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Home , Philosophy of design

Book Proposal Title Rod Clark

a). of an index of possibilities

Draft Version 1 Dec 2014 Not for circulation

a). philosophy of design: an index of possibilities 1 a). philosophy of design: an index of possibilities 2

Contents List Genesis of the project 1 Background

1 Background - Function of Design Philosophy; An Index of Possiblities was begun in 2010 as a WP blog under Don’t explain your philosophy. Function of Philosophy in relation to design Philosophy in relation to Design the title Design Philosophy and its posts were concerned with ideas of values in Embody it. Epicetus naming and language around design, ‘design-time’ (multiple-speed periodicity) Most academic subjects have a philosophy about them. Science, medicine, politics 2 Overview, Approach, Organisation innovation and systems. A somewhat oblique look at design posts were about the all have underpinnings of thoughtful direction. They are complex and important and Coverage biro, design ‘classics’, British military vehicles, the iPod/iTunes system and the history subjects and need ethical and theoretical understandings for them to function. of the record player. From this beginning the project has grown organically into a very Design, as a much more recent, but as I try to point out, a just as important 3 Rationale thorough and structured investigation of design as a central human activity; themes discipline, coming as it does from craft roots does lack the intellectual basis that include how values initiate and are embedded in design as a cultural force, the other fields of activity have accrued over millennia. 4 Contents/ Section sequence importance of technology, the social role design has and how design performs in and over time and the nature of multiple interpretations. Other themes which permeate the A philosophy of a subject is a variable set of beliefs and rationales which support 5 Book Concept/ Book Function work are; the nature of parts and wholes, what is hidden and what remains opaque, and inform and intellectually bound the discipline itself. But design, active, what aids or inhibits the design process, and intuition, structures of concerned with making, transforming, by it’s very nature, the origination that 6 Book Process and understanding and how design problems are posited, how the resources used in constitutes it, its very tangibility must contain/embody/engender a philosophy. design are configured and what design can be expected to do to address social and Working backwards from any designed object or system there must be traces that 7 Bibliography organisational issues. can be found of some underlying reasons for the design, although these may not The philosophical in my title is more aligned to its literal meaning (‘love of knowledge’) A design of philosophy or have been philosophical in intent, perhaps merely the physical solution to a distinct 8 Audiences/users than any highly technical exposition. though I am employing elements after the a philosophy of design? tool-problem. So distinctions can be drawn between a general philosophy of design; methods of various the writing is aimed at a wide readership; primarily which may be a set of principles and a commentary which informs the activity, and 9 Competitors of interest to but also to clients, commissioners and executives. a philosophy that has actively arisen from a specific process; a philosophy that has been itself designed, or at least originated, that has arisen out of a conscious desire 10 Publicity/marketing to frame the particular practice of design. Thirdly, and perhaps novelly, a philosophy that has been described by a disinterested who has thought deeply about 11 Biography how s/he approaches design and why exactly this may be useful and justified, and has understood the values of this certain approach and set it out in design terms so that other designers, and non-designers too, can use it to directly inform their own practice. Any analytical approach to design must take into account the temporal cycles of the design process. All points in the progress of any design must be considered within a design philosophy; the genesis, the development and the in-use impact.

Our thinking (and knowing) about design needs to expand; on its language component, its social and human values and the clarity of its intent

Philosophy can aid subjects or fields of activity by providing an ethical, ontological and epistemological frame for the work undertaken. It is a set of parameters that guide or bound the activity and help to define the sorts of knowledge that are useful and usable, and procedures that are acceptable.

Philosophy has become more open in recent times. Open to explanations of a new , an increasingly complex world. The Analytics meditations on time, being and language have taken a back seat to ideas about communication, which is increasingly being written in less opaque or technical language and is thus more approachable for, and comprehensible to, a wider readership.

Design knowledge is essentially that of craft, of materials and techniques, driven largely by , need and available resources and is built up over time, often by leaps of understanding but is always context-dependent and as contexts change design responds. The values of any given design are not overwritten by history, hence on a superficial the interest in antiques, or that often still operate effectively in the presence of newer technologies, more it accumulates as sets of ideas with what are generally taken to be some guiding, underlying or agreed principles; often based on perceptual aspects and general axioms about form. Design began on an intimate human scale , extending over time to the purposes of empire and in the modern world it’s application has scaled to a mass usage and global implications. What has always and is increasingly changing is the nature of the origination of design; the situations that it arises from; its relations with power- structures, its imposition, commissioning and availability. a). philosophy of design: an index of possibilities 3 a). philosophy of design: an index of possibilities 4

STRUCTURES of knowledge TYPES OF IDEAS of approach to break down complexity of value to redefine difficulty TYPES OF THOUGHT creativity imagination of understanding } intuitionLOGIC/INTUITION TERMS/DESCRIPTIONS how we perceive + rate aims USAGES language defines + communicates perceived limits values FUNCTIONS authority/ in service of control human desiderata protest/ in service of criticism sustainability

HISTCONTENTORICAL PAOPEN/RTHIDDENS/perceptionWHOLES and decision collaboration CONTEXT inputs/ data management/ development/ production/ promotion/ markets TYPES OF DESIGN consistently widening interrelations

TECHNICALS SCALE civil SUPERNORMAL RESPONSIplanning/governance BILITY materiality/ tangibility TECHNOLOGY housing/ elements/ tools/ forms personal scale/craft media/ channels propelling/ affording

VALUES futures/ natures/ ecologies change/ innovation CONSTRAINTS contrasted with mystery towards a unity PROBLEMALLOWANCES pressures onAT designers ICS POSTHUMAN factors inhibiting procession Before/ concepts of use opportunities/ freedoms PROCESS During/ design proceedures Change over time After/ criticism + usage } (+ Social Context = Trajectory of the Discipline)

APPROACHES METHODS manifestos constructs/ rules/ guides commissioning DESIGN FOR LIauthorshipFE theories ingenuity a). philosophy of design: an index of possibilities 5 a). philosophy of design: an index of possibilities 6

1 Background continued 1 Background Key themes

Design is not driven by theory as are maths and science, but by constraints more in Some wider categories, such as use of language, technology, design the manner of engineering, although with attendant creativity. It is often dominated approaches, psychology and application/implementation of design are woven by mindsets or nominal current ideas that ebb and flow. It is employed in the service through the whole book, introduced and revisited in different sections and of people and their requirements, not as an academic discipline or simply to add to a store of knowledge. It is made of matter and applied to physical human needs and within different contexts. Rather than treating these underlying aspects as psychologies and has a distinct relationship to business practice and commerce but discrete sections they are distributed to build into a thorough and connected it is also distinctly cultural and local/focal. series of facets.

But design, as a productive, organizational and directing capability, has a more ------proactive role to play in cultural, social, educational and economic and governance Attitudes/Objectives spheres. For actants it is in part a process of self-actualisation, but also entails the Design for Life responsibility of a giver. The answers that design provides can only be as good Unity of values as the questions that are asked of it. The power of design to structure or deform design is attitudinal our environment and behavior is unchallenged by any other discipline. Design is Responsiblity strategically and practically too important for human development to be left to Making good use of resources designers to decide upon; by which I mean that obviously designers use their Post/Anterior skills to do the form-giving but the impetus towards what they are charged with Modern, Human, Futures/Utopias designing has to have a wider constituency, and be the responsibility of all agents of Progress v Novelty power, and indeed everyone. We all share a responsibility to be assertive participants ------in discussing and deciding the aims and objectives of designed systems, artifacts Process/Aims and locations. Parts, Loose Supernormal Above all design, and its inherent thinking processes (currently oddly separated from the actual activity of design by being characterized as a way of thinking that anyone, ------especially in a business environment, can assume, adopt and utilize); a combination Context/Mapping of the logical, the aesthetic, the structural and the behavioral, has to be properly put Undesigned Order to use to define problems and their solutions, all the while being aware of resource Nature as a leader implications and the full impact of any adding-to-the-world. It is not enough to say Structures of Understanding that if a tool is designed and it works and has a usefulness that that is enough. The Monads, tetrads, Triads, Lists tools overall value and danger must be balanced. Pell-mell advances cannot be Death of Cartesian Dualities condoned or justified. Forethought is a prerequisite. Planning, management and ------husbandry are essential. Course/Deciding Open/Hidden One thing designers can learn from philosophy is the positive connection it has Intelligence, ignorance, stupidity always had to its own past. Common to any human activity, philosophy develops Aids/Hindrances and refines itself through (individual/schools) iteration, analysis/synthesis, the vivid Facilitators/Inhibitors connection and references to past continue to be mined. Ostensibly Defining design problems dealing with ‘higher’ knowledge and universal themes of being and knowng rather All concepts are elastic than the ‘base’ materials of everyday life, philosophical ‘’ still have the life Structure/Action they always had. Although, like design, obviously context-dependent (the impact groups and projects of scientific knowledge, beliefs in relation to higher powers and ideas of social organization) the philosophies, of Plato, Epicetus, Kant and Hegel remain potent, Keywords/Terms as stimulation or outright wisdom. The history of philosophy is not inert, nor is that speculative of , or design for that matter, but the latter is more prone to a loss of memory, situativity a discounting, mainly due to a technologically-focused overwriting and a natural interoperability entrenched contemporary context-dependency that perhaps makes it harder to intermediality comprehend the motives and impacts of past designs. History is certainly written intersubjectivity by the winners. But must be mined, for approaches, precursors, semantic turn paradigms, for details, and for a more general knowledge. concretion accelerationism The basis of my philosophy of design is that its role is to improve human an ecology of design and to engage people in every stage of its process. sublimity inter-disciplinary polysemic enactive distributed cognition a). philosophy of design: an index of possibilities 7 a). philosophy of design: an index of possibilities 8

