads the Interaction Research Nodus, and Anfora among others. Liliana designs objects where investigates environments, material processes and communication & Young, Sony and Samsung among others. In 2004 Terry joined the Studio at Goldsmiths, University of London. His research on design- the functional and the aesthetic components are accompanied by technologies through theoretical and practice-based work. Projects faculty at Schumacher College and taught design thinking. In 2009 led methodologies and innovative technologies for everyday life led a reflection on some contemporary life aspects. She pays special within this area include a recently published book, Digital Rubbish: she moved to Pittsburgh to become Head of the School of Design him to develop an internationally renowned studio bringing the attention to inquiring themes such as the “incomplete” and the A Natural History of Electronics (University of Michigan Press, 2011), at Carnegie Mellon University where she led faculty in a 2-1/2 year skills of designers together with expertise in ubiquitous computing “unrehearsed” observed in the urban context. In 2006 she received which examines the materialities of electronic waste; and a written redesign to place sustainability at the heart of all programs and and sociology. With the studio, he has developed approaches to the Talent Award by the British Council and in 2008 the Mexican study currently underway on citizen sensing and environmental curricula. In fall of 2014 the School launched all new programs and design ranging from cultural probes to the use of documentary film Clara Porset Special Award. Her designs have been selected for practice, titled Program Earth: Environment as Experiment in introduced Transition Design as an area of doctoral study and as to help assess peoples’ experience with designs. He has pursued multiple exhibitions including Design Miami, Gallery Libby, Sellers Sensing Technology. Gabrys is currently Principal Investigator on a key strand in both undergraduate and graduate curricula. She conceptual work on topics such as ambiguity and interpretation, and Museo Poldi Pezzoli. Since 2011 Liliana is researcher at the the European Research Council starting grant, Citizen Sensing and is actively engaged in helping other colleges and universities to and produced highly finished prototypes that have been deployed Interaction Research Studio, Goldsmiths University of London. Environmental Practice: Assessing Participatory Engagements with integrate Transition Design into courses and curricula. Terry holds for long-term field trials. He has exhibited internationally at venues In April 2011 she joined the collective Okay Studio based in North Environments through Sensor Technologies. an MFA in Design from the Allgemeine Kunstgewerbeschule in such as the Victoria & Albert Museum, Tate Britain, and New York’s London. Her project Sinkhole Vessels, the first collaboration with // 61 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 62

19.Design-Antropologisk Innovations Model / The Design Product Innovation (MCI). He teaches PhD and MA-level courses in people’s abilities for skilled physical movement. In particular, he towards improving the sustainability of our cities. Awarded a Anthropological Innovation Model (DAIM) Scandinavia (e.g., Umeå Institute of Design, University of Southern has investigated the use of gesture as a way for people to interact European doctorate in the Quality of Design of architecture and Joachim Halse is an Associate Professor at School of Design, The Denmark, Chalmers & Göteborg University) and he is a project with computer interfaces without the need for computers and urban planning, her research is concerned with the multisensorial Royal Danish Academy of Fine Arts. He works in the transdisciplinary leader for projects such as Lead User Innovation Lab, Language as mice. Donovan is also keenly interested in Participatory Design design of our environment in space and time. She is currently a field of anthropology and design, where he experiments with Participation, and Språkskap. approaches and finding better ways to involve stakeholders in the Research Associate at the Universal Composition Laboratory of building a productive interaction between anthropological design process. Before joining QUT, he worked for four years at the Civil, Environmental and Geomatic Engineering department, studies of everyday life and design oriented articulations of new Professor Thomas Binder leads The Codesign Research Centre the SPIRE centre for Participatory Innovation at the University of University College London. possibilities. The innovation potential of everyday life is one of (CODE) at the School of Design, The Royal Danish Academy of Southern Denmark where he researched the use of ‘provotypes’ the areas that Halse explores in his research. He is interested in Fine Arts. Binder’s research is about understanding how design (provocative prototypes) to spark discussion and debate. Donovan Dr Beck Davis is the acting Program Director of