This is a slightly abbreviated translation - IA de Investigación especializada en el MIT

This is a slightly abbreviated translation
of an acceptance speech in Spanish of
an honorary doctorate from the Metropolitan
University of Technology, Santiago de Chile,
in June 2005.

Design and Democracy
Gui Bonsiepe

I shall present a few thoughts about the relationship between
democracy and design, and about the relationship between critical
humanism and operational humanism. This issue leads to the ques-
tion of the role of technology and industrialization as a procedure for
democratizing the consumption of goods and services, and finally
to the ambivalent role of esthetics as the domain of freedom and
manipulation.

The main theme of my lecture is the relationship between
design—in the sense of projecting—and autonomy. My reflections
are open-ended, and do not pretend to give quick and immediate
answers. The university still offers a place to pursue these questions
that normally will not be addressed in professional practice, con su
pressures and contingencies.

Looking at the present design discourse, one notes a surpris-
ing—and I would say alarming—absence of questioning design
activities. Concepts such as branding, competitiveness, globalization,
comparative advantages, lifestyle design, differentiation, strategic
diseño, fun design, emotion design, experience design, and smart
design prevail in design magazines and the all too few books about
diseño. A veces, one gets the impression that a designer aspiring
to two minutes of fame feels obliged to invent a new label for setting
herself or himself apart from the rest of what professional service
offers. I leave aside “coffee table” books on design that abound in
pictures and exempt the reader from intellectual efforts. The issue of
design and democracy doesn’t enjoy popularity—apart from a few
laudable exceptions.

If we look at the social history of the meaning of the term
“design,” we note on the one side a popularization that is a hori-
zontal extension, and on the other side a contraction that is a verti-
cal reduction. The architectural critic Witold Rybczynski recently
commented on this phenomenon: “Not so long ago, the term
‘designer’ described someone such as Eliot Noyes, who was respon-
sible for the IBM Selectric typewriter in the 1960s, or Henry Dreyfuss,
whose clients included Lockheed Aircraft and the Bell Telephone
Compañía … or Dieter Rams, who created a range of austere-look-
En g, but very practical, products for the German company Braun.
Hoy, ‘designer’ is more likely to bring to mind Ralph Lauren or
Giorgio Armani, eso es, a fashion designer. While fashion design-
ers usually start as couturiers, they—or at least their names—often
are associated with a wide variety of consumer products including
cosmetics, perfume, luggage, home furnishings, and even house

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paint. Como resultado, ‘design’ is popularly identified with packaging:
the housing of a computer monitor, the barrel of a pen, and a frame
for eyeglasses.” 1

More and more, design has moved away from the idea of
“intelligent problem solving” (James Dyson) and drawn nearer to
the ephemeral, fashionable and quickly obsolete, to formal aesthetic
play, to the “boutiquization” of the universe of products for everyday
vida. Por esta razón, design today often is identified with expensive,
exquisite, not particularly practical, funny, and formally pushed,
colorful objects. The hypertrophy of fashion aspects is accompa-
nied and increased by the media with their voracious appetite for
novelties. Design thus has become a media event—and we have a
considerable number of publications that serve as resonance boxes
for this process. Even design centers are exposed to the complicity of
the media, running the risk of failing to reach their original objective:
to make a difference between design as intelligent problem solving
and styling. Después de todo, it is a question of a renaissance of the tradition
of the Good Design Movement, but with different foci and interests.
The advocates of Good Design pursued socio-pedagogical objectives,
while the life style centers of today pursue exclusively commercial
and marketing aims to provide orientation for consumption patterns
of a new—or not that new—social segment of global character, eso
can be labeled with the phrase: “We made it.”

The world of everyday products and messages, of material
and semiotic artifacts, has met—with rare exceptions—in cultural
discourse (and this includes the academic discourse) in a climate of
benign indifference that has its roots in classical culture in the medi-
eval age, when the first universities in the West were founded. Este
academic tradition did not take note of the domain of design (en el
sense of project) in any of its disciplines. Sin embargo, in the process of
industrialization, one could no longer close one’s eyes to technol-
ogy and technical artifacts that more and more made their presence
felt in everyday life. But the leading ideal continued to be cognitive
character in the form of the creation of new knowledge. Design never
established itself as a leading, parallel ideal. This fact explains the
difficulties of integrating design education in institutions of higher
aprendiendo, with their own traditions and criteria of excellence. Esto es
evident in doctoral programs in design that favor the production of
discursive results, and don’t give projects the same value or recogni-
tion as the production of texts. The sciences approach reality from
the perspective of cognition, of what can be known, while the design
disciplines approach reality from the perspective of “projectability,"
of what can be designed. These are different perspectives, and it is
hoped that, in the future, they will transmute into complementary
perspectives. Hasta ahora, design has tried to build bridges to the domain
of the sciences, but not vice versa. We can speculate that, en el
future, design may become a basic discipline for all scientific areas.
But this Copernican turn in the university system might take genera-