2 Overview, Approach, Organisation 2 Overview, Approach, Organisation and Coverage and Coverage Design is all about the possible, and very often about what once seemed impossible. communication, sharing and debate it is a in inert matter somehow energised, But design is most thoroughly about the everyday working of the world. yet continually on the edge of collapse. Thought about being and knowing are inseparable from any genuine and attentive procession of design activity. We take these new phenomena of the world (digital tools) for our reality - and for We can say that a discipline remains philosophical as long as its concepts are all our c/s/d capacities it distances us from a) the natural world - into a constructed unclassified and its methods are controversial. Design most certainly remains thus, world of systems and objects, and b) from self-knowledge, which is not mediated these are actual pre-requisites for its continuing effectiveness after all; but it needs by our ‘materials of interaction’ - our tools - The workings of (magic) and the philosophy to grow. This book brings together the best ideas of how to be and how development of (progress) being our overiding concerns and measures of value. to know, and it effects this with a design sensibility. As Buddha would have it - the lies within. All attempts to invest systems and objects with meaning or truth can only distract us How can philosophy be of use to design? Its a beautiful question. from our real inner knowledge and understanding. Emotional resonance is transferred away from us. how an Index of possibilities Works Challenge removed to make life ‘easier’ Beliefs and ideas are expressed in a variety of ways; through , dogma, eg. Knowledge of a landscape. persuasion and inspiration and above all by logical progression. The history of Directions/ maps/ Sign-posts/ Street names/ Google maps/ Sat-nav. western thought from the Greeks on has relied on inductive logic, the building All language - except body-language - is ill-equipped to aid understanding of edifices of meaning. Understanding is arrived at through perception of this Experience + plato’s Forms and Ideas - again within us. But that was just an idea... construction and the logical combination of its constituent parts. A building is a useful metaphor here but a building is never finished - it is merely begun1; an logic? Index of possibilities is more akin to a builders merchant, or a hardware store. In design is a big problem. It is essential to do thus quintessentially important them one finds the loose parts and the potentialities that can be combined and (quintessence (L. quinta essentia - the fifth element that pervades all things)) to do explored to create a mathematically enormous number of possible constructions it properly. It needs belief; mediaeval cathedral craftsmen had unfailing belief; in the and connections. The Index of Possibilities does not purport to be exhaustive or larger purpose but crucially also in every act and aspect of their individual and group proscriptive but as its name implies it is rather a network of related ideas that can be organisation, spirit and output. It is perhaps hard for contemporary designers to feel used as a resource for stimulating further connections between its parts; its purpose the same selfless devotion and commitment; to undergo the sacrifices that made is generative and open-ended rather than definitive. This is not an excuse for such great and enduring works. Our time seems more like one of quietly desperate uncompleteness or wool-gathering, rather it is in direct response to the fundamental survival; at the same time, as if over-compensating for our inadequacy in addressing nature of design as an inquiry, that innovation and originality spring from the immediate issues, we are celebrating our seeming abundance and celebrating our recombinant and the re-perceiving and restating of problems in new terms. profligacy. philosophy is the ‘’ - its aim is to control excesses Rationale 1 to do design better is the aim Assembling and understanding ideas and ways, and attitudes, towards thinking who we think about design is all known - but designers do need to be more aware of (towards some purpose. That purpose being an ordered on-going regularity) the possibilities and depth of these ideas. It is easy to do design on a superficial level Acknowledging that there are two spheres;the personal (inner) and the social (outer). - that is part of the problem. Reconciliation of these two very different levels into a network or map of problem the reasons behind any design need to be more rigourous. areas, which are within the 8-9-10 subject areas of knowledge. we are grasping (at) the wrong things (in the name of survival), we are getting the Creating a philosophy which at least lends an overview of problems, a ‘way of wrong information, or rather we are getting its message wrong, we are getting the seeing’. informtion wrong. We are in an error situation, and in trying to mantain tat situation Applying this to design activity - making things better - (rubbing it better) in repairing we are begetting more error. the old and inventing the new. Rationale 3 Rationale 2 To synthesise the many voices and viewpoints from my research into a cogent/ Philosophy is love of knowledge - individual philosophical systems are all different concrete series of underlying propositions to inform the practice of design. This is a and yet all want to corral knowledge under a banner. creative approach, a humanistic one and one that aims for a fusion of the rational and A philosophy of a subject is the hows and whys of activity (of, to and from)the reason the intuitive, a bringing together of the progressive and the absurd (the real) for it, and the reasonings of it (and the thought behind) What people have said about this book; types: scepticism/ / sophism/ “an intellectual buffet” design: lives - or finds life - in systems + objects. our systems are necessarily bureaucratic and controlling - but also in service of Rationale 4 actual human need - for direction and information - they are outward facing?? The aim of the book is to raise consciousness; in general terms a consciousness of Bureaucracy per se is more often an end in itself - a self-justifying system, a self- the shape and edges of contemporary thought, information sources and structured perpetualising cycle of dependence and a cog like attitude of its components. ideas ie to transmit the wisdom or at least the opinions of thinkers from other areas The here is between those who ideate and design systems and those that of knowledge, to create awareness of the potential for and action merely help them to maintain. in wider areas, and to highlight a range of problems that history shows us in which Objects are more tangible and personal of course - and in-use (Hegel/Heidegger). design can be seen to have been implicated in creating or exacerbating. Design Our reliance on objects is inherent - we must manipulate - it is the human condition. inexorably moves forward but it is only with 20:20 hindsight and careful evaluation that it can truly progress, develop responsibility and refresh its essential relationship digital with the social.?? sees the confluence of systems and objects. This is now the human condition. To be involved as part of the network. It is our belief, but held at a distance with an ever- The historical aspect. present threat of failure/breakdown and subsequent vacantness. It is not a belief in All philosophy, and all design, are products of their own ages. Philosophy - as the living world and although its affordances are of a inter-human use; thought often divorced from action- and design - as often unreflexive action - have a). philosophy of design: an index of possibilities 9 a). philosophy of design: an index of possibilities 10

