Clive Dilnot – författare

This important new book argues that at the root of the contemporary crisis of climate, energy, food, inequality, and meaning is a certain core presupposition that structures the ways in which we live, think, act and design: the assumption of dualism, or the fundamental separateness of things.The authors contend that the key to constructing livable worlds lies in the cultivation of ways of knowing and acting based on a profound awareness of the fundamental interdependence of everything that exists – what they refer to as relationality. This shift in paradigm is necessary for healing our bodies, ecosystems, cities, and the planet at large.The book follows two interwoven threads of argumentation: on the one hand, it explains and exemplifies the modes of operation and the dire consequences of non-relational living; on the other, it elucidates the nature of relationality and explores how it is embodied in transformative practices in multiple spheres of life.The authors provide an instructive account of the philosophical, scientific, social, and political sources of relational theory and action, with the aim of illuminating the transition from living within seemingly ineluctable ‘toxic loops’ of unrelational living (based on ontological dualism), to living within ‘relational weaves’ which we might co-create with multiple human and nonhuman others.

Challenging the dominant design paradigm that centres humanity in its practice, Designing for Interdependence puts forward an ecocentric mode of designing that privileges a harmonious relationship between all life forms that share our planet. This book is about the practice of designing and design’s capacity to relate (or not) to beings of all kinds, human and others, in ways that are life-affirming. Sensitive to power differentials and the responsibility that this entails, Martín Ávila develops the notion of alter-natives, a concept that exposes the alterity of artificial things and the potential of these things to participate in the sustainment of natural environments. He proposes a design practice that encompasses humans, artificial things and other-than-human species in a 'poetics of relating', and provides methods that support the rewilding necessary for maintaining cultural and biological diversity and the stabilization of planetary dynamics. The book features real-life project case studies that illustrate some of the political-ecological implications of an ecocentric paradigm, which can help us to imagine alternative modes of relating to local environments and alternative modes of inter-species cohabitation.Avoiding dualistic thinking and the dichotomies harmful-benefit, construction-destruction, natural-artificial and life-death, Ávila pursues the work of caring for how our mattering through design can become constructive in creating more-than-human ecologies.

Making hacks into reality. It engages matter in ways that trespass the boundaries between the civic realm and the state-assigned laws. Even with primitive tools and skills, designing and making can break open and repurpose arrangements of power. The proof is that some crafts are so controversial—lock-picking, moonshining, shoplifting, smuggling, sabotage—that they need to be controlled or even outlawed. When designers and makers touch on these contested realms, they run into trouble. This highly original book explores how the material power of design and making can challenge arrangements of agency and domination. Unpacking a series of conflicting cases—from illegal making to the strategic and civic use of crafts to manifest radical alternatives to the current order—it shows how designers and makers can use even basic tools to work towards more.

Philosophy through Design proposes a new approach to design practice grounded in a philosophical reflection in and on action, with alignments being drawn to the democratic pragmatism of John Dewey and Jane Addams as well as key contemporary philosophic perspectives. Throughout, Dixon stresses the need for designers to engage critically, ethically and reflectively as they seek to meet the complex challenges of the 21st century. The key argument is that design practice can itself become a mode of philosophical inquiry, supporting designers’ efforts to experiment, reflect and act responsibly and make and remake the ever-evolving future as potential ‘designer philosophers’.

Design and the Question of History is not a work of Design History. Rather, it is a mixture of mediation, advocacy and polemic that takes seriously the directive force of design as an historical actor in and upon the world. Understanding design as a shaper of worlds within which the political, ethical and historical character of human being is at stake, this text demands radically transformed notions of both design and history. Above all, the authors posit history as the generational site of the future. Blindness to history, it is suggested, blinds us both to possibility, and to the foreclosure of possibilities, enacted through our designing.The text is not a resolved, continuous work, presented through one voice. Rather, the three authors cut across each other, presenting readers with the task of disclosing, to themselves, the commonalities, repetitions and differences within the deployed arguments, issues, approaches and styles from which the text is constituted. This is a work of friendship, of solidarity in difference, an act of cultural politics. It invites the reader to take a position – it seeks engagement over agreement.