1 Witold Rybczynski, “How Things Work,"
New York Review of Books LII: 10 (Junio
9, 2005): 49–51.

Design Issues: Volumen 22, Número 2 Primavera 2006

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ciones, if not centuries. Only the creation of radically new universities
can shorten this process. But the decision freedom of government
institutions is limited due to the weight of academic traditions, y
the bureaucratization emphasis on formal procedures of approba-
ción (title fetishism). Por lo tanto, the new university probably will be
created outside of established structures.

Relating design activities to the sciences should not be
misinterpreted as a claim of a scientific design, or as an attempt to
transform design into a science. It would be foolish to “design” an
ashtray using scientific knowledge. But it would not be foolish—and
even mandatory—to tap scientific knowledge when designing a milk
package with a minimal ecological footprint. It is no longer feasible
to limit the notion of design to design disciplines such as architec-
tura, industrial design, or communication design because scientists
also are designing. When a group of agricultural scientists develops
a new candy from the carob bean that contains important vitamins
for school children, we have a clear example of a design activity.2

I now want to focus on the central issue of my lecture: el
relationship between democracy and design. En efecto, during recent
años, the notion of democracy has been exposed to a process of
wear and tear, so it is advisable to use it with care. When looking at
the international scene, we cannot avoid stating that, in the name of
democracy, imperialistic invasions, bombardments, genocides, ethni-
cal cleaning operations, torture, and the breaking of international
laws have been—and are—committed, almost with impunity, al menos
for the moment. The cost of this lack of humanity is not known.
Future generations probably will have to carry the burden. Con
democracy, these operations have nothing in common.

Neoliberals believe that democracy is synonymous with the
predominance of the market as an exclusive and almost sanctified
institution for governing all relations within and between societies.
So we face such questions as: How can we recover the true meaning
of democracy? How can democracy regain credibility? How can one
counteract the arrogant and condescending attitude of the centers of
power that consider democracy as nothing more than a tranquilizer
for public opinion, in order to continue undisturbed “business as
usual”?

I am using a simple interpretation of the term “democracy”
in the sense of participation, so that dominated citizens transform
themselves into subjects opening a space for self-determination,
and that means ensuring room for a project of one’s own accord.
Formulated differently: democracy involves more than the formal
right to vote. Similarmente, freedom goes farther than the right to chose
between a hundred varieties of cellular telephones; or a flight to
Orlando to visit the Epcot Center, or to Paris to look at paintings in
the Louvre.

Design Issues: Volumen 22, Número 2 Primavera 2006

2 www.clarin.com/diario/2005/05/09/

sociedad/s-03101.htm
(Crean un nuevo alimento para escolares
en base a algarroba.) (Puede 9, 2005).

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I favor a substantial, and thus less formal, concept of democ-
racy as the reduction of heteronomy (es decir., domination by external
forces). It is no secret that this interpretation fits into the tradition
of the Enlightenment that has been criticized so intensively by,
among others, Jean-Francois Lyotard when he announced the end
of the grand narratives. I do not agree with this approach or other
postmodern variants. Without a utopian element, another world is
not possible, and would remain the expression of a pious ethereal
wish without concrete consequences. Without a utopian ingredient,
residual though it may be, heteronomy cannot be reduced. Para esto
reason, the renunciation of the project of enlightenment seems to me
the expression of a quietist, if not conservative, attitude—an attitude
of surrender that no designer should be tempted to cherish.