Design at the expanded user-involvement where the user is not simply included processes generate new knowledge, and how an emphasis on co-edited Design and Anthropology with Wendy Gunn (Surrey: Queensland College of Art, Griffith University. Beck holds at PhD in the final stages of the design process to testify to the ease of use of knowledge building and learning can connect the designer’s classic Ashgate, 2012). (Industrial Design) in the analysis of gestural interactions between a given product and is instead taken seriously as a dialogue partner design skills with more open design processes based on dialogue design teams ¬as well as the use of metaphors and analogies during for design and development throughout the whole design process. with users, for example in the fields of service design, strategic 21. Shenango Channel the creative process. She maintains a particular interest in the development and change processes. Binder has worked with design The Community Robotics, Education and Technology Empowerment philosophy of technology and sustainable design and is currently Professor Eva Brandt leads The Codesign Research Centre laboratories, where designers and non-designers collaborate Lab (CREATE Lab) explores socially meaningful innovation and researching Mediated Interactions: how technologies shape (CODE) at the School of Design, The Royal Danish Academy of on ‘rehearsing the future’ at the intersection between the known deployment of robotic technologies. The CREATE Lab specifically experiences and creative collaborations. In 2016 she co-founded Fine Arts. Her research is closely associated with practice and and the unknown. Through workshops and other activities where aims to: Empower a technologically fluent generation through The Walter Collective a transdisciplinary collective that explore is typically carried out in cooperation with companies, design designers and stakeholders co-create future oriented experiments, experiential learning opportunities in and outside of school. They and critique wearables, embodied media, human-non-human agencies, and/or partners from the public sector. Her research a learning zone is established in which the possible comes within define technology fluency as the confidence to author / creatively interactions and inter-species communication. Recent exhibitions approach is experimental, and she often draws on theories from reach. For this learning zone, Binder has developed methods and configure technology to pursue individual and collective goals. A she has curated include Wear Next at artisan Gallery, Brisbane other disciplines such as anthropology, ethnology or the world of approaches for collaborative inquiries such as a documentary second aim is to empower everyday citizens and scientists with (2015); Academy of Visual Arts, Hong Kong (2016), and Experimental theatre and other artistic disciplines. Brandt’s work mainly involves video that serves as design material, design games, and scenario affordable environmental sensing and documentation instruments, Thinking: Design Practices at Griffith University Gallery, Brisbane interdisciplinary projects that involve a wide range of stakeholders and prototyping methods based on improvisation. These design and powerful visualization platforms for sense-making and sharing (2015). such as researchers, designers, technicians and end-users. The laboratories were used in the DAIM project. of gathered scientific data - to promote evidence based decision design approaches, methods, and tools that she develops are making, public discourse and action. Dr Tricia Flanagan began her career as a fashion and costume dialogue oriented and usually playful, experimental and explorative 20. Sensitive Aunt Provotype designer, but has been working as a practicing artist and academic in nature. They belong in the category that is often referred to as Dr Laurens Boer is Assistant Professor at IT University 22. BIOdress: A Body-Worn Environmental Interface since 1996. Since completing a Master’s degree in Public Art and co-design and are essentially about developing various ways of Copenhagen. His research interest is in the areas of speculative A transdisciplinary group, Adhitya, Davis, Frankjaer, Flanagan, New Artistic Strategies in 2003, her practice has focused on the ‘rehearsing the future’. She co-edited the book Rehearsing the design and experience design. He studied Industrial Design at the and Mahony first met during the Haptic Interface workshop public sphere through the mediums of site-specific sculpture, Future, which is an outcome of the DAIM project. Eindhoven University of Technology, the Netherlands. In 2012, he at the Academy of Visual Arts, Hong Kong Baptist University in social sculpture, sound sculpture, sculptural installation, wearables completed his PhD at the SPIRE Centre with a dissertation titled December 2014. With collective experience that spans fashion, art, and performance installation. She established the Wearables Lab Brendon Clark is the studio director and a senior researcher