Each of us develops and enacts strategies for living our everyday lives. These may confirm the general tendency towards new forms of connected solitude, in which we work, travel and live alone, yet feel sociable mainly by means of technology. Alternatively, they may help to create flexible communities that are open and inclusive, and therefore resilient and socially sustainable. In Politics of the Everyday, Ezio Manzini discusses examples of social innovation that show how, even in these difficult times, a better kind of society is possible. By bringing autonomy and collaboration together, it is possible to develop new forms of design intelligence, for our own good, for the good of the communities we are part of, and for society as a whole.

In recent decades, the field of design has expanded. Moreover, there has been a significant historical shift to a world essentially defined by artifice. The onset of the Anthropocene - the epoch in which human impact upon our planet has become irreversible - is the most dramatic symptom of this phenomenon.In these conditions, we are forced to consider the extent to which design should be understood less as a subaltern moment of action, and more as a necessary mode of acting in general. But what then are the characteristics, the advantages, the limits, and the possibilities of understanding acting in general through the model or lens of design? In particular, is the model of “action as design” capable of engaging with the destructive tensions bequeathed to us by the industrial economy, now reinforced by neo-liberalism?This book offers a conception of our times, an examination in what is entailed in this view concerning the character of our century, and explores the implications of design and acting in the 21st century. Its underlying insight is the following: today it is the artificial, and no longer nature, which constitutes the horizon, medium and condition of existence.

In recent decades, the field of design has expanded. Moreover, there has been a significant historical shift to a world essentially defined by artifice. The onset of the Anthropocene - the epoch in which human impact upon our planet has become irreversible - is the most dramatic symptom of this phenomenon.In these conditions, we are forced to consider the extent to which design should be understood less as a subaltern moment of action, and more as a necessary mode of acting in general. But what then are the characteristics, the advantages, the limits, and the possibilities of understanding acting in general through the model or lens of design? In particular, is the model of “action as design” capable of engaging with the destructive tensions bequeathed to us by the industrial economy, now reinforced by neo-liberalism?This book offers a conception of our times, an examination in what is entailed in this view concerning the character of our century, and explores the implications of design and acting in the 21st century. Its underlying insight is the following: today it is the artificial, and no longer nature, which constitutes the horizon, medium and condition of existence.

designing designing is one of the most extraordinary books on design ever written. First published in 1984 and reprinted with this title and cover in 1991, the book was the product of ten years of auto-critique, reflection and experimentation on writing on designing. Offering a savage auto-critique of his own work on “methods”, as well as of the wider methods and ends of advanced industrial societies as a whole, this book challenges the traditional product- and progress- orientated focus on design by insisting that the world now coming into being requires designing to be understood as ‘a response to the whole of life.’ But designing designing is also unique in modern design thinking in its exploration of what writing on designing might be. Combining essays, interviews, reflections, performances, plays, poems, chance procedures, photographs, collages and quotes, Jones experiments with both form and content in an attempt to make a book which ‘is not simply about designing but is instead itself an instance of the ideas and processes explored within it.’

From 2016-2018, teachers and students at the State University of Rio de Janeiro in Brazil found themselves at the center of a crisis. A new right-wing government suspended payment of staff salaries and student scholarships and stopped funding basic maintenance. Everyday Acts of Design tells the story of how the university’s design school reacted to the crisis: not with despondency or despair, but by promoting a series of radical teaching experiments.Working together, students, alumni, teachers, and staff embraced hope as a method, demonstrating that it is possible to find positive answers even in a situation of imminent collapse. The case histories narrated in the book provide alternatives to conventional forms of design teaching, but also prove that education can be a site for democracy and the practice of freedom. Deprived of the activity of creating for an imagined future, design can still assert a way forward through practices of making and experimenting. Drawing on their personal experience of designing and teaching design at a time of crisis, the authors assert the value of a design attitude which, in refusing to be delimited by the forethought of designing, insists on a radical, experimental practice as a means of survival.Although a multitude of voices, both assenting and dissenting, are present in the text, the authors do not hide their own position, making it clear that their stories are not a balanced mosaic of polyphonic positions. The contemporary attack on free public education, fueled by the growth of far-right regimes all over the globe, relies on a totalizing univocal conception of ‘truth’ as a means to shut down a plurality of thinking. Against this, this book adopts the partiality of historical and cultural truths as an urgent and explicit counter-attack. Adopting a consciously international approach,the authors connect and compare their own story with those of similar design teaching movements in the Global South, such as the Barefoot School in India, and ZIVA, founded by Saki Mafunkikwa in Zimbabwe.

