Virginia Tassinari – 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.

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.

The architectural historian and critic Kenneth Frampton ‘never recovered’ from the force of Hannah Arendt’s teaching at The New School in New York. The philosopher Richard J. Bernstein considers her the most perceptive political theorist and observer of ‘dark times’ (a concept which, drawing from Brecht, she made her own). Building on the revival of interest in Hannah Arendt, and on the increasing turn in design towards the expanded field of the social, this unique book uses insights and quotations drawn from Arendt’s major writings (The Human Condition; The Origins of Totalitarianism, Men in Dark Times) to assemble a new kind of lexicon for politics, designing and acting today. Taking 56 terms – from Action, Beginnings and Creativity through Mortality, Natality, and Play to Superfluity, Technology and Violence – and inviting designers and scholars of design world-wide to contribute, Designing in Dark Times: An Arendtian Lexicon, offers up an extraordinary range of short essays that use moments and quotations from Arendt’s thought as the starting points for reflection on how these terms can be conceived for contemporary design and political praxis. Neither simply dictionary nor glossary, the lexicon brings together designing and political philosophy to begin to create a new language for acting and designing against dark times.

The architectural historian and critic Kenneth Frampton ''never recovered'' from the force of Hannah Arendt''s teaching at The New School in New York. The philosopher Richard J. Bernstein considers her the most perceptive political theorist and observer of ''dark times'' (a concept which, drawing from Brecht, she made her own). Building on the revival of interest in Hannah Arendt, and on the increasing turn in design towards the expanded field of the social, this unique book uses insights and quotations drawn from Arendt''s major writings (The Human Condition; The Origins of Totalitarianism, Men in Dark Times) to assemble a new kind of lexicon for politics, designing and acting today. Taking 56 terms – from Action, Beginnings and Creativity through Mortality, Natality, and Play to Superfluity, Technology and Violence – and inviting designers and scholars of design world-wide to contribute, Designing in Dark Times: An Arendtian Lexicon, offers up an extraordinary range of short essays that use moments and quotations from Arendt''s thought as the starting points for reflection on how these terms can be conceived for contemporary design and political praxis. Neither simply dictionary nor glossary, the lexicon brings together designing and political philosophy to begin to create a new language for acting and designing against dark times.

The architectural historian and critic Kenneth Frampton ''never recovered'' from the force of Hannah Arendt''s teaching at The New School in New York. The philosopher Richard J. Bernstein considers her the most perceptive political theorist and observer of ''dark times'' (a concept which, drawing from Brecht, she made her own). Building on the revival of interest in Hannah Arendt, and on the increasing turn in design towards the expanded field of the social, this unique book uses insights and quotations drawn from Arendt''s major writings (The Human Condition; The Origins of Totalitarianism, Men in Dark Times) to assemble a new kind of lexicon for politics, designing and acting today. Taking 56 terms – from Action, Beginnings and Creativity through Mortality, Natality, and Play to Superfluity, Technology and Violence – and inviting designers and scholars of design world-wide to contribute, Designing in Dark Times: An Arendtian Lexicon, offers up an extraordinary range of short essays that use moments and quotations from Arendt''s thought as the starting points for reflection on how these terms can be conceived for contemporary design and political praxis. Neither simply dictionary nor glossary, the lexicon brings together designing and political philosophy to begin to create a new language for acting and designing against dark times.

