Pub Date : 2023-05-25DOI: 10.1080/17547075.2023.2213523
Nathan Butters
{"title":"Big Data, Big Design: Why Designers Should Care about Artificial Intelligence","authors":"Nathan Butters","doi":"10.1080/17547075.2023.2213523","DOIUrl":"https://doi.org/10.1080/17547075.2023.2213523","url":null,"abstract":"","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46660916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-25DOI: 10.1080/17547075.2023.2213522
Zenia Malmer
{"title":"Meet Me by the Fountain: An Inside History of the Mall","authors":"Zenia Malmer","doi":"10.1080/17547075.2023.2213522","DOIUrl":"https://doi.org/10.1080/17547075.2023.2213522","url":null,"abstract":"","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":" ","pages":""},"PeriodicalIF":0.7,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45131811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2221049
Zane Porterfield
Abstract The Tennessee Valley Authority’s dams are the culmination of a high modern design ideology, spatio-temporal land-use imaginary, and geography of containment. Many hydroelectric dams were erected in the 700-mile watershed. The energy fueled the manufacture of bombers, missiles, and the atomic bomb. The Authority had unprecedentedly broad purview, from constructing fertilizer factories, coal-fired plants, and nuclear facilities to becoming involved in education and public health. The Authority model crafted a developmental reasoning for militarized involvement across the Earth. The dams were called a pathway to liberal democracy, yet environmental devastation, racism, and Indigenous displacement were inherent, as documented by the NAACP, and the flooding of Indigenous cities. MoMA’s 1941 exhibit named the settler-colonial infrastructure an art object. The dam is a hydraulic monument to coloniality. Art institutions, engineers, and designers are implicated. As these containers decay, we must begin to see once-modern futures as already breached, leaking, shattered.
{"title":"Designing The Authority: Dams, High Modernity, and Colonial Temporal Containment","authors":"Zane Porterfield","doi":"10.1080/17547075.2023.2221049","DOIUrl":"https://doi.org/10.1080/17547075.2023.2221049","url":null,"abstract":"Abstract The Tennessee Valley Authority’s dams are the culmination of a high modern design ideology, spatio-temporal land-use imaginary, and geography of containment. Many hydroelectric dams were erected in the 700-mile watershed. The energy fueled the manufacture of bombers, missiles, and the atomic bomb. The Authority had unprecedentedly broad purview, from constructing fertilizer factories, coal-fired plants, and nuclear facilities to becoming involved in education and public health. The Authority model crafted a developmental reasoning for militarized involvement across the Earth. The dams were called a pathway to liberal democracy, yet environmental devastation, racism, and Indigenous displacement were inherent, as documented by the NAACP, and the flooding of Indigenous cities. MoMA’s 1941 exhibit named the settler-colonial infrastructure an art object. The dam is a hydraulic monument to coloniality. Art institutions, engineers, and designers are implicated. As these containers decay, we must begin to see once-modern futures as already breached, leaking, shattered.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"71 11","pages":"165 - 185"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41295566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2218743
Matthew DelSesto
Abstract Scholars and activists have reintroduced the notion of abolition to public consciousness in recent decades, but it has roots in the activist scholarship and practice of W.E.B. Du Bois on “abolition democracy.” Design has not often been seen in relationship to this tradition, in part because designers contribute to making the very systems, sites, materials, or mechanisms that abolitionist-oriented efforts oppose; for instance, those that sustain mass surveillance, incarceration, and containment. In Du Bois’s approach, however, it is also evident that there is potential for design to participate in envisioning and creating conditions for abolition democracy. In order to clarify some generative relations between design and abolition democracy, this article outlines some aspects of the theory and practice of abolition democracy from Du Bois’s writings on the Reconstruction Era, applying them to the present. It argues for the relevance of designing for abolition democracy, historically and for action today, while also pointing to the potential for emerging design practices to learn from the models of action and thought that Du Bois offers.