From 2016-2018, teachers and students at the State University of Rio de Janeiro in Brazil found themselves at the center of a crisis. A new right-wing government suspended payment of staff salaries and student scholarships and stopped funding basic maintenance. Everyday Acts of Design tells the story of how the university’s design school reacted to the crisis: not with despondency or despair, but by promoting a series of radical teaching experiments.Working together, students, alumni, teachers, and staff embraced hope as a method, demonstrating that it is possible to find positive answers even in a situation of imminent collapse. The case histories narrated in the book provide alternatives to conventional forms of design teaching, but also prove that education can be a site for democracy and the practice of freedom. Deprived of the activity of creating for an imagined future, design can still assert a way forward through practices of making and experimenting. Drawing on their personal experience of designing and teaching design at a time of crisis, the authors assert the value of a design attitude which, in refusing to be delimited by the forethought of designing, insists on a radical, experimental practice as a means of survival.Although a multitude of voices, both assenting and dissenting, are present in the text, the authors do not hide their own position, making it clear that their stories are not a balanced mosaic of polyphonic positions. The contemporary attack on free public education, fueled by the growth of far-right regimes all over the globe, relies on a totalizing univocal conception of ‘truth’ as a means to shut down a plurality of thinking. Against this, this book adopts the partiality of historical and cultural truths as an urgent and explicit counter-attack. Adopting a consciously international approach,the authors connect and compare their own story with those of similar design teaching movements in the Global South, such as the Barefoot School in India, and ZIVA, founded by Saki Mafunkikwa in Zimbabwe.

Making hacks into reality. It engages matter in ways that trespass the boundaries between the civic realm and the state-assigned laws. Even with primitive tools and skills, designing and making can break open and repurpose arrangements of power. The proof is that some crafts are so controversial—lock-picking, moonshining, shoplifting, smuggling, sabotage—that they need to be controlled or even outlawed. When designers and makers touch on these contested realms, they run into trouble. This highly original book explores how the material power of design and making can challenge arrangements of agency and domination. Unpacking a series of conflicting cases—from illegal making to the strategic and civic use of crafts to manifest radical alternatives to the current order—it shows how designers and makers can use even basic tools to work towards more.

Challenging the dominant design paradigm that centres humanity in its practice, Designing for Interdependence puts forward an ecocentric mode of designing that privileges a harmonious relationship between all life forms that share our planet. This book is about the practice of designing and design’s capacity to relate (or not) to beings of all kinds, human and others, in ways that are life-affirming. Sensitive to power differentials and the responsibility that this entails, Martín Ávila develops the notion of alter-natives, a concept that exposes the alterity of artificial things and the potential of these things to participate in the sustainment of natural environments. He proposes a design practice that encompasses humans, artificial things and other-than-human species in a 'poetics of relating', and provides methods that support the rewilding necessary for maintaining cultural and biological diversity and the stabilization of planetary dynamics. The book features real-life project case studies that illustrate some of the political-ecological implications of an ecocentric paradigm, which can help us to imagine alternative modes of relating to local environments and alternative modes of inter-species cohabitation.Avoiding dualistic thinking and the dichotomies harmful-benefit, construction-destruction, natural-artificial and life-death, Ávila pursues the work of caring for how our mattering through design can become constructive in creating more-than-human ecologies.