at the “How Provotypes Challenge Stakeholder Conceptions in Innovation sculpture, textiles, technology, product design and urban design, at the Academy of Visual Arts at Hong Kong Baptist University in Interactive Institute Stockholm. He completed his PhD exploring the Projects”. Boer has worked with provotypes as ethnographically the group began their collaboration through a common interest in 2009. She currently works at the University of New South Wales, emerging field of design anthropology and developed a framework based and technically robust artefacts that deliberately challenge sustainability, the environment, and the role technology plays in Art and Design. Flanagan has a PhD (Public Art) from the University for organisational negotiations at the front end of design research stakeholders. By building provocative prototypes and deploying envisioning alternative futures. The group’s collaborations focus on of Newcastle and has received awards, published and exhibited projects. His research interests lie at the intersection of anthropology them at family homes and industrial organisations, he aims to developing wearables beyond the Anthropocene, and through their internationally, and is represented in private and public collections and design (Participatory Design) with a nod toward business and bring together practices of critical design, design ethnography, and exploration of public activism via data democratisation. Between in Australia, Ireland, Germany, Italy, and China. Flanagan also sits innovation. He focuses on exploring collaborative practices and organisational change. them, the artists have exhibited works in Germany, Australia, on the programming committee for the Design, User Experience full-bodied interaction that seek to re-think linear processes of Ireland, Italy, China, Hong Kong, the US, and the UK. and Usability (DUXU) initiative in the context of Human Computer research, analysis, design, intervention, and evaluation—exploring Dr Jared Donovan is a Lecturer and researcher in Interaction Interaction International (HCII). the implications for knowledge generation and knowledge transfer Design in the Creative Industries Faculty at QUT, Brisbane. His Dr Sara Adhitya is an urban designer with a multidisciplinary in praxis settings. Brendon worked on the DAIM project while main research interest is in finding better ways of interacting background in environmental design, architecture, urbanism, Raune Frankjaer is a spatial interaction designer with a background completing post-doctoral research in design anthropology at SPIRE with computer technologies with the goal of making computer music, and sound design. She collaborates with design, research, in architecture, photography and artisanry. Her work explores at the University of Southern Denmark’s Mads Clausen Institute for technologies easier to use, more enjoyable and more respecting of governmental, and non-profit organisations around the world the mediation of nonhuman and post-human data, and new ways // 63 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 64

of blending digital technology with traditional craft practices CURATOR BIOGRAPHIES and organic materials. Deeply vested into the pursuit of a more sustainable and livable world for all of us (humans and nonhumans Dr Katherine Moline is a Senior Lecturer in research practices at the form of the gift, the sacred, and as creative output (art, hacking, alike), she sees the role of design and designers in imagining new UNSW Art & Design. Katherine explores the cross-overs between maker culture etc.), and his research also examines spatiality and and better solutions to what things are, what they could be and how avant-gardism in visual art and the social pacts of contemporary emergence, especially where there are gaps in sociotechnical they can be done. Raune hold a masters degree in new media design experimental design. Since co-convening the symposium sds2k4: assemblages. He draws from actor-network theory and social and is currently a PhD fellow at Digital Design and Information Experimental and Cross-Cultural Design (2004), she curated practice theory, from philosophies of space, and second order Studies at Aarhus University, Denmark. the exhibition Connections: Experimental Design (2007) and cybernetics. Prior to Pittsburgh Ahmed was an Assistant Professor introduced international leaders in experimental and speculative teaching interaction design, game design, and media studies in the