2 Overview, Approach, Organisation 2 Overview, Approach, Organisation and Coverage and Coverage developed in parallel over the past 200 years. One aim of this book is to see the Rationale 6 A designer is an emerging synthesis connections between these two distinct strands of activity, to track and map the Design is no longer a discrete stylistic I believe that a philosophical approach can be directed towards design on at least of artist, inventor, mechanic, objective major thinkers throughout this period and to elucidate the useful crossovers between gesture thrown at a project just before 4 levels. To start with both philosophy and design are concerned with and feed on economist and evolutionary strategist. various disciplines and thus to tease out the potential role of philosophy in the more it is handed off to marketing. The new ideas; what they do share are concepts of value, agency, definition, options and R. Buckminster Fuller effective and reflective practice of design. approach taking shape in companies and choice. So on this primary level designers need all the ideas they can get hold of organizations around the world moves but one issue is that they often, for whatever reason, do not perhaps spend enough Over a century, there has been a shift The book looks at design in its widest sense as a central force in human design backward to the earliest stages time with ideas of ‘why’ in their eagerness to get to the ‘how’ and the ‘when’. The from form via content to context, from development. Almost any achievement of mankind can be viewed through this lens. of a product’s conception and forward to temporality of design, in any given period, has three phases, the before, the during syntax via semantics to pragmatics – The Great Pyramids of Egypt for example. People talk fairly simply of the Pyramids the last stages of its implementation— and the after. The first of these is the range of places that design work is originated from “How does it look?” via “What does merely being built. In fact they must have firstly been conceptualised which involved and beyond. from, commissioned by and the terms in which it is conceived as possible and it mean to me?” to “How does it work complex thought and ideology. Then they must have been designed, they were not Tim Brown, CE of IDEO, Change by useful. The during is more concerned with the flow, process and the operation; between us?” In the current epoch, the constructed ad hoc like sandcastles. Then the powers in the land designated that Design stakeholders, involvement, creativity, limitations, psychology, decision-making and convergence of these three structural x generations of slaves, or skilled artisans would be tasked with the heavy work, production. The ‘after’ is the most publicly visible of these, promoting a general tendencies is accelerating a new then complicated supply-chains, logistics and infrastructures were set up and notion of self-evidence; it gives us the history of design and also most importantly paradigm shift, a discursive turn, in maintained for hundreds of years. These mammoth feats of will, decision-making and the impact of design in use, with its attendant positive and negative impacts. This design. Not only is the way we think engineering contain all the aspects and challenges of the design process. last area yields our potential ‘learning zone’ for if we can understand the historical about design changing, so too are design contexts from which particular design arose we can perhaps retrospectively analyse practice and the social role of design. In our age when we have in some sense mastered or at least subjugated nature we in philosophical terms and extrapolate from them and be informed on current and The various disciplines within the vast find ourselves in a position where almost everything around and about us can be future practice and practicality. spectrum of activities that make up defined by us, from weather to dna. This is designs challenge and the book seeks Apart from temporality-based considerations, the fourth level is a more distanced are moving onto a more to locate design at the nexus of all human activity, from the personal through to the view of design, as an activity in itself, and takes in the wider social and global context integral plane. A survey of this diversity governmental and to educate, raise awareness, to give historical perspective, to in which design operates and the general issues of communication, consumerism, of of shifts suffices to sketch a picture of stimulate discussion and to explain the process and context of design. humanity, governance and economics, pragmatics and realpolitik which put it to the this new turn. What is appearing – as yet test as an essential part of human culture. in a diffuse way – is what I call relational The digital age has released many new forms of design thinking, materials design. technologies and means of production and communication, and philosophical writing Rationale 7 Henk Oosterling. as Design Or: around these subjects has been stimulated by these developments. Now is an apt Although this is a personal account of the territory between the two disciplines Must Design Save the World? time to bring these two disciplines closer in orbit. its objective is to be disinterested and wide-ranging. Where subjective praise or Premselalecture 2009 criticism is applied it is done with regard to my interpretation of general principles The work will draw on ideas from a wide and diverse number of designers, of quality set out in Section 2. I The aim to map out where the types of thought and philosophers and thinkers. Among the host of these perhaps Otl Aicher, Dieter Rams, activity within the disciplines overlap or are so close that a useful connection can be Simon Nicholson, Renny Ramakers, Ettore Sotsass, Tony Fry, Eugene Gendlin, made between them, like joining up channels in the sand on a flat beach with the tide Peter Sloterdijk, Nathan Shedroff, Slavoj Zizek, Donald Schon, Fukusawa/Morrison, coming in. There are trends in philosophy which facilitate this, just as in design there Richard Rorty, Eugene T. Gendlin, , Graham Harman, Flusser, Don is a growing realisation of the need for research, theory, or at very least a wider frame Norman, Henk Oosterling and John Thakara are most important to me. See the of reference than that which is limited by individually egotistical and commercial Bibliography (pxx) for a comprehensive list of my sources. considerations alone. Philosophies I have drawn on range from the questioning of Socrates, Heidegger on Being, Nihilism(s) (describe), linguistics from Wittgenstein, the of Rorty, Designers are surrounded by books and guides as to how design has been done, the Hope of Ernst Bloc, Feyeraband, Slavo Zizek to the Object-oriented philosophy and how new technology can allow it to be done. This book look at the why, the of Graham Harman and the ‘non-philosophy’ of Laruelle. The multitude of ideas underlying forces, the impetus behind it, surely an important consideration at this expressed by these and other philosophers are used not per se but as angles from long moment we find ourselves in, in which reason must prevail in some way over which to view design. unthinking material expansion, and the wider social contexts that designs service and go back into to perform their functions need to be examined. For illumination Although a recent industry as such design has existed alongside thought and the book looks back to survey previous contexts and past eras design efforts. It is a language from the human outset and the impact of tool-making is a continuous line challenge to design to know how best to take its place in a constantly evolving world. from then until now. Historically making and thinking have gone hand in hand, all Above all it is a celebration of the dynamic thought-made-real that is design as a problem-solving and empire-building, all human development, all civilisation have whole and for the sheer joy found in the diversity of . relied on the interplay between them. Design as problem-solving and philosophy as a question-posing activity belong together if the former is to rise to current challenges People use the term philosophy loosely. in business or politics it is a big word for and . As Ralph Caplan powerfully states “Thinking about design is hard, but not an idea, or merely a statement of intent. Perhaps it merely lends gravitas? But thinking about it can be disastrous.” philosophy is not a functional, tangible resource or a strict code to follow. It is an investigation, a dynamic viewpoint, an edifice always under construction which can Organisation yield insights but must always be challenged and developed in every age. In many The research for the publication has come through a career spent in the design ways it is as iterative as design, and quite as partisan in its affiliations, groupings world, working across industry sectors and coming into contact with a wide range of and mind-sets. My aim is to see what may be found in each discipline which may expertise and design approaches, through 15 years of teaching and communication, be useful to the progress of the other. Both disciplines are basically vehicles for through extensive reading and collecting and finally using desk research and answers questions, about how we think and how we behave, the mental worlds and the and opinions on responsibilities and motivations from prominent designers. The physical worlds we inhabit. process of amassing information and compilation is detailed on ppxx a). philosophy of design: an index of possibilities 11 a). philosophy of design: an index of possibilities 12

4 Contents/ Section sequence

Acknowledgements 2.9 Utopias 5.3.1 8.8 Simplicity and complexity Preface 2.9.1 Perfection/Imperfection 5.3.2 Crowdsourcing 8.8.1 Materials Introduction 5.4 Exclusivity 8.8.2 Generativity 3 LANGUAGE - words, signs and meanings 1 DEFINITIONS - process and activity 5.5 Public design 8.9 Information/communication theory 5.6 Human scale 3.1 How design is described/discussed 9 DESIGN THINKING - considerations 1.1 Definitions of design - finding the edges 5.6.1 Ergonomics 3.1.1 How design is sold 1.1.1 The Why of design 5.7 Psychology 3.2 Criticism 9.1 Creativity 1.1.2 Design in Nature 5.7.1 Memory 3.2.1 Reductivism 9.1.1 Play 1.2 Types of philosophy - what is applicable 5.7.2 Narrative 3.2.2 Nay-saying -Anti design 9.1.2 Design and art 1.2.1 Object as subject 5.8 Culture 3.3 Dialectics and rhetoric 9.1.3 Imagination 1.2.2 Context of Description 5.8.1 Subculture 3.4 Design Terms 9.2 Innovation 1.3 Context of thought 5.8.2 Alienation and Deviancy 3.4.2 Lists and Constructs 9.3 Intuition 1.3.1 Time and 5.9 Nature 3.4.1 Naming 9.4 Science of thinking 1.3.2 Levels of Ideas 3.5 Wittgenstein 9.5 Decision-making 1.4 Theories_Manifestos_Ideology_Methodology 6 DESIGN AND POWER - design as a tool 3.6 Neology 9.5.1 Action 1.4.1 Why designers design 3.7 Organising Ideas - Books/ web/ OA 9.6 Understanding and Mapping 1.5 Design Principles 6.1 Who is design for? 3.7.1 Interaction 9.7 Design Studies_Theory 1.5.1 Dieter Rams 10 principles 6.1.1 Role of the Consumer 3.7.2 Dialogue and metalogue 9.8 Logic 1.6 Reason and Nonsense 6.1.2 Politics 3.8 Symbols - a metalanguage 9.9 Experimentation 1.6.1 Design Intelligence 6.1.3 Critiques 3.9 Icons 1.6.2 Design for need 6.2 The market 10 DESIGN GROUPINGS 1.6.3 Functionality/affordances 6.2.1 Growth 4 DESIGN PROCESS - mapping over time 6.3 Design in Place 1.6.4 Rationality 11 DESIGN; MORE OR LESS 1.7 6.3.1 Design in Cities 4.1 Timelines 1.8 Where Design fits 6.3.2 Design in the Military 4.1.1 Organisation and cycles 11.1 What design can be 2 1.8.1 Types of Design 6.3.3 Design in Space 4.1.2 Wholes and Parts 1.9 Networks/Connections: Tech/comm context. 6.4 Currency 4.2 Historicity - progress and inertia 6.5 Design voices 1.9.1 Digital Bibliography 4.2.1 Modernity 6.6 Power of data This cannot aim to be exhaustive but still constitutes a 4.2.2 Momentum 6.7 The functions of design 2 MEASURE/VALUE - evaluating quality comprehensive array of design and philosophy thinkers. 4.2.3 Design classics 6.7.1 Perspectivisation + Parallax 4.3 Problems and Solutions My aim is that most major historical texts are to be 2.1 Measuring design - units and scales 6.8 The functions of the Client 4.3.1 Overdesign/Underdesign included, building a useful reference resource for readers. 2.1.1 6.9 The role of Institutions (timeline examples) 4.4 The future See following pages xx for the draft version. 2.2 Concepts of value 6.9.1 National aspect/characteristics 4.4.1 Acceleration 2.2.1 Minimalism 4.5 Design approaches Glossary 2.2.2 7 BASIC DESIGN - principles and learning 4.5.1 Strategy This is a very important - and quite extensive by usual 2.2.3 Subjectivity 4.6 standards - part of the book. In it many terms and 2.2.4 Authenticity and its opposiites 7.1 Implication - behavioural items 4.7 Process and Progress phrases, often difficult or all-too-similar-but-different, are 2.2.5 Belief 7.2 Short history 4.7.1 Time and knowing explained and contextualised. The language used within 2.3 Standards - 7.3 A program 4.7.2 Collaboration and Competition the philosophy and design worlds can lead to confusion. 2.3.1 Standardisation 7.4 Education 4.7.3 Chance the aim of the glossary is to bring consistency of meaning 2.3.2 Systems 4.8 8 TECHNICAL/FORMAL ELEMENTS and accurate description into the light. 2.3.3 Modularity 4.8.1 Theories 2.4 Change, innovation Appendices 4.9 Process models 8.1 - words are objects 2.4.1 Originality and Banality tbc 8.2 Geometry - 2D/3D logic 2.5 Success and Failure 5 ENVIRONMENT - social/mental spaces 8.3 Perception - gestalt/spatial 2.5.1 Learning from instances Contents 8.3.1 Cognition 2.6 Responsibilty and Sustainability This is the formal, descriptive, contents list. More 5.1 Design contexts 8.4 Semiotics - signs 2.6.1 Functionality expressive section and subdivision titles can replace 5.1.1 Timings 8.5 2.6.2 Productivity these terms or be included as subtitles within each 5.1.2 Gateways and Barriers 8.5.1 Maths 2.7 Appearance section. 5.2 Consciousness and Activism 8.6 Media 2.8 Complexity and mass 5.3 Audiences/users 8.7 Pattern a). philosophy of design: an index of possibilities 13 a). philosophy of design: an index of possibilities 14