In order to illustrate the necessity to reduce heteronomy,
I am using a contribution from a linguist—a specialist in compara-
tive literature—Edward Said, who died last year. He characterizes,
in an exemplary manner, the essence of humanism; of a humanistic
attitude. As a philologist, he limits the humanist attitude to the
domain of language and history: “Humanism is the exertion of
one’s faculties in language in order to understand, reinterpret, y
grapple with the products of language in history, other languages,
and other histories.” 3 But we can extend this interpretation to other
areas, también. Certainly, the intentions of the author will not be bent
when transferring his characterization of humanism—with corre-
sponding adjustments—to design. Design humanism is the exercise
of design activities in order to interpret the needs of social groups,
and to develop viable emancipative proposals in the form of mate-
rial and semiotic artifacts. Why emancipative? Because humanism
implies the reduction of domination. In the field of design, también
means to focus on the excluded, the discriminated, y económicamente
less-favored groups (as they are called in economist jargon), cual
amounts to the majority of the population of this planet. I want to
make it clear that I don’t propagate a universalistic attitude accord-
ing to the pattern of design for the world. También, I don’t believe that
this claim should be interpreted as the expression of a naive idealism,
supposedly out of touch with reality. On the contrary, each profes-
sion should face this uncomfortable question, not only the profession
of designers. It would be an error to take this claim as the expression
of a normative request of how a designer—exposed to the pressure
of the market and the antinomies between reality and what could
be reality—should act today. The intention is more modest, that is to
foster a critical consciousness when facing the enormous imbalance
between the centers of power and the people submitted to these
powers, because the imbalance is deeply undemocratic insofar as it
negates participation. It treats human beings as mere instances in the
process of objectivization (Verdinglichung) and commodification.

Edward W. Said, Humanism and
Democratic Criticism (Nueva York:
Columbia University Press, 2003), 28.

Design Issues: Volumen 22, Número 2 Primavera 2006

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Here we come to the role of the market and the role of design
in the market. In a recently published book, the economist Kenneth
Galbraith analyses the function of the concept of the market that,
according to him, is nothing more than a smokescreen for not talking
openly about capitalism—a term that doesn’t enjoy a high rating on
the popularity scale in all social classes and in all countries. Galbraith
puts design in the context of techniques of corporations for gaining
and consolidating power:

Product innovation and modification is a major economic
función, and no significant manufacturer introduces a new
product without cultivating the consumer demand for it.
Or forgoes efforts to influence and sustain the demand for
an existing product. Here enters the world of advertising
and salesmanship, of television, of consumer manipulation.
Thus an impairment of consumer and market sovereignty.
In the real world, the producing firm and the industry go
far to set the prices and establish the demand, employing to
this end monopoly, oligopoly, product design and differen-
tiation, advertising, [y] other sales and trade promotion.4

Galbraith criticizes the use of the term “market” as an anonymous
and impersonal institution, and instead insists on talking about
corporate power. Against, this use of design—after all, a tool for
domination—stands the intent not to remain fixed exclusively on
the aspects of power and of the anonymous market. In this contra-
diction, design practice is unfolding and resisting a harmonizing
discourse that is camouflaging the contradictions. One can deny the
contradictions, but one cannot bypass them.

The issue of manipulation has a long tradition in design
discourse, especially in advertising. I remember a popular book
eso, at the time, provoked a wide resonance, The Hidden Persuaders
by Vance Packard (1957). But one should be on guard against a
critique with declamatory character that merely denounces. Más
differentiation is required. Manipulation and design share one point
of contact: apariencia. We design, among others and certainly not
solo, appearances. Por esta razón, I once characterized the designer
as a strategist of appearances, phenomena that we perceive through
our senses—above all visual senses, but also tactile and auditory
senses. Appearances lead us to the issue of aesthetics—an ambiva-
lent concept. On the one side, aesthetics represent the domain of
freedom, of play—and some authors claim that we are only free
when we play. On the other side, aesthetics opens the access to
manipulation, that is the increase of outer, directed behavior. Cuando
designing products and semiotic artifacts, we want to seduce, eso es
foster, a positive—or according to context, negative—predisposition
towards a product and sign combination. Depending on intentions,
design leans more to one pole or the other, more to autonomy or
more to heteronomy.

Design Issues: Volumen 22, Número 2 Primavera 2006

John Kenneth Galbraith, The Economics
of Innocent Fraud (Bostón: Houghton
Mifflin Company, 2004), 7.

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En este punto, I want to insert a few reflections on technology.
The term “technology” generally is understood as the universe of
artifacts and procedures for producing merchandise with which
companies fill the stage of everyday practice. Technology implies
hardware and software—and software implies the notion of design
as a facet of technology that cannot be dispensed with. Here in Latin
America, we face the problem of technology policy and industrial-
ization policy. Research on these issues reveals interesting details
about progress and setbacks. But these seem to me to favor a reduc-
tionistic interpretation of technology. Only in exceptional cases do
texts mention the question of what is done with technology. El
question for the design of products remains unanswered. This pres-
ents a weak point, without wanting to underestimate the efforts
by historians. But one cannot defend them against the reproach of
being blind to the dimension of design, the dimension of projects,
or at least of facing this dimension with indifference. The motives
for industrialization include the wish to diversify exports, and not to
remain an exporting economy of commodities without added value.
But behind this plausible argument is hidden another generally not
explicitly formulated motif. I am referring to the idea that, apart
from the growth of the GNP, industrialization is the only possibil-
ity for democratizing consumption to provide for a broad sector of
the population access to the world of products and services in the
different areas of everyday life: salud, housing, education, Deportes,
transport, and work, to mention only a few.