Zoe Mahony has been a fashion designer, business CEO and critical design to Australian audiences. More recent exhibitions School of Media & Social Sciences at the Shaheed Zulfiqar Bhutto educator. Her current research explores aesthetics, technology and she has curated since completing a PhD in Art History include Institute of Science & Technology, in Karachi, Pakistan. identity through the multidisciplinary field of computational and Feral Experimental at UNSW Galleries, Sydney (2014), Experimental responsive clothing. Mahony has extensive Australian and European Practice: Provocations in and Out of Design at RMIT Design Hub, experience in RTW markets with roles in design, production, ethical Melbourne (2015), and Experimental Thinking: Design Practices supply chains, and marketing. She is a seasoned educator, teaching at Griffith University Gallery, Brisbane (2015). Katherine’s art PROVOCATEUR design thinking, communication, and new technologies. Recipient practice investigates how design processes and technologies of the Churchill Fellowship, Mahony has written on design studio can be diverted to the production of experiential and conceptual Cameron Tonkinwise is the Director of Design Studies at the School practice in England, Belgium, and France. In addition she engages in interactions. Current research projects include a critical review of of Design at Carnegie Mellon University. He has a background in curating, exhibiting, and freelance design projects with established research methodologies in art and design, a series of experimental philosophy; his dissertation concerned the educational philosophies and emerging artists/designers. workshops on social practices with mobile telephones and CCTV, of Martin Heidegger. Cameron’s research focuses on what designers and a number of ongoing systems artworks. Katherine was awarded can learn from philosophies of making, material culture studies the Dean’s Award for Outstanding Research Supervision, College of and sociologies of technology and the interdisciplinary challenges Fine Arts, UNSW in 2009. of 21st century societies. Prior to joining CMU Cameron was the Associate Dean of the Sustainability School of Design at Parsons at Deepa Butoliya is a PhD student in Design Studies at Carnegie The New School for Design, New York. Before that Cameron served Mellon University with a background in Architecture and Industrial as Co-Chair of the Tishman Environment and Design Center and Design. She worked for several architectural firms in India the Chair of Design Thinking and Sustainability in the School of before transitioning to Industrial Design and working with Jindal Design Strategies at Parsons. Before moving to USA, Cameron Architecture Ltd., MIT development lab and Havells Sylvania was Director of Design Studies at the University of Technology, India Ltd. Deepa has also received MFA from University of Illinois, Sydney, and executive Director of Change Design, formerly known Chicago and has taught Industrial Design undergraduate classes at as the EcoDesign Foundation Cameron's primary area of research UIC's School of Design. She is interested in Speculative and Critical is sustainable design. In particular, he focuses on the design Design and wants to explore further her own theories and tools for of systems that lower societal materials intensity, primarily by research in this domain. decoupling use and ownership - in other words, systems of shared use. Cameron has published a range of articles on the role of design, Ahmed Ansari is a PhD student in Design Studies at Carnegie and in particular, service design, in the promotion of the sharing Mellon University. His research intersects at the junction between economy and collaborative consumption. design, cultural & media studies, and the philosophy of technology. He focuses on how subjects express and individuate themselves and create techno-cultural environments through making aided by technological artifacts. Philosophies about excess and desire as positive (creative) rather than as negative (consumptive) frame his work, analyzing particular categories of how excess manifests, as in // 65 Climactic : Post Normal Design // 2016 Climactic : Post Normal Design // 2016 // 66

CURATORIUM ACKNOWLEDGEMENTS

Beck Davis is the acting Program Director of Design at the Laurene Vaughan is Professor of Design at RMIT University. She is The curatorium gratefully acknowledge the contributions of Queensland College of Art, Griffith University. Beck holds at PhD an artist, writer, curator, and designer who is fascinated by the ways exhibitors, workshop leaders and panel presenters to Climactic: Post (Industrial Design) in the analysis of gestural interactions between that people design and make place. Her practice spans a spectrum Normal Design. In particular, we thank: Margaret Cox, Assistant design teams ¬as well as the use of metaphors and analogies during of embodied domains of making and performance, from walking Director, Miller Gallery, Carnegie Mellon University; Kara Skylling, the creative process. She maintains a particular interest in the interventions to the design of collaborative digital platforms. She is Exhibitions and Facilities Manager, Miller Gallery, Carnegie Mellon philosophy of technology and sustainable design and is currently a founding member of the Arts and Cartography Commission in the University; and Manjari Sahu, Catalogue Designer, Carnegie Mellon researching Mediated Interactions: how technologies shape International Cartographic Association. Her recent projects include University and the School of Design, Carnegie