Speakers: Beatriz Colomina, Kjetil Fallan, Cheryl Buckley, Ramia Mazé, Kenny Cupers, Mia Charlene White, Benjamin H. Bratton.
> Beyond Change > Keynote Talks
Are We Human?Beatriz Colomina, Princeton University
Beatriz Colomina presents the books and curatorial concepts of the third Istanbul Design Biennial, which she directed with Mark Wigley in 2016. As their manifesto for the Biennial argued: “We live in a time when everything is designed, from our carefully crafted individual looks and online identities, to the surrounding galaxies of personal devices, new materials, interfaces, networks, systems, infrastructures, data, chemicals, organisms, and genetic codes. […] There is no longer an outside to the world of design. Design has become the world. The default concept of ‘good design’ […] is no longer adequate. It is an anaesthetic that has worn off. The urgent question is What is design after design?”
KEYNOTE K2And After Us… Robert Esdaile and the Emergence of Ecological DesignKjetil Fallan, University of Oslo
Making it his life’s mission to reform design practice and education according to ecological principles, Canadian-Norwegian architect Robert Esdaile and his concern for what comes “after us” represents an early, sustained effort to bring an ecological, or ecologically informed, critique to bear on design, its practices and ideologies. Tracing Esdaile’s work leads us along one of many trails through the extensive and dense Norwegian wood(s), exemplifying how ecological design grew from many and different roots.
KEYNOTE K3On the Record: Researching Women and DesignCheryl Buckley, University of Brighton
Over thirty years ago, women’s relationship to design prompted a process of critical questioning that is still ongoing. An important context for this was second-wave feminism: by proposing that “the personal is political,” feminist theorists highlighted the crucial role that culture played in locating women within patriarchy. Insisting that design is a vital part of everyday life that has shaped our gendered identities, this paper considers to what extent and how design historians have remained attentive to this.–––
KEYNOTE K4Feminist Modes and Politics of Design PracticeRamia Mazé, Aalto University, Helsinki
The development of the arts in higher education, research, and academia has surfaced vivid discussions for many decades, for example concerning the role of practice in theory-building and knowledge-making. Critical practices of design and “research through design” interrogate not only design but also the norms and forms of institutional structures that circumscribe design in academia. Feminist approaches, further, do not only question and oppose, but also project, activate, and enact alternatives. I will speak through examples of institutional critique and redirection within everyday design practice.–––
Conversation moderated by Elisabeth Fischer, HEAD Genève
KEYNOTE K5The Earth that Modernism BuiltKenny Cupers, University of Basel
This lecture explores the roots of the modernist project – both heroic and tragic – to design the human by reshaping the environment, from the domestic sphere to the earth at large. It examines how statesmen, scientists, and designers mapped ethnicity onto territory and biology onto architecture, and in doing so, conceived of the human environment as an object of design. This entangled history of modernity demonstrates how novel ways of thinking about and intervening in the human environment were bound up with natural science and the colonial project, asking us to reconsider long-held assumptions about humanity’s relationship to the earth.–––
KEYNOTE K6Love: A Blues Epistemology from the Undercommons Mia Charlene White, New School, New York
How can we, designers of all kinds, educators of all kinds, truly contribute to a more just society? My answer to you and to myself, is that though we have not always realised it, you and I continue to yearn for freedom. All the time. So, what does it take to build a movement in the millions? It takes the struggle of and for freedom, in all our spaces. For me, it means theorising black and brown spatial practice as love – a love borne from the generative forcefield that is blackness, my own, and that of the undercommons universe, out of which some answers to the question “what are we to do?” (about murder, democracy, liberalism, gentrification, capitalism, war, suicide, white supremacy) remain waiting for experimentation. The undercommons are those spaces inhabited and produced by us, black people, indigenous peoples, queers and poor people, and it is where and how we say “…we want to tear down the structures that … limit our ability to find each other, to see beyond … we want to feel a new sense of wanting and being and becoming.”* These are love practices, and they have no beginning or end. I have witnessed them as both structured and improvisational – a blues epistemology of daily revolutionary actions, in the land and in the body, in the classroom and through the page, in all the spaces.* From the Introduction to Stefano Harney and Fred Moten’s The Undercommons: Fugitive Planning and Black Study (Minor Compositions, 2013).–––
Conversation moderated by Emily Eliza Scott, ETH Zurich
KEYNOTE K7Quote Unquote Design: Landscape-Scale AI and the Question of AgencyBenjamin H. Bratton, University of California, San Diego/Strelka Institute, Moscow
What are the design ontologies of artificial intelligence? Three propositions and a question: (1) design is never “human-centred” but a mix of deliberation, sleight, accident, and evolutionary forces; (2) “AI” is emergent mineral intelligence at landscape scale; it may perform feats analogous mammal cognition but is based on fundamentally different sorts of sensing and signalling dynamics; (3) AI is both an exteriorisation of programmatic thought and a model of distributed agency. Question: if intelligence exists within ecologies in multiple forms and at diverse scales, how might AI augment any or all of these and how might design adjudicate this, if at all?