(Designing) Beyond the Modern is the second volume in a trilogy by Eduardo Staszowski and Virginia Tassinari, following Designing in Dark Times: An Arendtian Lexicon (2020).This book is a provocation: how can we begin to move beyond the modern when so much of how we think and make remains entangled in its logic? Among the forces that have both shaped and been shaped by the modern project, design occupies a central role. Rather than treating it as a neutral tool, this book approaches design as a practice deeply implicated in modernity’s extractive, colonial, and anthropocentric foundations. The parenthesis in the title signals an ambivalence about whether “designing” can remain a relevant or viable practice. Without offering a conclusion, the book confronts the legacy of the Modern and calls for a caesura: a rupture, a pause, or an interval where a critical praxis, whether called design or not, might begin to take shape. Drawing on philosophy, decolonial thought, and design theory, it challenges the logics that continue to shape modern institutions and imaginaries. Through essays, fragments, and engagements with the work of Tomás Maldonado, along with a conversation with Arturo Escobar and a contribution from Aílton Krenak, this book traces tensions and potential shifts that emerge when thinking and acting beyond the Modern.

(Designing) Beyond the Modern is the second volume in a trilogy by Eduardo Staszowski and Virginia Tassinari, following Designing in Dark Times: An Arendtian Lexicon (2020).This book is a provocation: how can we begin to move beyond the modern when so much of how we think and make remains entangled in its logic? Among the forces that have both shaped and been shaped by the modern project, design occupies a central role. Rather than treating it as a neutral tool, this book approaches design as a practice deeply implicated in modernity's extractive, colonial, and anthropocentric foundations. The parenthesis in the title signals an ambivalence about whether designing can remain a relevant or viable practice. Without offering a conclusion, the book confronts the legacy of the Modern and calls for a caesura: a rupture, a pause, or an interval where a critical praxis, whether called design or not, might begin to take shape. Drawing on philosophy, decolonial thought, and design theory, it challenges the logics that continue to shape modern institutions and imaginaries. Through essays, fragments, and engagements with the work of Tom s Maldonado, along with a conversation with Arturo Escobar and a contribution from A lton Krenak, this book traces tensions and potential shifts that emerge when thinking and acting beyond the Modern.

(Designing) Beyond the Modern is the second volume in a trilogy by Eduardo Staszowski and Virginia Tassinari, following Designing in Dark Times: An Arendtian Lexicon (2020).This book is a provocation: how can we begin to move beyond the modern when so much of how we think and make remains entangled in its logic? Among the forces that have both shaped and been shaped by the modern project, design occupies a central role. Rather than treating it as a neutral tool, this book approaches design as a practice deeply implicated in modernity's extractive, colonial, and anthropocentric foundations. The parenthesis in the title signals an ambivalence about whether designing can remain a relevant or viable practice. Without offering a conclusion, the book confronts the legacy of the Modern and calls for a caesura: a rupture, a pause, or an interval where a critical praxis, whether called design or not, might begin to take shape. Drawing on philosophy, decolonial thought, and design theory, it challenges the logics that continue to shape modern institutions and imaginaries. Through essays, fragments, and engagements with the work of Tom s Maldonado, along with a conversation with Arturo Escobar and a contribution from A lton Krenak, this book traces tensions and potential shifts that emerge when thinking and acting beyond the Modern.

(Designing) Beyond the Modern is the second volume in a trilogy by Eduardo Staszowski and Virginia Tassinari, following Designing in Dark Times: An Arendtian Lexicon (2020).This book is a provocation: how can we begin to move beyond the modern when so much of how we think and make remains entangled in its logic? Among the forces that have both shaped and been shaped by the modern project, design occupies a central role. Rather than treating it as a neutral tool, this book approaches design as a practice deeply implicated in modernity’s extractive, colonial, and anthropocentric foundations. The parenthesis in the title signals an ambivalence about whether “designing” can remain a relevant or viable practice. Without offering a conclusion, the book confronts the legacy of the Modern and calls for a caesura: a rupture, a pause, or an interval where a critical praxis, whether called design or not, might begin to take shape. Drawing on philosophy, decolonial thought, and design theory, it challenges the logics that continue to shape modern institutions and imaginaries. Through essays, fragments, and engagements with the work of Tomás Maldonado, along with a conversation with Arturo Escobar and a contribution from Aílton Krenak, this book traces tensions and potential shifts that emerge when thinking and acting beyond the Modern.

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.

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.