Sin embargo, to mention today the role of government in
promoting industrialization can appear almost as an offense to good
manners. The role of public intervention has been demonized with
one exception, paying the debt of a bankrupt, privatized service. En
that case, public resources are welcome, thus reinforcing the idea that
politics is the appropriation of public goods for private purposes. Pero
when the history of industrialization and technology of this subconti-
nent is written, one shall see with clarity that the role of government
has been decisive, even though the detractors of the public sector
with their bellicose voices have belittled its function and contribu-
ciones. If we look at the recent history of Argentina—a country that,
until a few years ago, followed in subservient manner the imposi-
tions of the International Monetary Fund, y eso, in a moment of
delirium, enthusiastically praised its “carnal relationships” with the
leading military and economic power—then we see that this country
didn’t fare very well with this policy of relentless privatization and
reduction of government presence. This process plunged a great
part of the population into a state of poverty unknown until then,
and led to an income concentration with the corresponding bipolar-
ization of society into two groups: the excluded and the included.
Privatization, in this context, is synonymous with de-democratiza-
ción, because the victims of this process have never been asked
whether they approved the credits and sales of public property that

Design Issues: Volumen 22, Número 2 Primavera 2006

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led the country into bankruptcy. Relentless privatization and the
reduction of the role of government—the unconditional opening
of the economy for imports—initiated the de-industrialization of
Argentina, thus destroying the foundations for productive work,
including work for industrial designers.

The industrialization policies in various countries in which
I have participated, above all Chile, Argentina, and Brazil, concen-
trated exclusively on hardware, leaving the communication and
information industries untouched. Hoy, the constellation has
changed radically. An updated industrialization policy would have
to include the information sector of the economy, for which graphic
design and information design can provide essential contributions.
New problems show up there that confront designers with cogni-
tive demands that generally are not taken into consideration in
design education programs. The expanding process of digitaliza-
tion fostered a design current which today claims that the important
design questions essentially are of symbolic character. As the second
argument for the semantization of products—and thus the semanti-
zation of the designer’s work—miniaturization is mentioned, hecho
possible by printed circuits and cheap chips. These do not allow
us to see how the products are working because functions become
invisible. Por lo tanto, the designer’s task consists of making these
invisible functions visible. Though it would be blind to deny the
communication and symbolic aspects of products, their role should
not be overvalued as some authors do. Between the alternative to
put a nail into a wall with a hammer or the symbolic value of a
hammer, the choice is clear. The material base of products with their
visual, tactile, and auditory conformation provides a firm base for
the designer’s work.

With concern, one can observe the growth of a generation of
designers that obsessively focuses on the symbolic aspects of prod-
ucts and their equivalents in the market—branding and self-brand-
ing—and that doesn’t know anymore how to classify joints. El
search for a balance between the instrumental/operational aspects
of technical objects and their semantic aspects constitutes the core of
the designer’s work, without privileging one or the other domain.
As the historian Raimonda Riccini writes:

The polarity between the instrumental and symbolic dimen-
sión, between internal structure and external structure is
a typical property of artifacts, insofar as they are tools and
simultaneously carriers of values and meanings. Designers
face the task to mediate between these two polarities, por
designing the form of products as result of an interaction
with the sociotechnical process.5

Design Issues: Volumen 22, Número 2 Primavera 2006

Raimonda Riccini, Design e teorie degli
oggetti. il verri 27 (Febrero 2005):
48–57.

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It is revealing that Riccini does not speak of the form of products
and their interaction with functions, that is the affordances, but that
she alludes to sociotechnical development. In this way, she avoids
the outdated debate about form and function. The once secure
foundations for arriving at the configuration of products have been
dissolved today—if ever they existed. It would be naive to presup-
pose the existence of a canon of deterministic rules. He who defends
such a canon, commits the error of essentializing Platonic forms.
Al mismo tiempo, it would be equally naive to claim that a limit-
less fickleness of forms would arise from the demiurgic actions of
a handful of creatively inspired designers. We face a paradox here.
To design means to deal with paradoxes and contradictions. en un
society plagued by contradictions, design also is affected. It might
be convenient to remember the dictum of Walter Benjamin that there
is no document of civilization that is not, at the same time, a docu-
ment of barbarism.

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Design Issues: Volumen 22, Número 2 Primavera 2006
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