{"title":"W.E.B. Du Bois and Designs for Abolition Democracy","authors":"Matthew DelSesto","doi":"10.1080/17547075.2023.2218743","DOIUrl":"https://doi.org/10.1080/17547075.2023.2218743","url":null,"abstract":"Abstract Scholars and activists have reintroduced the notion of abolition to public consciousness in recent decades, but it has roots in the activist scholarship and practice of W.E.B. Du Bois on “abolition democracy.” Design has not often been seen in relationship to this tradition, in part because designers contribute to making the very systems, sites, materials, or mechanisms that abolitionist-oriented efforts oppose; for instance, those that sustain mass surveillance, incarceration, and containment. In Du Bois’s approach, however, it is also evident that there is potential for design to participate in envisioning and creating conditions for abolition democracy. In order to clarify some generative relations between design and abolition democracy, this article outlines some aspects of the theory and practice of abolition democracy from Du Bois’s writings on the Reconstruction Era, applying them to the present. It argues for the relevance of designing for abolition democracy, historically and for action today, while also pointing to the potential for emerging design practices to learn from the models of action and thought that Du Bois offers.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"15 1","pages":"255 - 265"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47300853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2214334
Ariel Ludwig
Abstract The purpose of the Prison Rape Elimination Act (PREA) Intake Questionnaire is purportedly to evaluate the “risk of victimization” and “risk of abusiveness” for each incarcerated person in the New York City jails. Corrections officers completed it during the intake process through a blend of observations, records searches, and documentation of the incarcerated person’s responses. This visual essay engages with and disrupts the carceralities embedded within this triplicate form.
{"title":"Designing the Prison Rape Elimination Act (PREA) Assessment in the New York City Jails: A Visual Abolitionist Resistance to Data Infrastructures of Harm","authors":"Ariel Ludwig","doi":"10.1080/17547075.2023.2214334","DOIUrl":"https://doi.org/10.1080/17547075.2023.2214334","url":null,"abstract":"Abstract The purpose of the Prison Rape Elimination Act (PREA) Intake Questionnaire is purportedly to evaluate the “risk of victimization” and “risk of abusiveness” for each incarcerated person in the New York City jails. Corrections officers completed it during the intake process through a blend of observations, records searches, and documentation of the incarcerated person’s responses. This visual essay engages with and disrupts the carceralities embedded within this triplicate form.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"15 1","pages":"207 - 220"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45120707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2213094
S. Agid, P. Austin
This special issue has a kind of origin story, even if we don’t really believe in those, per se. In 2014, as a faculty member at Parsons School of Design/The New School, I (Shana) proposed a course for the University’s shared undergraduate curriculum with an extraordinarily long title: Worldmaking: Design and Designing in Social and Political Contexts. These classes bring together students from across most of The New School’s undergraduate programs, including the art, design, and business majors at Parsons; the liberal arts majors at Eugene Lang; and the jazz and drama majors at the College of Performing Arts. The idea for the class had grown from my experiences as a community organizer, my still-new practice teaching a service design studio at Parsons, and an article I’d written – for this journal (2012) – that was my first attempt to understand questions that had emerged at this intersection and wouldn’t let me go: What happens in the process of designing things (systems, services, spaces, objects, images) that encourages professional designers – and design students – to Shana Agid, Parsons School of Design (The New School). agids@newschool.edu Paula Austin, Boston University. pcaustin@bu.edu
这期特刊有一个起源故事，即使我们不相信这些故事本身。2014年，作为帕森斯设计学院(Parsons School of Design/The New School)的一名教员，我(shaa)为帕森斯大学的共享本科课程提出了一门课程，课程的标题非常长:世界制造:社会和政治背景下的设计和设计。这些课程汇集了新学院大部分本科专业的学生，包括帕森斯的艺术、设计和商业专业;尤金·朗学院文科专业的学生;以及表演艺术学院的爵士和戏剧专业。开设这门课的想法来自于我作为社区组织者的经历、我在帕森斯设计学院(Parsons)服务设计工作室执教的新经历，以及我为这本杂志(2012年)写的一篇文章。这篇文章是我第一次尝试理解在这个十字路口出现的问题，这些问题让我无法释怀。在设计事物(系统、服务、空间、物体、图像)的过程中发生了什么，这鼓励了专业设计师和设计专业的学生——莎娜·阿吉德，帕森斯设计学院(新学院)。agids@newschool.edu Paula Austin，波士顿大学。pcaustin@bu.edu
{"title":"Designing against Infrastructures of Harm: Introduction","authors":"S. Agid, P. Austin","doi":"10.1080/17547075.2023.2213094","DOIUrl":"https://doi.org/10.1080/17547075.2023.2213094","url":null,"abstract":"This special issue has a kind of origin story, even if we don’t really believe in those, per se. In 2014, as a faculty member at Parsons School of Design/The New School, I (Shana) proposed a course for the University’s shared undergraduate curriculum with an extraordinarily long title: Worldmaking: Design and Designing in Social and Political Contexts. These classes bring together students from across most of The New School’s undergraduate programs, including the art, design, and business majors at Parsons; the liberal arts majors at Eugene Lang; and the jazz and drama majors at the College of Performing Arts. The idea for the class had grown from my experiences as a community organizer, my still-new practice teaching a service design studio at Parsons, and an article I’d written – for this journal (2012) – that was my first attempt to understand questions that had emerged at this intersection and wouldn’t let me go: What happens in the process of designing things (systems, services, spaces, objects, images) that encourages professional designers – and design students – to Shana Agid, Parsons School of Design (The New School). agids@newschool.edu Paula Austin, Boston University. pcaustin@bu.edu","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"15 1","pages":"133 - 143"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46130230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2224152
Ashley Hunt
Abstract This visual essay is drawn from Double Time, one of a series of three documentary projects on the theme of what might come after a prison is shuttered. Made partly in dialog with ongoing abolitionist organizing by Mass Liberation in South Phoenix, Double Time focuses on Arizona’s origins as a state, at the intersection of the Civil War and the echoes of the Haitian Revolution, as the War’s twin capacities of war-making and image-making pushed the US’ imperial expansion westward.