4 Contents/ Section sequence

1 DEFINITIONS It is time for a revaluation of all values 2 MEASURE/VALUE Henk Osterling what design is, is made of now and the immediate future and how we Section 2 is a key part of the book. Here the importance that quantifying think of design as part of our lives and how it gets done It is much more custom and example has played in human life and how qualitative values; both instinctive and that persuade us than any certain rationalised are set out. The way design develops, creates and has to respond Sets out the essential approach to the subject with definitions of what design knowledge to tenets, systems and standards is viewed in terms of 20th century ideas (often a contested term) comprises, where it stands now and the immediate René Descartes about development, notably modernism and minimalism. This section ranges challenges it faces, and how we think of design as part of our lives and as across central yet shifting notions of change, innovation and progress and a toolkit for thought and action. Where design is situated amongst areas how design intersects with success and failure, responsibility and increasing of knowledge that are intimately concerned with it, but largely unexplored complexity. The section investigates the extent of the goals we set design and in their interrelationship with it, areas of Science, Commerce, Humanities, on what we base our of effectiveness and attainablity. Engineering, Education, Sociology, Psychology and Art. The idea here is that design is seen as placed centrally amongst these disciplines and the two- Keywords/Terms way correspondences between them are what constitutes design’s reach; benign complexity the aim of which is to continually expand.Types of philosophy are described Pride in tools - care and attention needed to keep them in good condition. and considered as to how they can be applicable to design activity. Next history of percentage Global Happiness Index an explication of the way we deal with the delineation and interelations of Numbered aspect constructs (lists) categories of thought; the real, the abstract, the ideal etc. and longstanding Tools and Toys. category/status ideas such as archetypes. This leads on to principles derived Individuation from history with a focus on those from the last 150 years. There follows an investigation into what constitutes design sense - and its opposite - which Questions is the basis of our current design culture. How design fits into wider frames What scales and units do we use to measure design What are our key/core values of knowledge and how its capabilities can be translated into use within other Can we effectively use the concept of less disciplines within our technological and super-connected world. Why was modernism so important How beliefs can constrain us Keywords/Terms What are the use of standard forms and unique forms Thing theory How we set up systems and connect things through them Agnotology how are modules useful how do we distinguish between the original and the banal, the known and the Questions unknown. Where we find ourselves in relation to the world/nature Is the new merely a reaction against the old What is design how do we judge success or failure of design What sort of design is there what can we learn from previous designs and their contexts What is philosophy How can we manage to not ruin our environment and ourselves Why design needs philosophy Are how things look and how we see them the same thing How do we map the space and edges of our thought How do we understand and cope with increased complexity and mass What fundamental ideas do we have What are our ideas of a perfect world. What makes sense to us How do we define functional? What needs to be designed Where do we find ourselves in relation to our technologies Who wants to think Beyond?

a). philosophy of design: an index of possibilities 15 a). philosophy of design: an index of possibilities 16

4 Contents/ Section sequence

3 LANGUAGE … one of the most important 4 DESIGN PROCESS properties of all fields of production Obviously the main component and means of philosophy, by transcribing [is] the permanent presence of the This section considers how design is seen in relation to time and how enduring past of the field, which is endlessly we might expect it to be and its role in the course of progress. Ideas about the thought in logical constructs, language has a much looser but no less recalled even in the very breaks which vernacular, nature, recursion and the character of knowledge are seen in relation to important relation to design. How we use language, our cognitive dispatch it to the past. rates and qualities of change. Histories of communication are referenced and the architecture, to mane things, to describe and discuss design, to celebrate Pierre Bourdieu, sociologist, 1984 concepts of modernity, post-modernity and historicity in general, core philosophical or negate it, integrate it or criticise it, is a key component in how its values topics, are unpacked and designs relations with the past, present and future are are communicated and how it gets taken up and utilised. Recent theories discussed. A key concept expounded here is the difference in rates of change; of propose that we are constructed through language and particularly through a perception and action, in various design-related areas, and the illuminating difference in how we understand progress on a micro and a macro level over time; which in turn performativity of language. Design is a Vocabulary rather than a language. gives us our picture and thus to some extent guiding principle on how future progress can be achieved. The approaches, working processes and reflective practices of Keywords/Terms designers are investigated and categories of the theories of research towards design indexicality are introduced. Any design ‘age’ or trend, fad, deviation is to some extent a reaction metalogue By believing passionately in something to and often against what came before. Thus designers/design has a critical and paralogy that still does not exist, we create it. The nonexistent is whatever we have retrospective aspect as well as a projection of the new. Questions not sufficiently desired. Keywords/Terms To what extent are designers able, and should be committed to, a discourse which Franz Kafka Reflexive Modernization Temporalized interrogates their motives and methods? Golden Ages (Georgian London,Bauhaus,Renaissance Florence, Silicon Valley) Should design discourse quantitatively be peer-only, or cross-disciplinary or more Zeitgeist public? Mereology Haecceity Is our attitude towards design comprised of the language terms we use to describe and evaluate it? Questions How do you see design history of your discipline? as an archive/resource to be What are the qualitative terms that we use when we describe a piece of design? plundered/utilised? Or as a dead-weight to be avoided? As a complete and continous (State positives and negatives) comprehensible narrative? As a series of well-defined movements and styles? As a hard and fast guide to what works and has value still? is our culture ‘overwhelmed by design’? If so in what sense? Are you aware of any designs that really should still be in use today by have been bypassed/sidelined by subsequent developments? To make better design how important is it to be able to create a set of qualitative Can we possibly control rates of change? terms that form the basis of decision-making? How can something be ahead of its time? Can/should there be a universal scale for judging/grading design input and output? If every period of time differs to the preceding and the next how do we know; a) when one period/begins and ends Once Search is in operation and the semantic web is fully loaded we may we see b) that what exists for us at this time is the best it could possibly be advances in the use of language? c) how can we rate one period against another - in terms of the designs it produced. The NOW Problem. Is forgetting an industry. Are we adrift? a). philosophy of design: an index of possibilities 17 a). philosophy of design: an index of possibilities 18

4 Contents/ Section sequence

5 ENVIRONMENT 6 DESIGN AND POWER

In this section the forces and structures that design exists within are set Pursuing themes from Section 5 this provides an overview of more politicised out and addresses the question of what are the wider societal, even ideal, aspects and provides detail of how design is channelled and put to use conditions for design? Social organisation is not designed, ie forethought, with a focus on the relationship it has to groups and power and particular it evolves from tradition, habitat and shared culture and for design to be spaces and specific contexts. Issues concerning freedoms; of trade, speech, effective it must fit with received ideas, the the status quo, in any social state information are set against those of control, restriction and confrontation. but can also challenge these. Designs involvement with social tensions are a The mediations of communications technology, the importance of data and complex web of interractions and this section sets out many of the aspects currency (in its widest sense) are investigated and the relations between pertaining to designs ability and possibility to originate and effect changes and responsibilities of stakeholders and actants in the spectrum of design and how cultural movements manifest, grow, and move towards an active origination and application are mapped out. The historical ‘voices’ of design, state. Key issues of identity and participation and activism are seen against from Ruskin, Morris, Gropius, Fuller, through to Sotsass, Jobs et al are mined the backgrounds of culture, memory, narrative and psychology. for the paradigms they identified and proposed and these provide illumination of how design is part of wider debates about values, society and agency. Keywords/Terms A key concept that runs through this Section is that of perspectivisation, Datacentricity disparate views, and essentially what is visible to whom. Culturomics Keywords/Terms Questions design promotion (world fairs - a history) Egon Eiermann (1904 - 1970) Jean Prouvé there were design superstars too in their day - Chipperfield, Inigo Jones? topological turn

Questions how is the nature of human ‘being’ refigured by the artificial environments that we humans design to be our habit(at)s?

Can there be a concensus on what design should be invested in.