This important new book argues that at the root of the contemporary crisis of climate, energy, food, inequality, and meaning is a certain core presupposition that structures the ways in which we live, think, act and design: the assumption of dualism, or the fundamental separateness of things.The authors contend that the key to constructing livable worlds lies in the cultivation of ways of knowing and acting based on a profound awareness of the fundamental interdependence of everything that exists – what they refer to as relationality. This shift in paradigm is necessary for healing our bodies, ecosystems, cities, and the planet at large.The book follows two interwoven threads of argumentation: on the one hand, it explains and exemplifies the modes of operation and the dire consequences of non-relational living; on the other, it elucidates the nature of relationality and explores how it is embodied in transformative practices in multiple spheres of life.The authors provide an instructive account of the philosophical, scientific, social, and political sources of relational theory and action, with the aim of illuminating the transition from living within seemingly ineluctable ‘toxic loops’ of unrelational living (based on ontological dualism), to living within ‘relational weaves’ which we might co-create with multiple human and nonhuman others.

How can social theory help us all design solutions to address the social, political and ecological challenges that confront us, and build more sustainable communities? Design professions have typically been associated with intervention and action, while social science has long been associated with thought and reflection. Design and social thought are too frequently considered distinct in terms of how theories can be applied in practice. Design and the Social Imagination brings together the creative, action-oriented sensibility of design with the reflective, analytical capacities of the social sciences to offer models, ideas and strategies for shaping the future of the world we live in.In a world of global economic inequality, racism, and environmental degradation, designing with an understanding of our social reality is increasingly crucial to our survival. Matthew DelSesto explores current practices and discourses in areas of urban design, design for social innovation, environmental design, co-design, service design, and more, illustrating how thoughtful design can contribute in a more productive way. Drawing on a range of theory and practice from radical social thinkers C. Wright Mills, Patrick Geddes, Jane Addams and W. E. B. Du Bois, his book shows us how design and the social sciences can interact in order to intervene in the crises we face today.

How can social theory help us all design solutions to address the social, political and ecological challenges that confront us, and build more sustainable communities? Design professions have typically been associated with intervention and action, while social science has long been associated with thought and reflection. Design and social thought are too frequently considered distinct in terms of how theories can be applied in practice. Design and the Social Imagination brings together the creative, action-oriented sensibility of design with the reflective, analytical capacities of the social sciences to offer models, ideas and strategies for shaping the future of the world we live in.In a world of global economic inequality, racism, and environmental degradation, designing with an understanding of our social reality is increasingly crucial to our survival. Matthew DelSesto explores current practices and discourses in areas of urban design, design for social innovation, environmental design, co-design, service design, and more, illustrating how thoughtful design can contribute in a more productive way. Drawing on a range of theory and practice from radical social thinkers C. Wright Mills, Patrick Geddes, Jane Addams and W. E. B. Du Bois, his book shows us how design and the social sciences can interact in order to intervene in the crises we face today.

In a world of endless predictions and precision algorithms, The Power of Maybes offers a daring new way forward. What if uncertainty isn’t a problem to solve, but a gift? This book reclaims hesitation, ambiguity and not-knowing as powerful tools to resist the rigid control of digital systems. Where machines seek to lock down knowledge, capture potential, dictate futures and foreclose possibilities, The Power of Maybes presents the radical idea that embracing uncertainty is essential in our age of planetary computation and offers ways of cultivating it as a form of resistance.By reframing the unknown as a powerful resource, Marenko offers a bold approach to living and thinking alongside machines without surrendering to their grip. Blending philosophy, design and critical tech studies, it challenges dystopian fears and utopian hopes about technology, and champions new ways of being—open, ungridded, unscaled. It’s a call to cultivate the unknown and nurture potential. For those ready to reclaim their agency in an algorithmic age, The Power of Maybes is a guide to living with oceanic uncertainty—and finding power in it.