{"title":"Double Time Pictures of the Arizona State Prison at Florence","authors":"Ashley Hunt","doi":"10.1080/17547075.2023.2224152","DOIUrl":"https://doi.org/10.1080/17547075.2023.2224152","url":null,"abstract":"Abstract This visual essay is drawn from Double Time, one of a series of three documentary projects on the theme of what might come after a prison is shuttered. Made partly in dialog with ongoing abolitionist organizing by Mass Liberation in South Phoenix, Double Time focuses on Arizona’s origins as a state, at the intersection of the Civil War and the echoes of the Haitian Revolution, as the War’s twin capacities of war-making and image-making pushed the US’ imperial expansion westward.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"15 1","pages":"243 - 254"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41523725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2224158
Abstract One Million Experiments is a collection and podcast from Interrupting Criminalization and Project NIA exploring snapshots of community-based projects that expand our ideas about what keeps us safe. In this edited transcript from the first episode of the podcast, Mariame Kaba and Eva Nagao introduce the idea of experiments as everyday structures, practices, and relationships that can build our knowledge and capacity to address and engage harm and safety outside systems of the prison industrial complex (PIC).
{"title":"One Million Experiments","authors":"","doi":"10.1080/17547075.2023.2224158","DOIUrl":"https://doi.org/10.1080/17547075.2023.2224158","url":null,"abstract":"Abstract One Million Experiments is a collection and podcast from Interrupting Criminalization and Project NIA exploring snapshots of community-based projects that expand our ideas about what keeps us safe. In this edited transcript from the first episode of the podcast, Mariame Kaba and Eva Nagao introduce the idea of experiments as everyday structures, practices, and relationships that can build our knowledge and capacity to address and engage harm and safety outside systems of the prison industrial complex (PIC).","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"15 1","pages":"287 - 321"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46931998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/17547075.2023.2213066
Luke Bacon, Arif Hussein
Abstract The practice of identifying people by ID numbers rather than their names, which the authors term here “numbering,” has been extensively recorded in carceral and bordering institutions. While the argument for using identification numbers (ID numbers) is that they enable the reliable mapping between a person and designated institutional artifacts, according to people who have been subjected to numbering, its effect is to dehumanize, erasing individuals’ identities so that they might be more effectively abused as objects. To explore these logics, our article provides a critical reading of Boat IDs in Australia’s notorious border regime based on the first-hand accounts of people subjected to numbering. We apply a ‘technology-in-practice’ lens to analyze ID numbers as biopolitical apparatuses of carceral recognition and erasure that work to materialize power relations of domination and subjugation.
{"title":"Numbering and Boat IDs: The Dehumanizing Use of ID Numbers in Australia’s Border Regime","authors":"Luke Bacon, Arif Hussein","doi":"10.1080/17547075.2023.2213066","DOIUrl":"https://doi.org/10.1080/17547075.2023.2213066","url":null,"abstract":"Abstract The practice of identifying people by ID numbers rather than their names, which the authors term here “numbering,” has been extensively recorded in carceral and bordering institutions. While the argument for using identification numbers (ID numbers) is that they enable the reliable mapping between a person and designated institutional artifacts, according to people who have been subjected to numbering, its effect is to dehumanize, erasing individuals’ identities so that they might be more effectively abused as objects. To explore these logics, our article provides a critical reading of Boat IDs in Australia’s notorious border regime based on the first-hand accounts of people subjected to numbering. We apply a ‘technology-in-practice’ lens to analyze ID numbers as biopolitical apparatuses of carceral recognition and erasure that work to materialize power relations of domination and subjugation.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"15 1","pages":"221 - 242"},"PeriodicalIF":0.7,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46709648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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