Designs (and designers) are largely caught between constraints; of the commercial, the authoritarian. Is there is a spectrum of design being used in the service of ALL attitudes and forces?

Is design a motiveless resource that can be put to service by any ideology?

is there a current metaphor that can be used in place of the Great Chain of Being?

Should design be an expression of our common purpose or our individual aspirations?

How do we unpack/define levels of functionality. Sensory (aesthetic), Physical (durability, responsiveness), , emotional, environmental (, aspirational? ...... TBC a). philosophy of design: an index of possibilities 19 a). philosophy of design: an index of possibilities 20

4 Contents/ Section sequence

7 BASIC DESIGN 8 TECHNICAL/FORMAL ELEMENTS

As a fundamental part of any designers education, and as a introductory set Design as a primary human activity of communication draws on technical of principles which anyone can easily understand, basic design is explained and tangible knowledge from a huge variety of disciplines. Advanced design and promoted here. Understanding the simple properties of forms and their requires specialised input from mathematics and geometry but is understood manipulation are the basic building blocks of design and the concepts and only through interpretation, so subjects such as aesthetics and semiology are rationale of such foundational studies is reviewed. Returning to these simplest essential components of how design functions. arrangements of matter, materials and concepts provides the platform for the later Sections which look in greater detail at technical elements and thought How the elements of design work together - cognitive, constructive, processes in design. The way the mind can apprehend and appreciate form, progressive. leading to spatial and constructive thinking introduce the important general issue of education. Touching on neurosciences and learning theories this Keywords/Terms section covers how and why , and as importantly, general pattern recognition design awareness, is a vital component of a societies development. In looking parametrics to an increasingly computational future this section projects how new digital Tesselation tools can impact the way design knowledge is presented, taken up, treated Perceptual Organization and distibuted. Design must be a continuous education, it is a subject which deserves a lifelong learning and should start from an early age. Questions

Keywords/Terms design literacy Raw design magic Describe how to generate GS with a ruler, paper and pencil How to jump through a postcard How to draw a square on the ground with a piece of wood and some string Make a hexagon with a pair of compasses

Questions a). philosophy of design: an index of possibilities 21 a). philosophy of design: an index of possibilities 22

4 Contents/ Section sequence

All of man’s problems come from his 9 DESIGN THINKING 10 DESIGN GROUPINGS inability to sit quietly in a room alone. Blaise Pascal This section meditates on a wide range of concepts of design thinking and how we can all pull together, synergy and change methods of how problems are framed and ‘solved’ by and between designers. design must develop to be the link between people Designers are ‘allowed’ to employ and combine perhaps the widest range of types of thought of any discipline, from play to analytics. Some of these types Keywords/Terms Syncretism of thinking are based on rationality, like logic, some are intuitive and spring from our innermost needs and desires; all have been studied extensively. Questions Creativity and decision-making are perhaps the two modes of thought that how are designers /design segmented into groups/oppositions? are naturally associated with designers, here we see how they are combined to turn thought into action. To change something you first have to understand it, so analysis and questioning are essential starting points yet in the search for innovation imagination, chance and tenacity of will are also brought to 11 DESIGN; MORE OR LESS bear. The left can grasp details. But only the right hemisphere can see the big picture. The left handles logic, sequence, literalness, and analysis. The right After all the theories, examples and methods, what do we want and need from design takes care of synthesis, emotional expression, context, and the big context. What do we want to design?

Keywords/Terms Keywords/Terms epistemic evolution TATE autocatalyzed Questions Pataphysics

Questions a). philosophy of design: an index of possibilities 23 a). philosophy of design: an index of possibilities 24

5 Book Concept/ Book Function A central aspect of the project is how to make the material, which is essentially about The only complete reading is that which if you will, in that it is made up of many smaller dishes, to be sampled and savored, thinking on the one hand, and objects on the other, explicable graphically and into a transforms the book into a simultaneous until one has food for thought. Then the nutriments can be digested and after an designed-object itself. One crucial aspect is exploring the capabilities and limitations network of reciprocal relations. interval one can return for more flavors, textures and hopefully more understanding. of how diagrams and schematics can be used to explain complex ideas. As some J. Rousset The reader has work to do here. The concept of this writing is for the reader to allow of my core design skills are typography and page layout my exploratory work on the time for assimilation and ‘between ‘courses’ as it were, to make the designs for the book have attempted the creation of a metalogue. Although conceived connections that spring to mind between what is written here, and most importantly as a (two volume) book form I realise that the material can also have a wide and those connections that relate directly to the readers , be they those of deep life in more screen and time-based media and this is an area currently under a designer or other such specialist or those of a general reader. It is not like a text consideration. that can be read in one sitting, pulling one through a skein of narrative. Ingesting intellectual material in that way can lead to dyspepsia, a confusion in digestion, in processing. The ideas herein are in a sense modular and though arranged sequentially and categorically, for ease of indexing at least and as a guide to memory, are not an unbroken and distinctly connected series. They do not set out, as much philosophical writing does, to claim or map out a distinct intellectual territory, or make absolute judgements or specific definitive statements. The concern here is to present a panoply of ideas relating to design, as if they were items on a menu, and although some small claims may be made as to the variety of aspects here to be comprehensive, in deference to the variegated nature, methods and processes of design itself the material is not conclusive but exploratory, it remains open-ended; part of a larger process of evaluation, definition, analysis and production.

It is an overview, an encyclopedic approach. It is not a lecture, an a-b for busy conference goers.

It contains the aphoristic, the propositional, the evaluative, the extended, the serendipitous. Its connections are sometimes personal, sometimes disjunctively random. But this approach also constitutes an organic form of engineering.

Philosophy books are generally thin on diagrams and and conversely design books are mainly long on pictures and short on text, often the captions to pieces of design work seem to have been written at the last minute. The initial impetus for my study, formed some years ago was an idea for a Visual Philosophy, where graphic form could explain and explore philosophical ideas. (The Philosophy Book goes some way in this regard, as does http://geniscarreras.com, but in a different, and more illustrative direction) This is perhaps now a more specific and separate project. a). philosophy of design is a wider look at the subject but what remains from the initial idea is my belief that as an object the book should be considered as a piece of design from the outset rather than written and then designed. It must be originated holistically, its form and content combined and interrelated from the start. Thus the book is equally led by my written ideas in balance with my ideas as art-director. The structure of the Volumes has a distinct rationale.

The research for the book has offered up many formats for the content. There are historical, factual, elements, there are many instances and incidents, there are narratives and case-studies, there are theories, manifestos and methods and there are constructs such as Tetrads. The variety of how ideas can be set out will be employed, partly as a direct reflection of the value of these individual approaches but Timelines It will be written to read as a continuous text but obviously heavily annotated, also to break down the material into comprehensible units.The book will be written to miscellanised and illustrated, and in such a way as to allow a reader to always know read as one continuous text but in the spirit of Loose Parts the main content will be To make clear, if not explicit, the time- where they were in the book, i.e. to make each spread memorable - in some way as accompanied by many smaller sections, sidebars, annotations, and cross-references, based relations between forces and to distinguish itself as 1-of-3, between the preceding and the following. To form a footnotes, digressions and links. Overall it will be miscellanised and fully illustrated, actant groups and their various ethos to-ing and fro-ing in the act of reading, injecting some time into the reading process, and so will allow a reader to perform a to-ing and fro-ing in the act of reading, Necessarily simple in form and some mental space. injecting some time into the reading process. The book aims for the consistency of perforce selectively seen from a compendium so the reader can use the document as both a picture book as well the more complex social/cultural How to read this book: A note on form as an academic text but a synergy will be engineered between them to allow a rich I shall introduce a food analogy here, a trope that will reappear consistently information experience. It aims to offer up a map of relations and therefore multiple contexts. throughout. If one equates acquiring knowledge to taking on board calories, this book routes through the material. Some trends/synergies are planned is like a 52-course meal, a ricetaffel, a buffet, (a smorgasbord - Smörgåsbord became and some are merely resultant internationally known, spelled smorgasbord, at the 1939 New York World’s Fair when it was offered at the Swedish Pavilion’s “Three Crowns Restaurant.” It is typically a celebratory meal and guests can help themselves from a range of dishes laid out for their choice.) to be appreciated as an , a spread, a feast, a banquet continued a). philosophy of design: an index of possibilities 25 a). philosophy of design: an index of possibilities 26

MORE DEFINED OUTCOMES (SURETY / SUSTAINABILITY) MORE RIGOROUS a PREVENTING RESTORING BETTER MORE DESCRIBED CREATIVE UNDERSTANDING WIDER IN SCOPE ACT PEOPLES’ REAL (OPPORTUNITIES) NEEDS b EXPANSION REDUCING CHANGING MORE MORE MORE SHARING ORGANISED REFLEXIVE INTUITIVE FUNDED AND MORE RATIONAL INGENIOUS PROSCRIBED BY (NOT SCIENTIFIC) HUMANE INSTITUTIONS

In the spirit of the wisdom of ‘showing-not-telling’ the book should not be ‘illustrated’ - in the normal sense that design books use images to give mere instances of a design scheme/movement - but rather DP must use images which illuminate and a the doc (space in which we understand b) b the material (text/object) show and contrast various attitudes to design. This will be necessarily historical to c c the context (in which we understand doc a) some degree, diagramatical/explanotory/critical/directional/didactic in others.

