{"title":"有什么用?关于Use的用法","authors":"Ece Canlı","doi":"10.1080/17547075.2021.1935556","DOIUrl":null,"url":null,"abstract":"of self-determination. Wilson writes that the democratization of development and democracy is the most profound example of hypocrisy (46). “Art Without Death” interrupts the great number of essays that present historical narratives. It is staged as a conversation between Arseny Zhilyaev and Anton Vidokle, in which they debate the question “Are We Human?” In “The Matter of Scale,” Pelin Tan offers a unique approach, presenting his essay as a sequence of journal entries commenting on the inevitable demise of humanity and life as we know it; a sort of post-apocalyptic reflection on the self and design. Many of the essays encourage readers to unyieldingly interrogate their assumptions about the notion of “self-design,” driving us to question them “again and again, now and tomorrow, so that we might be able to catch a fleeting glimpse of what it might mean to be human” (11). This clever collection offers small capsules of critical reflection that allow for a spectrum of interpretations of the ever-present struggle to define one’s self, purpose, and potential. At the same time, Superhumanity: Design of the Self might have benefited from a framework for analysis, set perhaps in the introduction, which could have presented possible groupings of various essays that complimented one another, or even set essays in contrast for a more interrogative analysis of the content. Without such a framework, the reader is left to make their own way through the collection, thus making the volume potentially difficult to navigate. The essays themselves offer valuable and engaging interdisciplinary perspectives on design and design theory, and could be successfully assigned in a design studio, exposing students to the too-often overlooked failures in design thinking and execution.","PeriodicalId":44307,"journal":{"name":"Design and Culture","volume":"14 1","pages":"95 - 98"},"PeriodicalIF":0.7000,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17547075.2021.1935556","citationCount":"0","resultStr":"{\"title\":\"What’s the Use? On the Uses of Use\",\"authors\":\"Ece Canlı\",\"doi\":\"10.1080/17547075.2021.1935556\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"of self-determination. Wilson writes that the democratization of development and democracy is the most profound example of hypocrisy (46). “Art Without Death” interrupts the great number of essays that present historical narratives. It is staged as a conversation between Arseny Zhilyaev and Anton Vidokle, in which they debate the question “Are We Human?” In “The Matter of Scale,” Pelin Tan offers a unique approach, presenting his essay as a sequence of journal entries commenting on the inevitable demise of humanity and life as we know it; a sort of post-apocalyptic reflection on the self and design. Many of the essays encourage readers to unyieldingly interrogate their assumptions about the notion of “self-design,” driving us to question them “again and again, now and tomorrow, so that we might be able to catch a fleeting glimpse of what it might mean to be human” (11). This clever collection offers small capsules of critical reflection that allow for a spectrum of interpretations of the ever-present struggle to define one’s self, purpose, and potential. 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引用次数: 0
摘要
民族自决。威尔逊写道,发展和民主的民主化是虚伪的最深刻的例子(46)。《没有死亡的艺术》打断了大量呈现历史叙事的文章。影片以Arseny Zhilyaev和Anton Vidokle之间的对话为背景,他们在对话中讨论了“我们是人类吗?”在《规模的问题》(The Matter of Scale)一书中,谭佩林(Pelin Tan)采用了一种独特的方式,将他的文章呈现为一系列日记条目,评论我们所知的人类和生命不可避免的消亡;一种对自我和设计的后启示录式反思。许多文章鼓励读者不屈不挠地质疑他们对“自我设计”概念的假设,驱使我们“一次又一次地,现在和明天,这样我们也许能够瞥见作为人类可能意味着什么”(11)。这个巧妙的集合提供了批判性反思的小胶囊,允许对永远存在的定义自我,目的和潜力的斗争的一系列解释。与此同时,《超人:自我的设计》可能受益于一个分析框架,可能在引言中设置,它可以展示各种各样的文章的可能分组,这些文章相互称赞,甚至可以将文章设置为对比,以便对内容进行更具疑问性的分析。如果没有这样的框架,读者就只能自己摸索着阅读,这就使得这本书难以驾驭。这些论文本身提供了关于设计和设计理论的有价值的、引人入胜的跨学科视角,可以在设计工作室成功地分配给学生,让他们了解设计思维和执行中经常被忽视的失败。
of self-determination. Wilson writes that the democratization of development and democracy is the most profound example of hypocrisy (46). “Art Without Death” interrupts the great number of essays that present historical narratives. It is staged as a conversation between Arseny Zhilyaev and Anton Vidokle, in which they debate the question “Are We Human?” In “The Matter of Scale,” Pelin Tan offers a unique approach, presenting his essay as a sequence of journal entries commenting on the inevitable demise of humanity and life as we know it; a sort of post-apocalyptic reflection on the self and design. Many of the essays encourage readers to unyieldingly interrogate their assumptions about the notion of “self-design,” driving us to question them “again and again, now and tomorrow, so that we might be able to catch a fleeting glimpse of what it might mean to be human” (11). This clever collection offers small capsules of critical reflection that allow for a spectrum of interpretations of the ever-present struggle to define one’s self, purpose, and potential. At the same time, Superhumanity: Design of the Self might have benefited from a framework for analysis, set perhaps in the introduction, which could have presented possible groupings of various essays that complimented one another, or even set essays in contrast for a more interrogative analysis of the content. Without such a framework, the reader is left to make their own way through the collection, thus making the volume potentially difficult to navigate. The essays themselves offer valuable and engaging interdisciplinary perspectives on design and design theory, and could be successfully assigned in a design studio, exposing students to the too-often overlooked failures in design thinking and execution.