Jacques and Jacqueline Groag, Architect and Designer: Two Hidden Figures of the Viennese Modern Movement

Marres, Guggenheim, and Wilkie 2018). In fact, as a reader, I sensed a wealth of material-semiotic creativity in how the contributions came to be – in the dissent being discussed and in how the contributors learned by engaging with it as researchers, participants, interviewers, sympathetic observers, and so on. This kind of multimodal learning is inherent to design and design culture in general. Also, affect and the human body – the site of so much politics – are absolutely at the heart of what design does. Further highlighting them could foster a more explicit embrace of alternative ways of engaging with and learning about the world, and even bolder uses of the intellectual resources usually on offer wherever political dissent meets the material. Put differently, design studies could be contributing to, rather than merely explaining, the adventures in “risky” or “inventive” methods that pepper the pages of Design and Political Dissent. Although an attentiveness to the nonverbal is indeed there in many of the book’s chapters, future work might develop it further and make it even more explicit by developing a language to verbalize it. Such a venture would help develop research and practice in design and dissent across many disciplines and fields beyond design studies.