Mellon University. experiences and creative collaborations. In 2016 she co-founded The Stony Rises Project, a curatorial exploration of vernacular The Walter Collective a transdisciplinary collective that explore practices, immigration, modes of dwelling and the crafting of and critique wearables, embodied media, human-non-human landscape in the making of place. This included an associated book interactions and inter-species communication. Recent exhibitions Designing Place (Melbourne Books, 2010). she has curated include Wear Next at artisan Gallery, Brisbane (2015); Academy of Visual Arts, Hong Kong (2016), and Experimental Brad Haylock is a designer, publisher and academic, who is Thinking: Design Practices at Griffith University Art Gallery, unwaveringly interested in the politics of things. He is an Associate Brisbane (2015). Professor of Design in the School of Media and Communication at RMIT University, Melbourne, where he manages the Master of Peter Hall is the Graphic Communication Design Program; Course Communication Design program and jointly leads (with Professor Leader, BA Graphic Design at Central St Martins, University of Laurene Vaughan) the Design Futures Lab research group. He is the Arts, London. He is a design writer whose research focuses founding editor of Surpllus, an independent publisher of printed on critical visualization and mapping as a design process. He matter (mostly books) pertaining to critical and speculative joined the College from Griffith University Queensland College of practices across art, design, and theory. Art where he was the program director of the Design and Design Futures program. He teaches design history and methods and has written and lectured widely on mapping as a metaphor for a spatial approach to design criticism and history, including a TEDx appearance, lectures and seminars at Parsons The New School and a video in RMIT's Design Futures 10 x 10 symposium. His current research includes his involvement in the visualization work package of the European TREsPASS project, where he is looking into the genealogy and limitations of dominant visualization tropes such as tree diagrams and the potentials of participatory mapping. Before moving to Griffith, Peter was senior lecturer in design at the University of Texas at Austin. He also taught at Yale University School of Art and worked at the University of Minnesota Design Institute, where he wrote and co-edited with Janet Abrams the book Else/ Where: Mapping - New Cartographies of Networks and Territories. He is one of the founders and a board member of DesignInquiry, a non-profit educational organization based in Maine, USA. He has been a contributing writer for Metropolis magazine and has written about design for publications including Design and Culture, Design Philosophy Papers, Print, I.D. Magazine, The New York Times, and The Guardian. His books include Tibor Kalman: Perverse Optimist and Sagmeister: Made You Look. " The exhibition ‘Climactic Post Normal Design’ "we question how mainstream speculative challenges the weak logic of design thinking critical design practice distinguishes itself from and aims to shift design debate from thinking design’s racist, sexist and classist foundations” about progressive design objects to reflecting “relevant to the majority of world populations critically on the design processes that exclude who are marginalized in current design practices” most of the world’s population from the debate." “pluriverses that draw on science fiction, CLIMACTIC: POST NORMAL

“alternative models for design that broaden human capacity to understandDESIGN and intervene The Exhibition and Symposium in social and environmental crises” “design has failed to create a cogent practice that can tackle 4 November to 11 December 2016 the nature of complex, global, and rapidly shifting futures” “structured uncritically around the logics of coloniality at the foundations of the modern world-system” Miller Gallery at “operating in different spheres: cultural, economic, and geopolitical” Carnegie Mellon University “asks questions of our present capacity to develop and proliferate forms of design thinking that ancient traditions and celebrate make-do culture” accommodate disparity, divergence and conflict, when “ecologies and environments that are neither these challenges are confronted on a global scale “ totally natural, nor totally technological” “We establish that this way of seeing futures as "What alternatives to traditional ways of thinking concrete things must shift from understanding about sustainability and survival, what strategies the present as static, when the reality is the very for coping and dealing with the rapidly shifting opposite: the present changes continuously.” landscapes and ecosystems of a changing planet, “contemporary design alternatives that frame have designers proposed in recent years?” the future as unknowable from a present “alarming statistics of global pollution” seen as unfixed and possibly unfixable” “imagined and lived alternatives”