In a world of endless predictions and precision algorithms, The Power of Maybes offers a daring new way forward. What if uncertainty isn’t a problem to solve, but a gift? This book reclaims hesitation, ambiguity and not-knowing as powerful tools to resist the rigid control of digital systems. Where machines seek to lock down knowledge, capture potential, dictate futures and foreclose possibilities, The Power of Maybes presents the radical idea that embracing uncertainty is essential in our age of planetary computation and offers ways of cultivating it as a form of resistance.By reframing the unknown as a powerful resource, Marenko offers a bold approach to living and thinking alongside machines without surrendering to their grip. Blending philosophy, design and critical tech studies, it challenges dystopian fears and utopian hopes about technology, and champions new ways of being—open, ungridded, unscaled. It’s a call to cultivate the unknown and nurture potential. For those ready to reclaim their agency in an algorithmic age, The Power of Maybes is a guide to living with oceanic uncertainty—and finding power in it.

Philosophy through Design proposes a new approach to design practice grounded in a philosophical reflection in and on action, with alignments being drawn to the democratic pragmatism of John Dewey and Jane Addams as well as key contemporary philosophic perspectives. Throughout, Dixon stresses the need for designers to engage critically, ethically and reflectively as they seek to meet the complex challenges of the 21st century. The key argument is that design practice can itself become a mode of philosophical inquiry, supporting designers’ efforts to experiment, reflect and act responsibly and make and remake the ever-evolving future as potential ‘designer philosophers’.

This book introduces the theory and concept of ontological design: a way of understanding and confronting the increasing power of design as it shapes our lives in complex ways that go well beyond the functionality and aesthetics of products and environments.We as humans design our material worlds – our habits, notions of comfort and convenience, what we eat, what we wear, how we travel. In turn, relations within these worlds design us and, mostly, we are designed to be unsustainable. This is becoming a psychosocial as well as biophysical crisis as our ‘normal’ and ‘desirable’ ways of life are wreaking havoc on climate, land, sea, other species and their complex interdependence, with unknown disastrous consequences in the near-future. These ground-breaking essays by Anne-Marie Willis, written over the last twenty years, bring together her pioneering writing on ontological design and provide a comprehensive introduction to the topic. As wider humanities fields are increasingly drawn to the concept of ontological design as a transformative force, this book provides an accessible guide that opens possibilities for deeper responses and different kinds of design interventions, and not just by designers. Essays explore design thinking within anthropology, sociology, politics, ecology, and design writing, including speculative and literary fiction about design. The book demonstrates how design is fundamental to being human and to our future. It makes the agency of design more visible throughout the world and provides tools for tackling urgent contemporary social, economic and environmental challenges.

This book introduces the theory and concept of ontological design: a way of understanding and confronting the increasing power of design as it shapes our lives in complex ways that go well beyond the functionality and aesthetics of products and environments.We as humans design our material worlds – our habits, notions of comfort and convenience, what we eat, what we wear, how we travel. In turn, relations within these worlds design us and, mostly, we are designed to be unsustainable. This is becoming a psychosocial as well as biophysical crisis as our ‘normal’ and ‘desirable’ ways of life are wreaking havoc on climate, land, sea, other species and their complex interdependence, with unknown disastrous consequences in the near-future. These ground-breaking essays by Anne-Marie Willis, written over the last twenty years, bring together her pioneering writing on ontological design and provide a comprehensive introduction to the topic. As wider humanities fields are increasingly drawn to the concept of ontological design as a transformative force, this book provides an accessible guide that opens possibilities for deeper responses and different kinds of design interventions, and not just by designers. Essays explore design thinking within anthropology, sociology, politics, ecology, and design writing, including speculative and literary fiction about design. The book demonstrates how design is fundamental to being human and to our future. It makes the agency of design more visible throughout the world and provides tools for tackling urgent contemporary social, economic and environmental challenges.

Building on his foundational work on ‘defuturing,’ a deconstructive method that exposes historically the unsustainability of a great deal of design practice and its products, Tony Fry now offers a powerful response.There is no shortage of analysis of the current state of the world. Climate change impacts are increasing, environmental destruction will follow, populations and settlements will be displaced, food security will become critical, geopolitical instability and escalating dangers of conflict will grow. Such an entangled complexity threatens life itself more seriously than at any time since the Ice Age. Against the real threats to life on Earth, what are the world’s political leaders doing? The answers sit between nothing and very little.So, what is to be done? There is no immediate or simple answer. But what Contrapractice acknowledges is that nothing changes unless practices change. The intent is for the process to take on a life of its own by the many people who care about securing a viable future. It does not provide template solutions, but the ability to act. Every reader is viewed as a communicator of its message and a change agent of their own practice. Fry’s dialogue in the book with Dulmini Perera is a prompt for the book to be an object of discussion.