There are plenty of books on how to design or how certain things have been designed but not too many on why something was designed, or an objective look at Francis Bacon never tired of contrasting the extrinsic factors influencing its procession (process implies time but procession hot and cool prose. Writing in “methods” is more explicit - it describes a particular temporal line of development and is chosen Commerce as an alternative to the often glibly employed, and implied, idea of any time passing Science + mfg Humanities or complete packages, he contrasted neuroscience + architecture with writing in aphorisms, or single as being necessarily progress) Diagrams: These play an important role in the book. observations such as “Revenge is In many senses diagrams are the key form of modern a kind of wild .” The passive It is certainly written from a practitioners perspective rather than that of consumer wants packages, but those, an academic but with one hopes the robust research and reflective drives representation in that they can set out complex concepts developed over periods working in education, design, and art. in an abstract way, they can explain complicated he suggested, who are concerned in pursuing knowledge and in seeking proceedures and dense information. causes will resort to aphorisms, just nb Engineering Design Education while all that follows is declarative (to make clear and to state a case) - it is not edited computer because they are incomplete and require for public consumption or any marketing purpose - and remains my evaluative and programming participation in depth. Marshall McLuhan, Understanding projective statement of a work in progress. Media It is a not a technical book on philosophy Sociology Art + Politics Psychology It is not a technical book about how to design + Beliefs It is a book about tools, the ideas behind them, how, and by whom they are made and used, their impact and potentials. These tools are what design is comprised of. It is concerned with reasons for design, approaches to designing, methods of

Fig. 1 nb thinking and communicating about design and it looks at the actants involved in Technology and Media form a Arrangement of a Culture Nexus (with design as design at its centre) JVUZ[HU[ÅV^IL[^LLUHSSHYLHZ design processes, and the contexts in which design is originated and used; drawing Disciplines ranged around the centrality of design in an order allowing them to develop indicative of a proximate relation with its neighbours. networks and communicate thoughts from surrounding and related disciplines, and also the wide range of social, The immediate relationships with design as design are sited in cardinal positions. perceptual, aesthetic, psychological, academic, financial, political and technological knowledge bases that can impinge on or inform design thinking, planning, action and consumption. The text will often consider these aspects of design in philosophical terms of and , being and knowing and consciousness, as well as ethically.

continued a). philosophy of design: an index of possibilities 27 a). philosophy of design: an index of possibilities 28

Illustrations

Illustrations: Images will play a vital It does try to embody the key themes of my own views on and preferences in design this book would be the manual, the user guide, the technical specification and the role in the book. Instances of a broad ; modernism, loose parts (hence the 3 volumes, an essential physicality and an guarantee card. range of design will be shown and experience of ‘study’ and play combined), problem definition, economy of means, each can be used to illustrate wider maximization of useful information, engagement (what is hidden and what is named The book will to some degree chart these recent transformations and also look back points. and displayed, who is excluded or exploited, invited and elevated), functionality, to evaluate past theories and how design has changed alongside society. In addition, creativity and visual complexity. and to help frame the more contemporary evaluation it will include historical ideas of it is aimed at everyone in the realm of design but in one sense this now includes us philosophy, creativity and knowledge and examples of global human endeavor, both all, or at least the responsibility to make design cooperatively, and to become more from small (human, personal, domestic) and large (societal, empire, dynastic) scales. useful and more sustainable is a responsibility shared by all on the globe. I believe in a myriad forms of content, the apt quotation, the aphorism, the essay ie There is a wealth of historical detail and instances and reference to nourish a diverse an attempt at a hypothesis), the blog-entry, the extended metaphor, the conjunction readership. I do not consider it as a single-read through although that is of course of disparate forms within one piece of writing possible. It will be in some ways a work of reference and inspiration.(extend the idea of this). Its the sort of book on design I would want to own. if design is the tool, the coexistence of opposing in defiance of all logical consistency a). philosophy of design: an index of possibilities 29 a). philosophy of design: an index of possibilities 30

5 Book Concept/ Book Function

The page visuals are not designs. They are my design sketches and the creation Illustrations: Images will play a vital of a text and layout system that I can employ to create a variety of page structures role in the book. Instances of a broad and differing levels of information. The intended extent of the volumes demands that range of design will be shown and there is a number of paces to reflect the various sections of the content. The design each can be used to illustrate wider task, once the text is written is to use this system to best clearly present the ideas points. within it. A key element in this is also the level of illustration I will choose to include, which perforce will have to be highly selective and indeed personal, but which I aim to be eclectic and unusual; and this is comprised of two elements, the photographic and the diagrammatic. My current thinking is that there should be a balance of text and images so that reader can use the document as both a picture book and a more academic text but a synergy will be engineered between them to allow a rich information experience. FRFurther ReadingList of sources, instances and words needing definitions.This constitutes a Research Diary

a). philosophy of design: an index of possibilities 31 a). philosophy of design: an index of possibilities 32

6 Book Process FRFurther ReadingList of sources, instances and words needing definitions.This constitutes a Research Diary rodclark.org

Writing rodclark.org

Writing z z a). philosophy of design: an index of possibilities 33 a). philosophy of design: an index of possibilities 34

7 Bibliography Bijker, Wiebe E., Of Bicycles, Bakelites, Caplan, Ralph, By Design: Why There Codrescu, Andrei, The Posthuman Dada and Bulbs. Towards a Theory of Are No Locks on the Bathroom Doors Guide: Tzara and Lenin Play Chess. Sociotechnical Change. MIT Press in the Hotel Louis XIV and Other Object Princetown University Press 2009 Lessons. Bolter, David J, Writing Space, Lawrence Costa, Arthur L. and Kallick, Bena, Erlbaum Assoc. 2001 Caplan, Ralph, 1982 book, By Design, Habits of Mind: A Developmental Series, 2011 reissued by Fairchild Books 2000 Boradkar, Prasad, Designing Things - A critical introduction to the culture of Caplan, Ralph, Cracking the Whip: Coxeter, H. S. M. , Greitzer, S. L. objects Essays on Design and its Side Effects Geometry Revisited. Illustrated by 2012 George H. Buehler Borgmann, Albert The Mathematical Association of America Holding onto Reality. The Nature of Carr, Gordon, The Angry Brigade: A (Inc.) 1967 Information at the Turn of the Millennium. History of Britain’s First Urban Guerilla University of Chicago Press, 1999 Group, PM Press, 2010 Cramer. Florian, Words made Flesh, Code, Culture, Imagination, Media Adriaans, Pieter and van Benthem, Burlington Books 2011 Bateson. Gregory, STEPS TO AN BOSTROM, NICK, Caws, Mary Ann. “Linkings and Design Research. Piet Z wart Institute Johan (editors), Handbook of Philosophy ECOLOGY OF MIND SUPERINTELLIGENCE, Paths, Dangers, Reflections: André Breton and His institute for postgraduate studies and of Information, Elsevier Bachelard, Gaston, The Poetics of Space COLLECTED ESSAYS IN Strategies, Oxford University Press 2014 Communicating Vessels.” Dada/ research. Willem de Kooning Academy New York: Orion Press, 1964. ANTHROPOLOGY, PSYCHIATRY, Surrealism 17 (1988): 91-100. Hogeschool Rotterdam 2005 Aicher, Otl,The World as Design EVOLUTION, AND EPISTEMOLOGY Bourdieu, Pierre,“Distinction: A Social Wolfgang with an introduction by Baldwin, Carliss Y. and Clark, Kim B. Jason Aronson Inc. 1987 (1972 SF) Critique of the Judgement of ” Chalmers, Alan (well-known introduction Crary, Jonathan, 24/7 Late Capitalism Wolfgang Jean Stock ; [English Harvard Business School, Boston, MA Routledge & Kegan Paul, London to ) What Is This and the Ends of Sleep. Verso 2013 translation: Michael Robinson] ernst & Design Rules: The Power of Modularity Bauman, Zygmunt, Liquid Modernity, 1984 Thing Called Science? (1978). sohn 1994 2000 by MIT Press (MA) Polity Press 2000 Crow, David, Visible Signs, An Aicher, Otl, 1922-1991 Brassier, Ray, ALIEN THEORY, The Chandler, Daniel, The Act of Writing, A Introduction to Semiotics in the Visual Ball, Philip. Critical mass: how one Bell, Daniel, Author(s), The Cultural Decline of Materialism in the Name Media Theory Approach, University of , AVA Publishing SA 2003 Agamben, Giorgio, What Is thing leads to another. London: William Contradictions of Capitalism. Journal of Matter. 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The Silent After the End of Art: Contemporary Art Alexander, Christopher, A Pattern Publishing Ltd 2000 Brown, John Seely and Duguid, Paul, Efficacy of Indirect Action. Cambridge and the Pale of History (1996) Language, 1977 Benyus, Janin M. Biomimicry. Innovation The Social Life of Information, Harvard University Press 2009 “INTRODUCTION: Modern, Postmodern, Bayley, Stephen, General Knowledge, Inspired by Nature. 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The Gun: The AK-47 and Dennett, Daniel C.,Intuition Pumps And 2nd ed. University of Chicago Press, The New Farm. of Design: Essays from a Computer the Evolution of War Other Tools for Thinking May, 2013 1958 Bayley, Stephen, ‘Ugly: the Aesthetics of Scientist Everything’, Goodman Fiell 2013 Betsky, Aaron and Eeuwens, Adam, Cioran, Emil, OEUVRES. Edited by Dennett, D.C.,1984, Elbow Room; The Arp, Robert, (Editor)South Park and False Flat, Why Dutch Design Is So Bryson, N., Vision and : The Nicholas Cavaillès with Aurélien Demars, Philosophy You Know, I Learned Barthes, R, Mythologies, Johnathan Good. Phaidon Press Ltd. London, 2004 Logic of the . Methuen 1982 Gallimard 2012 Varieties of Worth Wanting. Something Today. Blackwell 2007 Cape 1983 Devlin, William J. and Biderman, Shai. Bierce, Ambrose, The Unabridged Devil’s Burkeman, Oliver, The Antidote: Clarke, Alison J. (Editor), Design (editors) The philosophy of David Lynch. 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7 Bibliography BigPictureSmallWorld Inc.2014 London, England, 1999 Christopher Ives, New Haven: Yale destruction of Neoclassical Economics Penguin 1939 University Press, 1990 Adbusters/penguin 2012 Gabriel, Richard P. , The Nature of HIGGS, Eric ANDREW LIGHT & DAVID MacLeod, Norman Order. The Post-Pattern World. Stanford STRONG Koestler, Arthur, The Act of Creation. Leadbeater, Charles, Cloud Culture ,the Images, Totems, Types and Memes: The Fates of Human Societies. New York: University Press Technology and the Good Life? future of global Perspectives on an Iconological Mimetics W. W. Norton & Co. 1999 Koolhaus, Rem, Delirious New York. cultural relations Counterpoint, British Palaeontology Department, The Natural Gendlin, Eugene T., Introduction to Hill, Dan, dark Matter and Trojan Horses. Council. ISBN 978–086355–635–7 History Museum Docherty, white cube Thinking At the Edge A Vocabulary. 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Allen Gold, Rich, The Plenitude: Creativity, Ingold, Tim, Being Alive, Essays on change (New Haven: Yale University Lane; 352 pages Felici, James, The Complete Manual of Innovation, and Making Stuff movement, knowledge and description, KRIPPENDORFF, KLAUS, The Semantic Press, 2000), Typography: A Guide to Setting Perfect MIT Press, 2007 Routledge 2011 Turn: A New Foundation for Design, Millburn, Joshua Fields, and Nicodemus, Type, Second Edition. Peachpit Press, ROUTLEDGE, 2005 Levinson, Marc. The box: how the Ryan, Minimalism, Essential Essays. 2012 Gross, Matthias, Ignorance and Surprise, Jakobsson, Mikael, A VIRTUAL REALIST shipping container made the world Mins Publishing, 2011 Science, Society, and , PRIMER TO VIRTUAL WORLD DESIGN Kroes, Peter, E. Vermaas, Pieter, Light, smaller and the world economy bigger Ferguson,Niall The Ascent of Money: A MIT 2010 Andrew, Moore, Steven A. (Authors:) 2006 Princeton University Press Monbiot, George, The Age of Consent. 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Allen & (October 1999) Freidman, Ken (Editor), The Fluxus Unwin 2003 Kahneman, Daniel, Thinking, Fast and Laurel, Brenda (Editor), Design Research, Morozov,Evgeny , To Save Everything, Reader, Academy Editions 1998 Slow Methods and Perspectives, MIT 2003‬ Mann, Michael, The Sources of Social Click Here Allen Lane 2013 Harman, Graham, Heidegger Explained, Power. Vol I: A History of Power from Friedrichs, Arnd, Finger, Kerstin (Editors) From Phenomenon to Thing Kaufman, James C. and Sternberg, La Rochefoucauld, le Duc de, Maxims, the Beginning to AD 1760, Cambridge, Murdock, George P. (The Common 220°C Virus Monobloc 2007 Carus Publishing Company Robert J. , eds., The International International Pocket Library 1982 549 pp, July 1986, ISBN 0 521 30851 8 Denominator of Cultures in The Science The Infamous Chair, Friedrichs, Arnd, Handbook of of Man in the World Crisis, edited by Finger, Kerstin (Editors) ISBN: Hatherley, Owen Creativity (Cambridge, UK: Cambridge Lawson, Bryan Marcus, Greil, Lipstick Traces: A Secret Ralph Linton, New York: Columbia 978-3-89955-317-8 Militant Modernism University Press, 2006), How Designers Think History of the 20th Century, Harvard University Press; 1945 Publication Date: November 30, 2005 | University Press, 1989 Murray, Christopher John,(Editor) Fry, Tony, New Design Philosophy: An Hayles, N Katherine, How We Became Kelly,Tom with Littman,Jonathan,The Art ISBN-10: 0750660775 | ISBN-13: 978- Encyclopedia of Modern French Thought Introduction to Defuturing Post Human The University of Chicago of innovation - (IDEO) Doubleday 2000 0750660778 | Edition: 4 McLuhan, Marshall , Understanding Fitzroy Dearborn is an imprint of the Fuad-Luke, Alastair, Design Activism: Press, Chicago 1999 Media, The extensions of man Taylor & Francis Group 2004 Beautiful Strangeness for a Sustainable Kellein, Thomas Donald Judd: Early Lawson, Bryan What Designers Know London and New York World. London and Sterling, VA: Heim, Michael, The of Work, 1955-1968, New York: D.A.P., Architectural Press 2004 Naish, John, Enough: Breaking Free Earthscan, 2009 Virtual Reality 1993 2002. Orig. published in Arts Yearbook 8, Leadbeater, Charles, The Ten Habits of Maeda, John, The Laws of Simplicity from the World of Excess. Hodder & 1965. Mass Innovation (Simplicity: Design, Technology, Stoughton 2008 Gabel, Medard, Designing a world that Heynen, Hilde, Architecture and NESTA, Provocation 01: November 2006 Business, Life) The MIT Press 2006 Naipaul, V S, Among the Believers works for all Modernity, A Critique Kitaro, Nishida, An Inquiry into the Penguin UK 1982 /Global Solutions, MIT Press | Cambridge, Massachusetts | Good, translated by Masao Abe and Lasn, Kalle, Meme Wars,The Creative Megroz, R. L. (Editor) A Book of Lear. a). philosophy of design: an index of possibilities 37 a). philosophy of design: an index of possibilities 38