Design and the Question of History is not a work of Design History. Rather, it is a mixture of mediation, advocacy and polemic that takes seriously the directive force of design as an historical actor in and upon the world. Understanding design as a shaper of worlds within which the political, ethical and historical character of human being is at stake, this text demands radically transformed notions of both design and history. Above all, the authors posit history as the generational site of the future. Blindness to history, it is suggested, blinds us both to possibility, and to the foreclosure of possibilities, enacted through our designing. The text is not a resolved, continuous work, presented through one voice. Rather, the three authors cut across each other, presenting readers with the task of disclosing, to themselves, the commonalities, repetitions and differences within the deployed arguments, issues, approaches and styles from which the text is constituted. This is a work of friendship, of solidarity in difference, an act of cultural politics. It invites the reader to take a position – it seeks engagement over agreement.

Design and the Question of History is not a work of Design History. Rather, it is a mixture of mediation, advocacy and polemic that takes seriously the directive force of design as an historical actor in and upon the world. Understanding design as a shaper of worlds within which the political, ethical and historical character of human being is at stake, this text demands radically transformed notions of both design and history. Above all, the authors posit history as the generational site of the future. Blindness to history, it is suggested, blinds us both to possibility, and to the foreclosure of possibilities, enacted through our designing. The text is not a resolved, continuous work, presented through one voice. Rather, the three authors cut across each other, presenting readers with the task of disclosing, to themselves, the commonalities, repetitions and differences within the deployed arguments, issues, approaches and styles from which the text is constituted. This is a work of friendship, of solidarity in difference, an act of cultural politics. It invites the reader to take a position – it seeks engagement over agreement.

A John Heskett Reader brings together a selection of the celebrated design historian John Heskett’s key works, introduced and edited by Clive Dilnot of Parsons, the New School, USA.Heskett, who passed away in early 2014, was a pioneering British-born writer and lecturer. His research was foundational for the study of industrial design, and his research into the relationship between design, policy and economic value is still a regular reference-point for academics and students alike. This anthology represents well the great range of his work, covering such varied topics as the growth of Japanese industrialism, modernism in the Third Reich, and 1980’s corporate design management. Including both hard-to-access and previously unpublished material like Crafts, Commerce and Industry and Economic Value of Design, the book demonstrates Heskett’s passionate interest in exploring the relationship of design and making with economic value across the entirety of human history.Featured texts include, What is Design, Chinese Design: what can we learn from the past?, The ‘American System’ and Mass Production, The Industrial Applications of Tubular Steel, Creative Destruction: the nature and consequences of change through design, Reflections on Design and Hong Kong, besides many others.

A John Heskett Reader brings together a selection of the celebrated design historian John Heskett’s key works, introduced and edited by Clive Dilnot of Parsons, the New School, USA.Heskett, who passed away in early 2014, was a pioneering British-born writer and lecturer. His research was foundational for the study of industrial design, and his research into the relationship between design, policy and economic value is still a regular reference-point for academics and students alike. This anthology represents well the great range of his work, covering such varied topics as the growth of Japanese industrialism, modernism in the Third Reich, and 1980’s corporate design management. Including both hard-to-access and previously unpublished material like Crafts, Commerce and Industry and Economic Value of Design, the book demonstrates Heskett’s passionate interest in exploring the relationship of design and making with economic value across the entirety of human history.Featured texts include, What is Design, Chinese Design: what can we learn from the past?, The ‘American System’ and Mass Production, The Industrial Applications of Tubular Steel, Creative Destruction: the nature and consequences of change through design, Reflections on Design and Hong Kong, besides many others.