7 Bibliography Pink, Daniel H Drive, the Surprising Truth Stanford UP 2009 a world perceived and presented by vocabulary of culture and society, Massachusetts Institute of Technology about What Motivates Us “materially attuned” practitioners OXFORD UNIVERSITY PRESS 1973 2006 RIVERHEAD 2009 Steigler, Bernard, Technics and Time,1. 10th European Academy of Design The Fault of Epimetheus, Stanford Conference - Crafting the Future 1 Wolfe, Tom, From Bauhaus to Our Zizek, Slavoj, Living in the End Times Negroponte, Nicholas, Being Digital 1995 Postman, Neil, Technopoly, The University Press 1998 House, Jonathan Cape 1976 Verso 2010 Surrender of Culture to Technology. Ullmann-Margalit, Edna. The Emergence Nelson, Harold G., Stolterman, Erik , THE Vintage 1993 Steigler, Bernard, of Norms. Oxford: Clarendon Press, Zalavari, Jozef, Designing the Form, Zizek, Slavoj, Žižek’s Jokes (Did you hear DESIGN WAY, Intentional Change in an SUFFOCATED DESIRE, OR HOW THE 1977. Design Ecology, ECOLAR the one about Hegel and negation?) Unpredictable World, FOUNDATIONS Pinker, Steven, The Language Instinct, CULTURAL INDUSTRY DESTROYS EDITED BY AUDUN MORTENSEN, AND FUNDAMENTALS OF DESIGN The New Science of Language and the THE INDIVIDUAL: CONTRIBUTION TO Vaneigem, Raoul, The Revolution of Zalavari, Jozef, Designing the Form, AFTERWORD BY MOMUS COMPETENCE. Educational Technology Mind. Penguin A THEORY OF MASS CONSUMPTION. Everyday Life, trans. Donald Nicholson- Design Ecology, ECOLAR The MIT Press 2014 Publications 2003 PARRHESIA NUMBER 13, 2011 Smith (Welcombe: Rebel Press, 1994) Pippin, Robert B. Modernism as Weiner, Norbert, THE HUMAN USE OF Techn 10:2 Winter 2006 Special Neuman, W. Russell, The Structure of a Philosophical Problem: On the Stengel, Jim, GROW How Ideals Power Veblen, Thorstein, TheTheory of the HUMAN , CYBERNETICS Issue: Durbin, In Search of Discourse Communication: Continuity and Change Dissatisfactions of European High Growth and Profit at the World’s Great Leisure Class: An Economic Study of AND SOCIETY Synthesis/168 in the Digital Age. Draft 2.1 2012 Culture, Wiley, 1999 est Companies Institutions (New York: Modern Library, Free Association Books 1999 Chapter 18 Albert Borgmann and a 1934) ? The Kingdom at the Centre of the World: Quinn, Malcolm, The Swastika: Stewart, Susan, On Longing, Narratives Weinschenk, Susan M, 100 Things Every Journeys into Bhutan Aleph. Constructing the Symbol. of the Miniature, the Gigantic, the Various Authors: “Vital Beauty: Designer Need to Know About People, Zalavari, Jozef, Designing the Form, Souvenir, the Collection Duke University Reclaiming Aesthetics in the Tangle of New Riders 2011 Design Ecology, ECOLAR Nicholson, Simon, The Theory of Loose Razeghi, Andrew, The Riddle: Where Press 1993 Technology and Nature”. Issued: 2012 Parts, Open University 1972 Ideas Come From and How to Have ISBN: 978-9 White, Alex W., Thinking in Type: The Better Ones January 2008 Stock, Gregory Metaman: The of Typography Nodder, Chris, Evil by Design, Interaction Merging of Humans and Machines into a Venturi, Robert, Learning From Las New York: Allworth Press, 2005. design to lead us into temptation, Wiley Reid, Glenn C., Thinking in PostScript, Global Vegas. 1977 2012 Addison-Wesley, 1990 Superorganism, Simon & Schuster, 1993. Whitehead, Alfred North_Science_and_ Vermaas, Pieter E., Kroes, Peter Light, the_Modern_World Norris, Christopher, Deconstruction and Rorty, Richard, Truth and Progress, Sudjic, Deyan, The Language of Things Andrew, Moore, Steven A. ‘The Unfinished Project of Modernity’. Cambridge University Press, 1998. Allen Lane publisher 2008, 224 pages Philosophy and Design. From Williams, Andrea D. (selected and edited London: Athlone Press, 2000, 11. Engineering to Architecture by) The Essential Galbraith Rubino, Sara Córdoba Hazenberg, Surowiecki, James, The Wisdom of Springer Science 2008 Mariner Original, New York 2001 Nielsen, Jakob. Designing Web Usability: Wimer & Huisman, Menno (Authors). Crowds 295pp, Little, Brown, The Practice of Simplicity Meta Products, Meaningful Design For Vihma, Susann Design as Language – a Williams, Raymond, The Long New Riders Publishing Thousand Oaks, Our Connected World. BIS 2014 Svendsen, Lars, A Philosophy of Misconception? Revolution 1961 CA, USA ©1999 ISBN:156205810X . Reaktion Books 2005 2012©FORMakademisk 6 Vol.5 Nr.1 Sacks, Oliver. 2010. The Mind’s Eye. New 2012, 6-14 Williams, Raymond, Keywords, A Nishida, KITARO, Intelligibility and York: Alfred A. Knopf. Svendsen, Lars, A Philosophy of Fear vocabulary of culture and society. the Philosophy of Nothingness, Three Reaktion Books 2010 Virilio, Paul, THE INFORMATION BOMB. Fontana 1976 Philosophical Essays Saint-Martin‬, ‪Fernande, Semiotics of Verso 2000 Translated by Robert Schinzinger Visual Language‬ Tanizaki, Junichiro, In Praise of Shadows, Williamson, T. 1994. Vagueness London: East- West Center Press Honolulu 1958 Jonathan Cape 1991 Virilio, Paul, The Vision Machine Routledge. Schama, Simon, A History of Britain. The Norman, Don Fate of Empire. 1776-2000 Volume 3: Taylor, Mark C. The Moment of Wade, Woody, Scenario Planning - A Wilcox, Donald J. The Measure of Times The Design of Future Things (2009) Part 2 BBC Worldwide Ltd 2002 Complexity: Emerging Network Culture Field Guide to the Future Past. Pre-Newtonian Chronologies and Oosterling, Henk, Dasein as Design, Or: (Chicago: University of Chicago Press, the Rhetoric of Relative Time. Chicago Must Design Save the World? Schön, Donald A. The reflective 2001). Waldo, Jim, On System Design and London: University of Chicago Press, (translated by Laura Martz ) 01 April practitioner - how professionals think in Perspectives 2006-6 1987 2009, Premsela lecture 2009 action. Basic Books, 1983 Tenner, Edward, Why things bite In an Essay Series Published by SunLabs back,Technology and the revenge of December 2006 Wood, John, Design for Micro-Utopias, Pao,Imin and Berger Joshua. (edited Schwartz, Barry. The Paradox of Choice: unintended consequences. Vintage 1997 Making the Unthinkable Possible. Gower and curated) 30 Essential Typefaces for a why more is less. New York: Ecco, 2004 Watson, Peter, Ideas_A History from Fire 2007 Lifetime, Terpstra, B. (editor) Conquest of to Freud. Weidenfield and Nocolson 2005 International Book Company Ltd 2006 Simon, Herbert Alexander, 1996, The Abundance: A Tale of Abstraction YATES, FRANCES A., THE ART OF Sciences of the Artificial / Herbert A. Versus the Richness of Being,. (Chicago: wark-mckenzie-beach-beneath-street MEMORY. THE UNIVERSITY OF Papanek,Victor, Design for the Real Simon.3rd ed. University of Chicago Press, 1999). CHICAGO PRESS 1966 World (1984). Weinberger, David, Small Pieces Loosley Slade, Giles, Made to Break: Technology Thackara, John, IN THE BUBBLE Joined, (a unified theory of the web) Zellini, Paolo. A Brief History of Infinity. Petroski, Henry, Success Through Failure and Obsolescence in America Designing in a Complex World Basic Books NY 2002 Allen lane (Penguin) 2004 The Paradox of Design, Princeton Univ Harvard University Press (2005) Press/NJ 2006 Toulmin, Stephen, COSMOPOLIS White, Alex W., Thinking in Type: The Zerubavel, Eviatar, The Fine Line: Making Sparke, Penny, An Introduction to Design The Hidden Agenda of Modernity The Practical Philosophy of Typography Distinctions in Everyday Life, Free Pink, Daniel H. A Whole New Mind: and Culture, 2nd Edition, Routledge 2004 University of Chicago Press 1990 New York: Allworth Press, 2005. Press(1993) Moving from the Information Age to the Conceptual Age, Riverhead, 2005 Steigler, Bernhard, Technics and Time 2, Tsutsumi, Maiko, Through thingness: Williams, Raymond, Keywords A Zizek, Slavoj, The Parallax View, a). philosophy of design: an index of possibilities 39 a). philosophy of design: an index of possibilities 40

MORE DEFINED OUTCOMES (SURETY / SUSTAINABILITY) MORE RIGOROUS PREVENTING RESTORING

BETTER MORE DESCRIBED CREATIVE UNDERSTANDING WIDER IN SCOPE ACT PEOPLES’ REAL (OPPORTUNITIES) NEEDS EXPANSION REDUCING CHANGING

MORE MORE MORE SHARING ORGANISED REFLEXIVE INTUITIVE FUNDED AND MORE RATIONAL INGENIOUS PROSCRIBED BY (NOT SCIENTIFIC) HUMANE INSTITUTIONS

8 Audiences/users 9 Competitors

This book can be used by a variety of readers, in numerous (from Amazon) ways, and it is a work of reference to some extent as that is Ove Arup: Philosophy of Design specific engineering how I proceed as a designer. All is referenced - it takes the The Philosophy of Sustainable Design by Jason F. McLennan standpoint that the whole world is a document. (Jun 2004) it can be used by those seeking a history of 20th century The Design Method: A Philosophy and Process for (all instances and items which are dated appear on the Visual Communication (Voices That Matter) by Eric Karjaluoto timeline too reduced size visuals). it can be used by designers (Aug 23, 2013) for inspiration or for entry points into a wider dialogue. Philosophy and Design Pieter E. Vermaas, Peter Kroes Andrew Light, Steven A. Moore student Philosophy and Design From Engineering to Architecture philosophers ISBN 978-1-4020-6590-3 e-ISBN 978-1-4020-6591-0 design academics Library of Congress Control Number: 200793748 designers of all disciplines The CEPHAD Bibliography on the philosophy of design designer’s clients (large collection of texts, mainly academic) business people/ entrepreneurs policy makers/consultants 10 Publicity/marketing general public dedicated websites/ social media/ poster format

11 Biography

Rod Clark studied Visual Communication at Bath Academy of Art, an independent school, under the Swiss Ruth and Benno Zehnder , both painters and designers, then designed for Bath Museum Service for a year. Further trained at the Royal College of Art on Exhibition Road, South Kensington, then also home to the painting studios, while designing on i-D magazine and with NATO and Katherine Hamnett. Followed by creating Underground magazine and working with The Sunday Times, publishers and design groups including Landor and Wolff Olins. He has practiced and taught design and been a maker for 25 years. Resident of Brighton and Hove since 1999, he began to focus on painting (“closer to the charm of an image rather than the rigour of a meaning” Foucault) as a main creative activity in 2011. He has just returned to the UK after teaching Design and Multimedia in India for two years.